You can also get something similar with one 650ms delay set for 2 repeats. USING TWO DELAYS AT ONCE - David has sometimes simultaneously used two separate delays with different delay times to create a larger sound, similar to what can be accomplished with the multi heads on an Binson Echorec. Delay volume 50%. What delay pedal does David Gilmour? - Guitar Reviewed The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. I set the vibrato to more or less the same tempo as the delay. There are several reasons. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. Reverb was also added at the mixing desk when recording or mixing. 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. 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. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): To add space to your tone, add a clean digital delay at the end of your signal chain. The last 8 minutes of the song is a rambling collage of echo repeats. A single delay set at 1400ms with 3 repeats has a similar feel as well. Using Program position 3 for that part also works. 2nd delay 94ms. It was strange because it didn't utilize tape loops. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. 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. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. 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. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog - Pulse version (TC 2290 Digital Delay): . He is also known for using the legendary Proco Rat and MXR Phase 90. Potent Pairings: Achieving the Tones of David Gilmour Posted December 21, 2005. porsch8. Adjust the tone to suit your amp/speaker tone. Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. Last update July 2022. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. Getting an original Binson Echorec these days is nearly impossible. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. 2,434. 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. - 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. Reaction score. second solo before verse: 350ms -- feedback: 3-4 repeats intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 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. The delay time must also be precisely in time with the song tempo. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. 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. One of These Days - 294ms delay + vibratto. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. It helps to have a delay with a digital display to set the exact delay time. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Example: You determine the 4/4 beat/song tempo is 600ms. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. There is a 440ms delay on the guitars in the studio recording. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. On the one hand, finally cracking one of my favourite guitar player's [] 3rd solo: 430ms, Money solos - 2015/16 live version: The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. This warble is similar to a light chorus sound, with high end roll-off. Solo: 440ms ? The Effect Level (volume) and Feedback (number of repeats) will vary. 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. Every aspect of his tone can change on different albums, even on different tracks of the same album! Syd's theme: 375ms and 500ms 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. In this clip I'm using Coming Back to Life as a reference with 700ms. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. This is something us Gilmour fans have sought to recreate in our own playing. intro: 440ms You can simulate the verse delay with two delays in-line going to one amp. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: Multiply that x3 to get the 3/4 time and you get 427.5. Check here for more Big Muffs to achieve the Gilmour tone. Divide 240 by 3 and you get 80. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. It has a digital readout, but it's really nowhere close to being accurate. You could get some wonderful delay effects that aren't attainable on anything that's been made since. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: These are 5 note scales, pretty much the simplest scale a guitarist could use. The 450ms delay should come before the 600ms delay in your signal chain. I have two units, and I have different echo settings on both. 2nd delay 165ms. Fat Old Sun- 2015/16 live version: The tremolo is from an HH IC-100 amp was used for the studio recording. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. I turn each effect on one at a time so you can hear how they add to the tone. 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. The Different Effects Used By David Gilmour Throughout His Career Find the proper delay time for the song as described above, then let's do some "Echorec math". CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. - 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. 540ms, Take A Breath: Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. 2nd delay 375ms. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Time intro - Torino, Italy, Sept 13, 1994. 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. 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 Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. studio album solo: 275ms Gilmour's guitar playing is an integral part of this sound. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback 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. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. My sound has everything to do with what sounds good to me. Head 3 = 3/4 When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. Blue Light Riff - with and without delay. 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. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. 500ms -- feedback: 5-6 repeats. moderate reverb, probably from the plate reverbs at Abbey Road studios. Two guitars were multi tracked in the left and right channels. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. 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! 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 gives the impression of a 920-930ms delay. Instead, it used a metal recording wheel. #4. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. A large part of that comes from Davids use of delay. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. 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. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. first solo: 340ms -- feedback: 3-4 repeats However, it is possible to play this one one guitar. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. volume swells: 1100ms -- feedback: 4-5 repeats. Echorec Style Delay Jamming - 428ms and 570ms. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. 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. This was most likely a reel-to reel recorder set up for a tape-loop delay. I used a Free the Tone Future Factory delay set for 300ms and long repeats. 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. 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. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): 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. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. 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. 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. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. Often what I hear in the recordings is just natural room or hall reverb. Tim Renwick solo: 520ms, Louder Than Words: Members; porsch8. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. The second is around 94ms, which is 1/5 of 470 (470/5=94). ANOTHER BRICK IN THE WALL PART I - This one is very similar to Run Like Hell, played in D, with a 450ms delay, around 7 repeats, with the repeat volume equal to the signal volume. 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. 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). Volume 85% I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. It's actually a metallic disc that spins around. 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. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Mids: 6-7. intro slide guitar: 1023ms David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. 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. It's actually a metallic disc that spins around. David usually used positions 1-4, for single playback repeats of heads 1-4. 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. 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. 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. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: One of These Days - gated tremolo section isolated. Multiply that number by 75% to get the triplet time delay. If you break the beat into a four count, that second repeat would be on 4. second solo: 370ms -- feedback: 7-8 repeats -- delay level: 20% -- delay type: analogSyd's theme: 290ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: analog alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: Kits Secret Guitar, Gear, and Music Page 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. 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. The effect actually works fine with only two delays. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. 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. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. Syd's theme: 370ms and 480ms DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Head 1 = 75ms .Head 1 = 95ms. What delay does David Gilmour use? - Killer Guitar Rigs If you want to use a noise gate put it right before the delay/reverb. The second delay David used was the MXR Digital M-113 Delay. All those divisions and subdivisions will be in time with the song. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms 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. And what I meant with using it as a reverb was that he tends to tune his delay to the rest of the band so that it creates a cohesive piece that captures their signature atmospheric sound. David has used many different types of compressors throughout his career, but a few common ones are the MXR Dynacomp, Boss CS-2, and Demeter Compulator. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 1st delay 500ms. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. delay 1: 250ms It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. Some duplicate the studio album delay times and some duplicate the live delay times. It's fun to just jam around using the unique delay rhythm it creates. It was set for a light overdrive setting and was most likely an always-on pedal. I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. Here is a breakdown from the Great Gig multi tracks. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. April 9, 2022. by Joe Nevin. Guida Al Setup Di David Gilmour - Giampaolo Noto When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. I don't care how I get it. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): 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 often hear a guitar recorded dry, a reverb only track, and a delay only track. first solo and fills: 470ms La guida un lavoro in continua evoluzione ed in continuo aggiornamento. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? A DD-2 was also seen in David's Medina studio around 2017. Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017).