buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse David used the DD-2 extensively in the mid to late 1980s, as well as using a Pete Cornish Tape Echo Simulator (TES) in 2006, which was a Boss DD-2 circuit with a selectable roll-off filter added to simulate the worn tape head sound of old tape delays like the Binson Echorec. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Volume 65% Last update July 2022. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the Gilmour Gear Forum for providing some of the delay times and to Will for compiling a list of the 2015/16 tour delay times seen on David's digital delays! The simplest option is to use an online Beats Per Minute caculator, like this one. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. Syd's theme: 375ms and 500ms solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: La guida un lavoro in continua evoluzione ed in continuo aggiornamento. David's T7E and PE603 Echorecs, and even the stock Echoplexes at the time, were not capable of anything even close to that length of delay. They want to play and sound just like the man himself. The delays are set in series like this: Some duplicate the studio album delay times and some duplicate the live delay times. The PE 603 Echorec had similar controls, but rather than having a switch to select different combinations of the four playback heads, it had individual switches for each head. Many of the sound effects youll hear on the earlier albums were created with this machine. Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: The trick is not to overdo it. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. I use a compressor or a Tube Driver for this. David usually used positions 1-4, for single playback repeats of heads 1-4. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. For the wet 1st and 3rd solos from Money I use basically the same settings, but I dial the mix knob up a bit for the third section after the dry solo. The fill patterns played in the verse section sound dry, with almost no delay. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: The delay used must have a "kill dry" or "dry defeat" mode, which means ONLY the 100% wet delay signal is sent to the output of the delay, none of the dry signal. 2. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: alternate 2nd Solo: 540ms for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. Solo: 440ms ? Its more modern than the MXR, but it sounds just as good. The TC Flashback can be set up with the Tone Print edito. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. That may be just my fantasy; I don't know. for providing some of the delay times and to Will for compiling a list of the 2015/16 tour delay times seen on David's digital delays! Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. To add some modulation and a spacious feel to the delay tone on the studio recording David used either a Yamaha RA-200 rotary speaker cabinet or an Electric Mistress flanger. Often during the live songs that do have very loud delays, you do hear the repeats clearly. There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. And what I meant with using it as a reverb was that he tends to tune his delay to the rest of the band so that it creates a cohesive piece that captures their signature atmospheric sound. Members; 529 Members; Share; Posted December 21, 2005. It's fun to just jam around using the unique delay rhythm it creates. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. Here is my example of this sound. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. I have managed to nearly replicate what a Binson will do using a combination of modern digital unitsthe multi-head sounds, as well as the Swell settingwhich is what I use on the beginning of Time, for example - David Gilmour, Guitar World March 2015. David Gilmour is famous for his unique use of delay and echo. Pink Floyd recording engineer Andy Jackson has said he usually uses a couple of EMT plate reverbs in the studio for David's voice and guitar, and sometimes a Lexicon Hall reverb. This was most likely a reel-to reel recorder set up for a tape-loop delay. They averaged from 290-310ms. David Gilmour, as many guitarists will agree on, is an absolute legend. It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats One of These Days - gated tremolo section isolated. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. The other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. I use two delay pedals for Run Like Hell. Gilmour used the same 294ms delay from the Echorec plus the built in vibrato from an HH IC-100 amplifier, which was a very choppy tremolo effect. 2nd delay 165ms. Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. 4. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. As technology was progressing, the use of rack effects units became more and more efficient. I turn each effect on one at a time so you can hear how they add to the tone. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. It was strange because it didn't utilize tape loops. His final delay was the TC Electronic 2290. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. Head 1 = 75ms .Head 1 = 95ms. The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. The studio recording was likely duplicated and played back 440ms behind the original guitar recording to create the effect, or the mixing board was outfitted with a longer delay to create the effect in the mix. 650-680ms were occasionally used for long delays. David would use a Binson Echorec in the early days between 1968-1978. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. Posted December 21, 2005. porsch8. He has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. A key to the way David has done this is to run each delay in its own separate channel, parallel and separate from the line signal. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog slide solo: 550ms -- feedback: 4-5 repeats Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog We are a participant in several affiliate programs including but not limited to the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. He would do this for each chord change in the intro to Shine On You Crazy Diamond, effectively doing both the keyboard and guitar parts all by himself. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. 2nd delay 570ms. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital There is a also bit of light overdrive in the tone. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms I have one for specific time settings, for things like Run Like Hell and Give Blood, so I know in numbers (delay time in milliseconds) what setting I need to use. - David Gilmour. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. It's actually a metallic disc that spins around. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. This the dominant delay, but there is also a 300ms delay low in the mix It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. Feedback: This is the number of audible repeats. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The tremolo is from an HH IC-100 amp was used for the studio recording. If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. It's actually a metallic disc that spins around. Gilmour's Binson Echorec 2 model T7E from 1970-71. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital Sort of a triplet on top of a triplet time delay. 530ms -- feedback: 4-5 repeats, Coming Back To Life: 1. intro: 440ms Find the proper delay time for the song as described above, then let's do some "Echorec math". USING TWO DELAYS - David has stated he used two delays, one in 3/4 time (dotted eighth notes) and one in 4/4 time (quarter notes). Head 3 = 3/4 Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. Although he often blends different types of delays, creating rich textures and layers, I'm going to break it down into four signature setups covering each era. Multiply that x3 to get the 3/4 time and you get 427.5. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. As an Amazon Associate, we earn from qualifying purchases. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Some are actually too high quality for my personal taste. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats Delay Level: This is the volume level of the delay repeat compared to the original signal. Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. verse: 360ms delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. The third delay is probably in 3/4 time, but I can barely hear it. To figure a 4/4 delay time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Great Gig Slide Guitar Breakdown. solo: 500ms, High Hopes - live versions There is a 440ms delay on the guitars in the studio recording. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. The first delay is definitely set to 470ms, which is the 4/4 time. 1st solo: 435ms Both in the studio and live their musicality seeps from every note, every rest, and every beat. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats David probably just uses the term triplet because what he does has a similar feel. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog The second is around 94ms, which is 1/5 of 470 (470/5=94). For his general ambient delays, choose the most tape flavored setting and use 50%-ish feedback (or 7-8ish repeats) and mix it fairly low so it sounds more like a subtle reverb. It only added a very slight gain boost to his clean amp tone, but . Money solos - live 1977 version (MXR Digital Delay System I): Other than a few instances like that, reverb from David rig was not used and I do not recommend it. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. NOTE: This website is frequently updated. Its a famous echo unit used by many artists, and useful for varying instruments. This is actually not quarter-note triplets. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. I think the 2290 mode on the Flashback does very well for playing anything Gilmour, and if you check out some of Bjorn Riis's Floyd jams on . This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall.
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