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. Those are not the type of parallel setup we are talking about here. 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. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: There is a 440ms delay on the guitars in the studio recording. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. Gilmour's delay on Coming Back to Life | The Gear Page If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. Fat Old Sun- 2015/16 live version: 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. Delay volume 50%. delay 2: 254ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital delay 2 alternate: 90ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital, Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Below is a breakdown of how to play this effect. The tape splices were then camouflaged with cymbal crashes. Based on what I hear the guitar delay levels are not much different in either song, but I noticed the delay repeats are very clear in Castellorizon, but I barely hear them in OAI . This unit is an incredibly versatile digital delay that many artists use. On the one hand, finally cracking one of my favourite guitar player's [] There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. Great, lets get started. I use chorus, little delay and some reverb on my amps clean setting. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. The shorter delay fills in the gaps between the longer delay repeats, creating a smooth delay sound, but the delay time on both makes the repeats fall inline with the song tempo. The main rhythm guitar, chords, and fills are all double tracked. Bass: 12 o'clock Mid: 1 o'clock Treble: 11 o'clock Delay: Time: 484 ms Mix: 40% Level: 75% Feedback: 50% Only about one audible repeat fading very quickly after that Reverb: Medium Room Time: 2.20 sec EQ: High Cut 4000Hz Level: 75% Mix: 50% Input Gain: 100%. This is a big part of Pink Floyds sound. - Phil Taylor, David's backline tech. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. The Mode switch is in position 7, which is Head 3 + Head 4. For example, take 450ms divided by 3 = 150ms. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. I use the MXR with the read-out on it, so I instantly have the right tempo. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: Volume 65% I use the Tremotron from Stone Deaf Effects for this. David could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. DELAY SETTINGS - Most of the delay times David Gilmour used in the early 1970s with Pink Floyd were around 300ms long, since that was the approximate delay time of head 4 on the Binson Echorecs he was using at the time. Again, I'll simulate that with only two dominant delays. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. There are several reasons. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats second solo delay #1 TC2290 Digital Delay (whole solo): 480ms chords / arpeggios: 480ms What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. David used a Binson Echorec for his delay at the time DSOTM was recorded, but the Binson cannot create a delay as long as 440ms. intro: 425ms It's actually a metallic disc that spins around. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: middle section: 1000ms -- feedback: 4-5 repeats The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. The third delay is probably in 3/4 time, but I can barely hear it. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. solo: 400ms, Raise My Rent: I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. A little later he switched to the MXR Digital Delay. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. The reverb could have been added in the mixing stage, or it could be natural room reverb from mics positioned in the recording studio to capture the natural room sound. 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). Let's do some "Echorec math." Volume 85% It created a unique stuttered stacatto rhythm. I am talking about the natural reverb sound of the room or hall the amplifier or speaker cabinet was recorded in, or studio reverb added to simulate it. Plate reverb is far more accurate. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. These are 5 note scales, pretty much the simplest scale a guitarist could use. For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. However, it is possible to play this one one guitar. This is actually not quarter-note triplets. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 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. To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. The simplest option is to use an online Beats Per Minute caculator, like this one. . Here is a breakdown from the Great Gig multi tracks. Because the DDL keeps running along, you've got time to leave the pedal playing and play a couple of chords while the effects carry on - David Gilmour from Guitar for the Practicing Musician, January 1995. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. They want to play and sound just like the man himself. Copyright 2023 Killer Guitar Rigs. Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. 380 divided by 3 = 126.7ms. Volume 65% Last update July 2022. 540ms, Take A Breath: The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. Run Like Hell Intro Runs - Examples of the left hand muted runs up and down the neck to create some of the intro delay sounds similar to what David Gilmour has dome when playing this song live. There is a also bit of light overdrive in the tone. David Gilmour, as many guitarists will agree on, is an absolute legend. Both delays are in series with the delay volume around 75% and about 9 repeats. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. 234ms and 150ms also works. When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. Below are settings to get that sound. The first is set in 3/4 time (dotted eighth notes) for about 8 echo repeats at exactly 380ms, or three repeats for every song beat. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. This is similar to the sound David had for his 1984 live performances of Run Like Hell, as heard on the David Gilmour In Concert video released in 1984 by CBS, and the Westwood One Radio Network FM broadcast of the July 12th concert in Bethlehem Pennsylvania. So why don't you hear the repeats most of the time? It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. David Gilmour was the guitarist for English rock band Pink Floyd. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. A DD-2 was also seen in David's Medina studio around 2017. 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. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): 430ms, Faces of Stone - 2015/16 live version: He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) Its also easier for live situations as changes can be made on the fly. 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. David was very much in control of his sound system We rarely added effects to his guitar in the control room. 5,744. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. intro slide guitar: 1023ms See all posts by Andrew Bell. Great Gig Slide Guitar Breakdown, Here's another, starting with the dry guitar in the left channel, then the right channel with the 440ms delay. Coming Back to Life Intro Tone Build - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. 380ms -- feedback 7-8 repeats - delay level: 90% -- delay type: digital, Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Time intro test with backing track - 470ms and 94ms. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. I demonstrate many of the unique sounds that can be created but playing repeating patterns in and out-of-tempo with the delay repeats, letting the repeats get to the point of self oscillating, tapping the strings with a glass slide, tapping the strings with my fingers and pick to create percussive effects, and rubbing my fingers and pick up and down the strings. David Gilmour Lead Guitar Tone PDF Download But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. How to you get the proper 3/4 delay time from that 4/4 time? You can also play in time with the delays in a kind of shuffle rhythm. Dec 23, 2015. By the way, you might also want to check out our top picks for the best delay pedals, our guides to the delay pedals used bySlashandEddie Van Halen, as well as our tips for where to place your delay in the chain withreverbandchoruspedals. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. Generally speaking, the sound on the album is pretty much what came out of his amp. I use 240ms. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 2nd delay 570ms. This is probably spring reverb from David's Twin Reverb. Both types have been described as "warm" sounding, which can get confusing. alternate: 380ms, High Hopes - 2015/16 live version: volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats Other common delay times were 380, 440-450, 480, and 540ms. 1. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. Head 3 = 3/4 When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. studio . The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. This is actually not quarter-note triplets. Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. ANOTHER BRICK IN THE WALL PART I - This one is very similar to Run Like Hell, played in D, with a 450ms delay, around 7 repeats, with the repeat volume equal to the signal volume. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): 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. For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. The delay time must also be precisely in time with the song tempo. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. Also, two delays in line, while useful for some double tap delay effects, means that the repeats from the first delay are then repeated again by the second when both are used at the same time, which can sometimes create a mushy mess of repeats. The delay time must also be precisely in time with the song tempo. 1st delay 470ms. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) It's all on a D pedal. Delay and reverb should be the last effect in the chain. Below is a song-by-song list of delay times with some settings. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. This gives the impression of a 920-930ms delay. The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. solo: 420ms On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. - Be sure to read the section above. Let's see some of the units he used over time. verse / chorus: 430ms, Us and Them - 2016/15 live version: intro: 440ms As the song plays on I dial the delay volume and number of repeats higher and higher. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. David could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. The TC Flashback can be set up with the Tone Print edito. The type of multi-head repeats varied depending on which of the four playback heads were selected. Delay volume 90%. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. 2. I was able to dismantle them, put them back together, and change the head positioning. second solo: 460ms -- feedback: 5-7 repeats, Dogs: 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. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. I use one of their old ones most of the time because the width is narrower. Treble: 4-5. He then upgraded to an MXR Digital Delay System II. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog Free shipping for many products! Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. USING TWO DELAYS AT ONCE - David has sometimes simultaneously used two separate delays with different delay times to create a larger sound, similar to what can be accomplished with the multi heads on an Binson Echorec. David Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an echo. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. delay 1 time: 90ms When the notes pitch up or down the delay has 4-5 repeats. Dave Gilmour Amp Setting - Ultimate Guitar 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. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: It still retained the warmth of the original signal rather well, but there is no high end roll-off in the repeats, so it is not "warm" analog delay in that regard. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Another Brick in the Wall Part II (live): Any Colour You Like - 1994 live versions: Astronomy Domine - Pulse version (MXR Digital Delay System II for solo). Fine tune it until you hear the repeats are exactly in sync with the song tempo. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? He came up with that basic riff that we all worked on and turned into One of these Days. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. David Gilmour's delay sounds (part 2) - YouTube The Echorec 2 had six knobs - INPUT CONTROL (volume), LENGTH OF SWELL (number of repeats), VOLUME OF SWELL (volume of repeats), BASS/TREBLE (tone knob for the repeats), a three position SELECTOR knob, and a SWITCH knob that selected various combinations of the four playback heads. Below is an isolated excerpt of this part. second solo before verse: 350ms -- feedback: 3-4 repeats
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