Reverb was also added at the mixing desk when recording or mixing. If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: - Be sure to read the section above. Often during the live songs that do have very loud delays, you do hear the repeats clearly. 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. One of the ways to do that, is by using your effects creatively, just as he does. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. Its more compact, more reliable, and just easier to use. His main analog delays were nearly always the drum type, like the Echorec, which only had high end-roll off as the magnetic drum and record/playback heads aged. He did sometimes use the Swell mode. Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Money solos - live 1977 version (MXR Digital Delay System I): It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. Alt. This creates a different bouncy feel to the delay rhythm. His final delay was the TC Electronic 2290. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. This website is frequently updated. 2nd delay 94ms. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. 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. Reaction score. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. 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. One of the smoothest guitarists in rock, Pink Floyd's David Gilmour has built a reputation for great melodic control and an expressive soloing approach that has influenced millions. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. Gilmour used a similar gated tremolo effect for the sustained chords in the verse sections of Money, using the noise gate from an Allison Research Kepex (Keyable Program Expander) studio module, modulated with an external sine wave generator (according to engineer Alan Parsons). The volume swells can be easily created today with a delay and a volume pedal. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats The second is around 94ms, which is 1/5 of 470 (470/5=94). He set the time to 310ms for most everything. 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. R channel -- 1400ms with two repeats. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. Its hard to give an estimate as every pedal will respond differently. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. intro slide guitar: 1023ms You simply have to practice your timing so you can play the fills and get back to the D rhythm note exactly in time with the delay repeats. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). 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. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. - David often has a big, watery delay tone, as if he were playing in a large hall, but the actual audible echo repeats in his solos are almost absent in many cases. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. solo: 680ms, Another Brick in the Wall Part 1: The S-O-S unit was basically a buffered interface with two send/returns. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. A DD-2 was also seen in David's Medina studio around 2017. second solo: 490ms, What Do you Want From Me? The official live recordings often have an even larger delay sound than the studio versions. 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. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. That sounds complicated, but to recreate this sound all you really need is one digital delay set to 380ms, as David did whenever he played it live. 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. If you want to somewhat recreate his delay youre in luck, as its pretty simple. - David Gilmour, Guitar World magazine. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. You can also play in time with the delays in a kind of shuffle rhythm. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog 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 second solo before verse: 350ms -- feedback: 3-4 repeats David's pedal board had two Boss digital delays, but he also had an MXR 113 Digital Delay System and MXR Digital Delay System II in his rack. 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. middle keyboard section: 340ms -- feedback: 8-9 repeats #4. SHINE ON YOU CRAZY DIAMOND 1-5 settings. . The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. I started off with a Binson Echo unit, which is like a tape loop thing. Shown below are some typical Gilmour DD-2 delay times. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. THE BOSS DD-2 DELAY - The 1983 Boss DD-2 was one of the first, and best sounding digital delays to come out of the early days of digital effects pedals. 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. Shown below are some typical Gilmour DD-2 delay times. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: This is actually not quarter-note triplets. In this example I am showing how just using a single triplet 330ms delay is sufficient for this effect, but a second 4/4 feeling delay of 440ms or even a double triplet delay time to 660ms, could be added to enhance the space. For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). In 2006 the dry signal split off at the end of his pedal board signal chain into two separate loops, each going to a separate delay. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: On Reverb, the average Echorec sells for between 3500$ to 5000$. Volume 65% The simplest option is to use an online Beats Per Minute caculator, like, - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. - David Gilmour, Guitar World magazine. Delay volume 65% Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. The Effect Level (volume) and Feedback (number of repeats) will vary. 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. As I said before, he often doesnt just use the delay to make his solos fit in the particular vibe of the song, but also the help build the rest of the soundscape. He became known for this effect as he used it for his guitar solo in practically every queen concert. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Fine tune it until you hear the repeats are exactly in sync with the song tempo. All of the settings for this tone can be found in this PDF download below. 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. 3rd solo: 430ms, Money solos - 2015/16 live version: 1. 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. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog One of These Days - 294ms delay + vibratto. 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. Delay time depends on the era. 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. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. 530ms -- feedback: 4-5 repeats, Coming Back To Life: HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? David would use a Binson Echorec in the early days between 1968-1978. Starting with the finer details of the setup's tone like amp EQ and drive pedal levels and EQ will help you hear everything much more clearly before adding all the delay and reverb. slide solo: 550ms -- feedback: 4-5 repeats All these effects can be heard in most of Pink Floyds discography. The tone is broken down to illustrate what each effect adds to the sound, in this order: Boss CS-2 compressor, Boss CE-2 chorus, Boss RT-20 Rotary Ensemble, FTT Future Factory stereo delay, BKB/Chandler Tube Driver. 570 divided by four (4/4) is 142.5. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. There are also instances where he has had a long delay time, but only one or two repeats, which gives the big sound, but makes the repeats almost inaudible in the band mix. David Gilmour is famous for his unique use of delay and echo. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Time intro - Isolated guitar from studio mix. If you adjust the delay time in that in-between zone while listening to the song, you will hear when it is right in 3/4 time. The Free the Tone Ambi Space pedal is my favorite device for this. Listening to the trails specifically, something a little darker like a DM-2 would do it. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. verse/chorus sections: 310ms -- feedback: 3-4 repeats intro: 440ms I use the MXR Digital Delay. There is a also bit of light overdrive in the tone. Below is an example of replicating the Syd's Theme delays from 1994. This obviously means that a lot of guitarists want to be like him. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): Read an explanation about how this is achieved here. Start new topic; Recommended Posts. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. The clip below is played with those same 428ms and 570ms delay times. Both in the studio and live their musicality seeps from every note, every rest, and every beat. For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel. The tape splices were then camouflaged with cymbal crashes. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. David Gilmour is famous for his unique use of delay and echo. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. 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. A 300ms and 380ms delay had the heads repeating in these specific delay times. David was very much in control of his sound system We rarely added effects to his guitar in the control room. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital solo: 420ms This is the primary delay time you hear in the song. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. 1st delay 240ms. There is a 440ms delay on the guitars in the studio recording. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. 2,434. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. This creates a different bouncy feel to the delay rhythm. They want to play and sound just like the man himself. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. Kits Secret Guitar, Gear, and Music Page 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. #4. Delay volume 85% solo: 440ms. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. So why don't you hear the repeats most of the time? This would not only be one of the only times David is known to have used a tape delay effect live, but he seems to have used it much earlier than other guitarist more well known for this effect. Below is an example using two digital delays in series. - In general, no - but sometimes, yes. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. He used three delays there, but again, I can only distinctly hear two. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: If running the delays parallel, set for about 12 repeats on each. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. I'll keep this simple rather than going into an explanation of time signatures. - David often has a big, watery delay tone, as if he were playing in a large hall, but the actual audible echo repeats in his solos are almost absent in many cases. The level or volume knob would be set to maximum on most delays for this. Dec 23, 2015. If you get too high a quality bandwidth on a DDL you hear too much pinging and lose the sort of echo effect I use it for. outro solo: 680ms -- feedback: 4-5 repeats. 5,744. The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. The delay time must also be precisely in time with the song tempo. The tremolo is from an HH IC-100 amp was used for the studio recording. studio album solo: 275ms 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. - Phil Taylor, David's backline tech. - 2016/15 live version: It's just like the old Echoplex unit - David Gilmour from Guitar for the Practicing Musician, 1985, The Binson was an Italian made delay unit. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. intro: 650ms, Coming Back To Life - 2015/16 live version: If the repeats are slower, reduce it. 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. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. The main rhythm guitar, chords, and fills are all double tracked. Last update July 2022. alternate: 380ms, High Hopes - 2015/16 live version: 2nd delay 165ms. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. Below is a medley of David using the Echorec from 1969-1977. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: 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'. 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 clip I'm using Coming Back to Life as a reference with 700ms. David Gilmour Lead Guitar Tone PDF Download Copyright 2023 Killer Guitar Rigs. These three separate channels are blended back together with the original dry signal at the end of the signal chain. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog These effects combined with Gilmours guitars, amps, and more importantly, his fingers, all add up to the legendary sound we love, and the signature sound that will send any 40+ year old into a state of ecstasy if it comes on the radio. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. Plate reverb is far more accurate. This unit can also be heard on the The Wall album. Kits Secret Guitar, Gear, and Music Page. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): What delay pedal does David Gilmour? Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, David would play a chord, raise the volume pedal to send the signal into the SDE 3000, then lower the volume back to to zero to kill the input signal. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: The delay time and your playing must be precisely in time with the song tempo, so it takes some practice to perfect this style of playing. Its a famous echo unit used by many artists, and useful for varying instruments. 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. I am not talking about spring reverb from an amp. Below is a link to a song-by-song list of Gilmour's delay settings, compiled from measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of his digital delays. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. MXR DIGITAL DELAYS - David began using digital delays in 1977. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. This was most likely a reel-to reel recorder set up for a tape-loop delay. 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. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: His delay times are slightly faster here. 380 divided by 3 = 126.7ms. See all posts by Andrew Bell. David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. Unless otherwise noted, all delay times are shown in quarter notes The Blue: 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. As the chord rang on, David could then play the melody lines through his main Hiwatt. - David has used numerous types of delays in his carreer, both analog and digital. Let's see some of the units he used over time. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. They averaged from 290-310ms. Some are actually too high quality for my personal taste. He did sometimes use the Swell mode. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. But delay is not the only effect that Gilmour tends to use. He usually had the time set to 440ms. Gilmour's Binson Echorec 2 model T7E from 1970-71. The second delay should just be accenting the first, filling the space between the 3/4 repeats. HH IC-100 amplifier with built in tremolo. 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. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Example: You determine the 4/4 beat/song tempo is 600ms. David would use the latter setting for most of the album. Treble: 4-5. first solo: 507ms -- feedback: 2-3 repeats The MXR Digital Delay System II was an upgraded version of the 113 that showed the delay time in milliseconds on the front panel and featured additional fine tuning controls. Volume 65% The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. There are several reasons. Run Like Hell - Delay Rhythm Guitars Mixed Up Front - both channels, Run Like Hell - Sustained Chords Mixed Up Front, Run Like Hell - Verse Fills Mixed Up Front, Run Like Hell Live Excerpts - from Is There Anybody Out There - The Wall live 1980-81, David Gilmour live in 1984, the Delicate Sound of Thunder, and Pulse. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. That equates to 428ms, which we will call the 4/4 time. delay 2: 430ms, In Any Tongue - 2015/16 live version: That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). The first delay is definitely set to 470ms, which is the 4/4 time. 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!
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