Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. which is what gives the verse section that floaty, ethereal feel. slide solo: 550ms -- feedback: 4-5 repeats The trick is not to overdo it. delay 2: 430ms, In Any Tongue - 2015/16 live version: 5. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. I use the MXR with the read-out on it, so I instantly have the right tempo. David has often usied very long delay times, so the repeats are not as obvious because he is playing the next bit of a solo phrase right when the repeats from the previous notes start. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) When you have a drum and bass note landing at the same time it somewhat masks the repeat. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) Below is an example of David using two digital delays (TC 2290 Digital Delay and the dual delays from a PCM 70 delay) for the intro to Time in 1994. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms SHINE ON YOU CRAZY DIAMOND 1-5 settings. chords / arpeggios: 480ms The delays are set in series like this: >> Click to read more <<. If the repeats are faster than the tempo, increase the delay time. David Gilmour's delay sounds (part 2) - YouTube The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. #4. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. Often what I hear in the recordings is just natural room or hall reverb. verse / chorus: 430ms, Us and Them - 2016/15 live version: To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. Let's see some of the units he used over time. Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. 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. Tutorial - Run Like Hell (David Gilmour) Delay Setting - YouTube solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog 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%. For the wet 1st and 3rd solos from Money I use basically the same settings, but I dial the mix knob up a bit for the third section after the dry solo. The 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. Listening to this track helped me realize how delay and reverb trails interact with what I'm playing in a way that makes unintended diads that could . Why is that important? 380 divided by 3 = 126.7ms. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. Echorec 2 ..Echorec PE 603 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). It's actually a metallic disc that spins around. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. Volume 85% David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Another option is to run two delay pedals simultaneously. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: 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. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: Just get any old delay pedal, analog or digital, and set the time slow. If you have a good sound in the room or hall you are playing in, there is no need to add reverb, but in small or dead sounding rooms, adding a small amount of reverb in your effects rig can really enhance the sound. Delay settings - Tony Samperi 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. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms I often hear a guitar recorded dry, a reverb only track, and a delay only track. 1st delay 240ms. He set the time to 310ms for most everything. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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. Head 1 = 75ms .Head 1 = 95ms. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for 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. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: I don't care how I get it. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. Below are examples from 2016 of David using three digital delays in series for Syd's theme from performances of Shine of You Crazy Diamond. This the dominant delay, but there is also a 300ms delay low in the mix Money solos - live 1977 version (MXR Digital Delay System I): delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): This is actually not quarter-note triplets. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. I have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. David almost always uses delays in his live rigs, not reverbs. The volume swells can be easily created today with a delay and a volume pedal. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. As technology was progressing, the use of rack effects units became more and more efficient. It's a beautiful sound, but David did not use tape delays like this. Here is a breakdown from the Great Gig multi tracks. 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. One of the ways to do that, is by using your effects creatively, just as he does. 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). solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) The delay time must also be precisely in time with the song tempo. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. 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. This is the primary delay time you hear in the song. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. What delay pedal does David Gilmour? - Guitar Reviewed Members; porsch8. The first Money solo, for example, sounds like it is awash in spring reverb. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. Note that David Gilmour varied his settings. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. 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. delay 1: 250ms 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. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. Guida Al Setup Di David Gilmour - Giampaolo Noto Below are settings to get that sound. 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. Electric Mistress - How to use it - Settings VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. 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): 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. David was very much in control of his sound system We rarely added effects to his guitar in the control room. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. Let's see some of the units he used over time. 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. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. Sometimes these are called "parallel mixers" or "looper" pedals. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): He then upgraded to an MXR Digital Delay System II. Every aspect of his tone can change on different albums, even on different tracks of the same album! David Gilmour Tone Building - Kit Rae verse/chorus sections: 310ms -- feedback: 3-4 repeats It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. The simplest option is to use an online Beats Per Minute caculator, like this one. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. 2nd delay 94ms. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. If running both delays in series, set the repeats however long you can go before oscillation starts, which is 8-10 repeats on most delays. It's all on a D pedal. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. intro: 440ms I think the 2290 mode on the Flashback does very well for playing anything Gilmour, and if you check out some of Bjorn Riis's Floyd jams on . You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. David Gilmour Tone Building - Kit Rae He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): 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. 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 Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. This obviously means that a lot of guitarists want to be like him. 1st delay 470ms. Kits Secret Guitar, Gear, and Music Page outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): - 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. This warble is similar to a light chorus sound, with high end roll-off. Mar 8, 2013. The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. They want to play and sound just like the man himself. It was set for a light overdrive setting and was most likely an always-on pedal. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. Sort of a triplet on top of a triplet time delay. 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. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: Using Program position 3 for that part also works. Listening to the trails specifically, something a little darker like a DM-2 would do it. 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 has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. 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. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: Volume 85% 1978 and on: digital delay, several stompboxes and rack units used (Boss, TC, MXR, Lexicon) The 2006 all tube Cornish board has a Cornish TES delay. The delay time must also be precisely in time with the song tempo. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. Run Like Hell with 380ms and 254ms delays in series. He did sometimes use the Swell mode. first solo: 310ms -- feedback: 2-3 repeats. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. Start new topic; Recommended Posts. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. 650-680ms were occasionally used for long delays. middle section: 1500ms -- feedback: 10-12 repeats PDF David Gilmour Solo Tone Settings For "Time" 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! slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): 570 x 75% = 427.5. 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. Echorec head 4 = 312ms / Echorec head 1 - 78ms 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): This was most likely a reel-to reel recorder set up for a tape-loop delay.

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