The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: Below is my best guess at the delay times David used there. Bass: 5-6. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. 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. Two guitars were multi tracked in the left and right channels. It was usually set for single head and a fixed time at about 310ms. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. R channel -- 1400ms with two repeats. When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. Multiply that x3 to get the 3/4 time and you get 427.5. - 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. 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. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. A single delay set at 1400ms with 3 repeats has a similar feel as well. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: Note or mark that time setting on your delay. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably 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 Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. I also use it to add some of the bigger room and concert hall sounds. Parallel is better than in series because the one delay does not repeat the other, and the repeats can run longer without going into oscillation. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. Echorec Style Delay Jamming - 428ms and 570ms. 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. Sound Like Pink Floyd: Amp Settings And Gear Guide In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse Here is a clip of a single 330ms delay playing the Blue Light riff. There are also instances where he has had a long delay time, but only one or two repeats, which gives the big sound, but makes the repeats almost inaudible in the band mix. For the middle section another piece of technology came into play: an HH amp with vibrato. The notes fade in and out, like a pedal steel guitar. - Phil Taylor, David's backline tech. April 9, 2022. by Joe Nevin. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): This is something us Gilmour fans have sought to recreate in our own playing. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! 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. 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 features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. 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). - 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. middle section: 1500ms -- feedback: 10-12 repeats intro: 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. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. But delay is not the only effect that Gilmour tends to use. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) Echorec head 4 = 312ms / Echorec head 1 - 78ms It's actually a metallic disc that spins around. If you put it in a 3/4 time it has an interesting bounce to it. 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. 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. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): 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. 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. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. Solo: 440ms ? analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. Volume 85% VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. Delay and reverb should be the last effect in the chain. solo: 420ms 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. 500ms -- feedback: 5-6 repeats. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. Listen to some of the 5.1 live tracks separately and you can clearly hear this. studio . But which delay pedal(s) does/did he use? Multiply that number by 75% to get the triplet time delay. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. Unless otherwise noted, all delay times are shown in quarter notes I am not talking about spring reverb from an amp. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. - David Gilmour. Time intro test with backing track - 470ms and 94ms. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. Its a famous echo unit used by many artists, and useful for varying instruments. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *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. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? You could get some wonderful delay effects that aren't attainable on anything that's been made since. He then upgraded to an MXR Digital Delay System II. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. As an Amazon Associate, we earn from qualifying purchases. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. How to Nail Gilmour's "Comfortably Numb" Solo | Reverb News To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. 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. Both delays are in series with the delay volume around 75% and about 9 repeats. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Delay settings - Tony Samperi 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. 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: This creates a different bouncy feel to the delay rhythm. 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. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. Kits Secret Guitar, Gear, and Music Page What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. - David Gilmour from Guitar for the Practicing Musician, 1985. 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. second solo: 480ms -- feedback: 6-7 repeats Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): 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): Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. 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. You can also get something similar with one 650ms delay set for 2 repeats. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. He is also known for using the legendary Proco Rat and MXR Phase 90. 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, I started off with a Binson Echo unit, which is like a tape loop thing. Theyre so famous they sell for a very high price and are deemed a collectable for many. 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 . When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. 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. The delays are set in series like this: 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 also play in time with the delays in a kind of shuffle rhythm. David Gilmour's delay sounds - YouTube slide solo: - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. 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. 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. The type of multi-head repeats varied depending on which of the four playback heads were selected. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital 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. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) 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. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. As technology was progressing, the use of rack effects units became more and more efficient. The second delay should just be accenting the first, filling the space between the 3/4 repeats. intro: 440ms There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. 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. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. Find the proper delay time for the song as described above, then let's do some "Echorec math". I use the MXR Digital Delay. Then I play the bass rhythm clean, then with the effects on. middle section: 1000ms -- feedback: 4-5 repeats A large part of that comes from Davids use of delay. - David has used numerous types of delays in his carreer, both analog and digital. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. It plays through first with the guitar and delay, then plays through again with just the left channel dry guitar, then again with the right channel, which is a multi tracked guitar, but delayed behind the left channel guitar. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. 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. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. 2. I use 240ms. This the dominant delay, but there is also a 300ms delay low in the mix This is actually not quarter-note triplets. For example, take 450ms divided by 3 = 150ms. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. My sound has everything to do with what sounds good to me. 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. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. I use two delay pedals for Run Like Hell. Then go to a website with a Delay Time Calculator, like the one on this page. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. Head 1 = 75ms .Head 1 = 95ms. first solo and fills: 470ms 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. I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. 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. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. 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 was most likely a reel-to reel recorder set up for a tape-loop delay. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Here is my example of this sound. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 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. Although he often blends different types of delays, creating rich textures and layers, I'm going to break it down into four signature setups covering each era. Because the DDL keeps running along, you've got time to leave the pedal playing and play a couple of chords while the effects carry on - David Gilmour from Guitar for the Practicing Musician, January 1995. It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. David probably just uses the term triplet because what he does has a similar feel. 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. Great, lets get started. Below is a breakdown of how to play this effect. Run Like Hell with 380ms and 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. - In general, no - but sometimes, yes. Volume 85% 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. I'll keep this simple rather than going into an explanation of time signatures. This website is frequently updated. It is around 294ms on the studio recording. 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 . This is probably spring reverb from David's Twin Reverb. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. Time intro - Torino, Italy, Sept 13, 1994. It was strange because it didn't utilize tape loops. . A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. Last update September 2022. alternate 2nd Solo: 540ms He began using digital delays in place of the Echorec around 1977. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: 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. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: The SELECTOR knob had three positions: ECHO = one repeat, REPEAT = more than one repeat, and SWELL = outputs of the playback heads were fed back to themselves to create a spacey type of reverb effect. solo: 560ms 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 - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. It is meant to simulate the sound of old analog tape delays as they aged. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. Copyright Kit Rae. Guida Al Setup Di David Gilmour - Giampaolo Noto I use the MXR with the read-out on it, so I instantly have the right tempo. 530ms -- feedback: 4-5 repeats, Coming Back To Life: outro solo: 430-450ms, One of These Days studio version (Binson Echorec): 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). 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. slide solo: 550ms -- feedback: 7-8 repeats The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). 5. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. Tutorial - Run Like Hell (David Gilmour) Delay Setting - YouTube delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): 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. See all posts by Andrew Bell.