I also use it to add some of the bigger room and concert hall sounds. 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. 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. His final delay was the TC Electronic 2290. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) But the delay was in 3/4 increments of the beat and the vibrato went with the beat. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. The delay time must also be precisely in time with the song tempo. The tempo used in this demo is slightly too. 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. His talent doesnt just limit to his skill, but also to his creativity. 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 . In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. 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. The S-O-S unit was basically a buffered interface with two send/returns. 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. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: 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. Often during the live songs that do have very loud delays, you do hear the repeats clearly. 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%. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. 380 divided by 3 = 126.7ms. The tape splices were then camouflaged with cymbal crashes. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. It's fun to just jam around using the unique delay rhythm it creates. 80x2 = 160. second solo: 640ms -- feedback: 6-7 repeats There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). HH IC-100 amplifier with built in tremolo. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Echorec head 4 = 312ms / Echorec head 1 - 78ms One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. I use one of their old ones most of the time because the width is narrower. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Although it is not often that this roll-off effect was heard in David's use of the Echorec, you can clearly hear it in the echo repeats in the very beginning of the song One of These Days from Pink Floyd's Meddle album in 1971. Here are what the settings mean -. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): HOW TO FIND THE PROPER DELAY TIMES - You can go here 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. The clip below is played with those same 428ms and 570ms delay times. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. 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. All rights reserved. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. 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. Gilmour delay: '60s-'70s: Binson Echorec II. Volume 85% This website is frequently updated. 1st delay 500ms. The notes fade in and out, like a pedal steel guitar. By porsch8 December 21, 2005 in Effects and Processors. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): 1st solo: 310ms Divide 240 by 3 and you get 80. Often what I hear in the recordings is just natural room or hall reverb. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. 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. But delay is not the only effect that Gilmour tends to use. When you have a drum and bass note landing at the same time it somewhat masks the repeat. Tim Renwick solo: 520ms, Louder Than Words: I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. 5 A.M. : 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. 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. 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. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats The second is around 94ms, which is 1/5 of 470 (470/5=94). solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: For example, 380ms is your triplet time. You can also play in time with the delays in a kind of shuffle rhythm. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. Sometimes these are called "parallel mixers" or "looper" pedals. The tremolo is from an HH IC-100 amp was used for the studio recording. 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. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. But which delay pedal(s) does/did he use? - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. 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. It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. MXR DIGITAL DELAYS - David began using digital delays in 1977. It's actually a metallic disc that spins around. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. 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. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. 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 level or volume knob would be set to maximum on most delays for this. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): Its hard to give an estimate as every pedal will respond differently. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. In the studio recording I hear one guitar playing the single note triplet time rhythm, a second guitar playing the fills, and a third guitar playing occasional accents on top of the fills. 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 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. 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). I set the vibrato to more or less the same tempo as the delay. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) 2nd delay 94ms. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. The first send went to a volume pedal. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. It's a beautiful sound, but David did not use tape delays like this. Then I play the bass rhythm clean, then with the effects on. REEL-TO-REEL SOUND-ON-SOUND - David did an early version of sound-on-sound way back in October of 1970, in one of the few times Pink Floyd performed Alan's Psychadelic Breakfast live. This obviously means that a lot of guitarists want to be like him. The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. His delay times are slightly faster here. Syd's theme: 370ms and 480ms The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. - David Gilmour, Guitar World magazine. middle section: 1500ms -- feedback: 10-12 repeats With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. 1st delay 240ms. Delay volume 65% - David Gilmour. This setup can also be used for songs like On the Turning Away and Sorrow.--------------------------Signal chain:Guitar - Fender Stratocaster, with D Allen Voodoo 69 neck and middle pickups and Seymour Duncan SSL5 bridge pickupAmp - Reeves Custom 50, Laney LT212 cabinet with Celestion V30 speakersMic - Sennheiser e906Follow Gilmourish.Com here:http://www.gilmourish.comhttps://www.facebook.com/pages/Gilmouhttp://www.bjornriis.com slide solo: 550ms -- feedback: 4-5 repeats Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. But which delay pedal (s) does/did he use? 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! This is actually not quarter-note triplets. 614ms -- feedback: 6-7 repeats, Rattle That Lock: 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. This was most likely a reel-to reel recorder set up for a tape-loop delay. The fact that these two delays were studio effects may explain why David never played the slide parts live in the original Dark Side of the Moon concerts. 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. They want to play and sound just like the man himself. www.gilmourish.com this website has info on Gilmours tone and gear used. Set one delay for 440ms, 2 repeats, 30-35% volume. The Mode switch is in position 7, which is Head 3 + Head 4. 8-10 repeats on each. 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. For example, take 450ms divided by 3 = 150ms. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. There is a also bit of light overdrive in the tone. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. Gilmour used the TC Electronic 2290, but any digital delay will do. - Pulse version (TC 2290 Digital Delay): 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. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. Other common delay times were 380, 440-450, 480, and 540ms. 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. 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. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. 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. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats Multiply that x3 to get the 3/4 time and you get 427.5. Feedback: This is the number of audible repeats. This gives the impression of a 920-930ms delay. Below is my best guess at the delay times David used there. 4. 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. 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). verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: David would use the latter setting for most of the album. 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. Volume 65% Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. I have two units, and I have different echo settings on both. #4. ONE OF THESE DAYS - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song One of These Days from Pink Floyd's Meddle album in 1971. Then go to a website with a Delay Time Calculator, like the one on this page. You could get some wonderful delay effects that aren't attainable on anything that's been made since. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. 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. This is because the orchestra in Castellorizon is not loud enough to mask the repeats, but the band playing under the solo in On an Island certainly is. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. 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. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Here is my example of this sound. 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. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. 2,434. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original.
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