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first solo: 507ms -- feedback: 2-3 repeats It is impossible to achieve the exact same tone as a player without using the same equipment. 530ms -- feedback: 4-5 repeats, Coming Back To Life: There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. 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. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) If running the delays parallel, set for about 12 repeats on each. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. Use the feedback option to set it right where you think it sounds closest. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: *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! You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. 4. Another option is to run two delay pedals simultaneously. 8-10 repeats on each delay. As the chord rang on, David could then play the melody lines through his main Hiwatt. A 300ms and 380ms delay had the heads repeating in these specific delay times. 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. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. It only added a very slight gain boost to his clean amp tone, but . He usually had the time set to 440ms. alternate: 380ms, High Hopes - 2015/16 live version: Delay and reverb should be the last effect in the chain. It was set for a light overdrive setting and was most likely an always-on pedal. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. The tremolo is from an HH IC-100 amp was used for the studio recording. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The third delay is probably in 3/4 time, but I can barely hear it. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. 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. Those are not the type of parallel setup we are talking about here. Questa guida al setup di David Gilmour vuole essere d'aiuto per tutti coloro che volendo ricreare il sound che David ha utilizzato in un'album, in un tour o in una specifica canzone, sono alla ricerca dei setting precisi di ogni effetto usato da Gilmour. It helps to have a delay with a digital display to set the exact delay time. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. second solo: 460ms -- feedback: 5-7 repeats, Dogs: 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. 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. 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. delay 2: 430ms, In Any Tongue - 2015/16 live version: 310ms -- feedback: 3-4 repeats 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. Copyright Kit Rae. David almost always uses delays in his live rigs, not reverbs. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. 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 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. Theyre so famous they sell for a very high price and are deemed a collectable for many. These are 5 note scales, pretty much the simplest scale a guitarist could use. 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. solos: 660ms -- feedback: 6-7 repeats, Time: 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. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. Remember that these settings should just be used as a starting point. Great Gig Slide Guitar Breakdown. 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. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. The fill patterns played in the verse section sound dry, with almost no delay. outro solo: 680ms -- feedback: 4-5 repeats. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. Below is a breakdown switching between the various tracks of all three solos. Run Like Hell with 380ms and 507ms delay in series. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. They want to play and sound just like the man himself. David Gilmour, as many guitarists will agree on, is an absolute legend. He set the time to 310ms for most everything. David Gilmour is famous for his unique use of delay and echo. This is the primary delay time you hear in the song. Multiply that number by 75% to get the triplet time delay. 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. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. 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. Run Like Hell with 380ms and 254ms delays in series. For the multi-head Echorec sound needed when performing the intro to Time and the four-note Syd's theme section of Shine on You Crazy Diamond he used two delays, and sometimes three! Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. Many of the sound effects youll hear on the earlier albums were created with this machine. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. delay time to simulate offset multi track recordings: 930ms -- feedback: 4-5 repeats -- delay level: 30-35% -- delay type: analog, Breathe - Pulse version (TC2290 Digital Delay): Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Verse / Chorus : TC 2290 Digital Delay: 430ms Below is a medley of David using the Echorec from 1969-1977. 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 official live recordings often have an even larger delay sound than the studio versions. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. 2. Time intro test with backing track - 470ms and 94ms. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. 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. Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. 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. Below is a breakdown of how to play this effect. The effect actually works fine with only two delays. The tempo used in this demo is slightly too. That equates to 250 - 240ms. It is said that he switched from an Echorec to an MXR for ease of use. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. 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. studio album solo: 275ms 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. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. delay 2: 275-290ms -- feedback: 5-7 repeats - delay level: 25% -- delay type: analog, Short and Sweet - David Gilmour live 1984 version (Boss DD-2): That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. 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 is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. It is not known exactly which delay David used for the sudio recording of Run Like Hell, but I do not think he used his Binson Echorec for the main delay. Some duplicate the studio album delay times and some duplicate the live delay times. I used to be expert with Binsons. But delay is not the only effect that Gilmour tends to use. verse / chorus: 435ms, Wearing the Inside Out: Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. 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. The 4/4 delay can barely be heard on the studio recording and is really not necessary, but it is fun to experiment with two delays. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Treble: 4-5. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: He did sometimes use the Swell mode. 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). solos: 540ms, What Do you Want From Me? They averaged from 290-310ms. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. David would use the latter setting for most of the album. 2nd delay 375ms. It was used for the early live version of On the Run in 1972, the third Money solo, and used on Pink Floyd tours until 1975. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats David Gilmour is famous for his unique use of delay and echo. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version Head 3 = 3/4 The simplest option is to use an online Beats Per Minute caculator, like this one. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. All those divisions and subdivisions will be in time with the song. Alan Parsons has said David was generating all the effects himself for the first solo, so this was probably spring reverb from the Twin Reverb David had in the studio. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 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. This is a big part of Pink Floyds sound. David Gilmour Lead Guitar Tone PDF Download Heavy reverb. 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. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Start new topic; Recommended Posts. Comfortably Numb: If you don't have a delay with a millisecond display, it is still possible to find the proper 3/4 delay time in a 4/4 time signature. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. 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. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. Delay volume 65% 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. One of These Days - 294ms delay + vibratto. delay 1: 90ms - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. - 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. Record yourself playing alone verses playing along with a backing track to see what I mean. On Reverb, the average Echorec sells for between 3500$ to 5000$. I am not talking about spring reverb from an amp. Solo: 430ms, Fat Old Sun- 1971/72 live versions: Mids: 6-7. 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. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. 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). rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats 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. first solo and fills: 470ms 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. It created a unique stuttered stacatto rhythm. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. Delay time depends on the era. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. A DD-2 was also seen in David's Medina studio around 2017. 500ms -- feedback: 5-6 repeats. intro slide guitar: 1023ms Kits Secret Guitar, Gear, and Music Page 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. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? REVERB OR NO REVERB ? Its more modern than the MXR, but it sounds just as good. This creates a different bouncy feel to the delay rhythm. Multiply 600 x 75% to get the triplet time delay of 450ms (or divide 600 by 4 to get the quarter note time of 150ms, multiply that X3 for a triplet time, which equals 450ms). You can hear this in songs like One of These Days, Short and Sweet, Another Brick in the Wall Parts I and III, Run Like Hell, Blue Light, Give Blood, One Slip, Keep Talking, Take it Back, and Allons-Y. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. It's a sort of melodic delay to use. This gives the impression of a 920-930ms delay. Below is an isolated excerpt of this part. This unit is an incredibly versatile digital delay that many artists use. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. His tone is instantly recognizable and unique. 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. David would use a Binson Echorec in the early days between 1968-1978. Alt. 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. David was very much in control of his sound system We rarely added effects to his guitar in the control room. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. SHINE ON YOU CRAZY DIAMOND 1-5 settings. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Head 2 = 2/4 There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. Some duplicate the studio album delay times and some duplicate the live delay times. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. As the recording drum and playback heads aged there was a slight loss of high end that added a unique high end roll-off as the echoes decayed, . 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. 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. slide solo: 550ms -- feedback: 7-8 repeats 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. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. 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. The Free the Tone Ambi Space pedal is my favorite device for this. slide solo: When you have a drum and bass note landing at the same time it somewhat masks the repeat. Gilmour delay: '60s-'70s: Binson Echorec II. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay):