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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 a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. Remember that these settings should just be used as a starting point. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: - 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. 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. 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. REVERB OR NO REVERB ? 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 DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. I used to be expert with Binsons. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. - In general, no - but sometimes, yes. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. 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. You can simulate the verse delay with two delays in-line going to one amp. 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. I used a Free the Tone Future Factory delay set for 300ms and long repeats. Every aspect of his tone can change on different albums, even on different tracks of the same album! What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. 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'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. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Note that David Gilmour varied his settings. If you set it too high it will self oscillate into a whining feedback. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. 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. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats It has a digital readout, but it's really nowhere close to being accurate. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. 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. How to you get the proper 3/4 delay time from that 4/4 time? first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog That equates to 250 - 240ms. 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 I use two delay pedals for Run Like Hell. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. second solo before verse: 350ms -- feedback: 3-4 repeats volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 These three separate channels are blended back together with the original dry signal at the end of the signal chain. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. See all posts by Andrew Bell. 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. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. Copyright Kit Rae. Last update September 2022. I'll keep this simple rather than going into an explanation of time signatures. 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. 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. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. I also use it to add some of the bigger room and concert hall sounds. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. 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. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. He usually had the time set to 440ms. Below is a breakdown switching between the various tracks of all three solos. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): Posted December 21, 2005. porsch8. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Bass: 5-6. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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. You must remember this, Those settings are used for a stadium show, set to produce for a huge arena, not your 8 x 10 bedroom, and not your 100 x 100 bar. Using Program position 3 for that part also works. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. middle keyboard section: 340ms -- feedback: 8-9 repeats If running the delays parallel, set for about 12 repeats on each. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. 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. 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): delay time for both solos: 465ms or 480ms - feedback: 15-20% -- delay level: 20% (30-35% for waving part) -- delay type: digital, Comfortably Numb - Pulse version and most Division Bell tour performances: SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. Copyright 2023 Killer Guitar Rigs. But which delay pedal (s) does/did he use? VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. 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. The type of multi-head repeats varied depending on which of the four playback heads were selected. David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. When the notes pitch up or down the delay has 4-5 repeats. first solo and fills: 470ms On the one hand, finally cracking one of my favourite guitar player's [] solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): It takes some practice, and you have to be very precise with your timing or you can easily get out of step with the song tempo. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Members; porsch8. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. David was very much in control of his sound system We rarely added effects to his guitar in the control room. Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. This is the primary delay time you hear in the song. 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. Find the song tempo delay time as described above, so your delay is making one repeat per song beat, exactly in time with the beat. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. 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. Solo: 440ms ? This is also one of the few Gilmour solos that features a heavy reverb effect, so it does not sound the same with delay only. Some duplicate the studio album delay times and some duplicate the live delay times. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. 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. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. What delay pedal does David Gilmour? Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. Another option is to run two delay pedals simultaneously. It covers all of the various ways he used echo - standard 3-4 repeat echo to make the guitar sound like it is in a large hall, using a slide like a violin with long delay repeats, slapback echo, swell mode, long repeats almost to the point of self oscillation, and what David calls "triplet" time, where he plays in time with the dotted eighth repeats. A little later he switched to the MXR Digital Delay. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. I often hear a guitar recorded dry, a reverb only track, and a delay only track. intro slide guitar: 1023ms 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. 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. 1st delay 240ms. 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. This is a big part of Pink Floyd's sound. Set one delay for 440ms, 2 repeats, 30-35% volume. For example, 380ms is your triplet time. It created a unique stuttered stacatto rhythm. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. 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. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. 614ms -- feedback: 6-7 repeats, Rattle That Lock: Syd's theme: 370ms and 480ms As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. 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. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. Some are actually too high quality for my personal taste. Great, lets get started. One of These Days - gated tremolo section isolated. 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! 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. solos: 540ms, What Do you Want From Me? All those divisions and subdivisions will be in time with the song. The fill patterns played in the verse section sound dry, with almost no delay. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Just get any old delay pedal, analog or digital, and set the time slow. This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. Let's do some "Echorec math." Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound.