As technology was progressing, the use of rack effects units became more and more efficient. alternate: 380ms, High Hopes - 2015/16 live version: 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. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. Give Blood delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, 80x2 = 160. Shown below are some typical Gilmour DD-2 delay times. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. verse/chorus sections: 310ms -- feedback: 3-4 repeats The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. Run Like Hell with 380ms and 507ms delay in series. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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. Its more compact, more reliable, and just easier to use. He came up with that basic riff that we all worked on and turned into One of these Days. 5 A.M. : This is something us Gilmour fans have sought to recreate in our own playing. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. Solo: 430ms, Fat Old Sun- 1971/72 live versions: A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. The first send went to a volume pedal. A 300ms and 380ms delay had the heads repeating in these specific delay times. So why don't you hear the repeats most of the time? Sort of a triplet on top of a triplet time delay. 614ms -- feedback: 6-7 repeats, Rattle That Lock: On Reverb, the average Echorec sells for between 3500$ to 5000$. Syd's theme - Hollywood Bowl March 2016. studio . If you set it too high it will self oscillate into a whining feedback. 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. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. The first delay is definitely set to 470ms, which is the 4/4 time. second solo before verse: 350ms -- feedback: 3-4 repeats Make David Gilmour's Shimmering Sustained Delay in Live. . 530ms -- feedback: 4-5 repeats, Coming Back To Life: He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Adjust the tone to suit your amp/speaker tone. It was usually set for single head and a fixed time at about 310ms. 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. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. 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. The Free the Tone Ambi Space pedal is my favorite device for this. However, it is possible to play this one one guitar. Record yourself playing alone verses playing along with a backing track to see what I mean. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): intro slide guitar: 1023ms 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. Kits Secret Guitar, Gear, and Music Page. 2nd delay 165ms. If you break the beat into a four count, that second repeat would be on 4. This was most likely a reel-to reel recorder set up for a tape-loop delay. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. 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. outro solo: 680ms -- feedback: 4-5 repeats. The trick is not to overdo it. If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. As the chord rang on, David could then play the melody lines through his main Hiwatt. 5,744. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. Once you have that, turn the feedback down so there are only about 3-6 repeats, adjust the delay volume to suit the song, and you are ready to go. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. 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. The official live recordings often have an even larger delay sound than the studio versions. 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. Copyright 2023 Killer Guitar Rigs. solos: 540ms, What Do you Want From Me? solos: 375ms. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. For real room reverb, mics were placed in different parts of the recording studio to capture the room sound, not just the speaker cabinet from the amp. 2nd delay 375ms. Some of the other Program Select positions work for the Time intro too, like position 12. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). The repeats are bright and shimmery but not brighter than the original signal. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. If running the delays parallel, set for about 12 repeats on each. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Some duplicate the studio album delay times and some duplicate the live delay times. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. The volume swells can be easily created today with a delay and a volume pedal. And lastly, youll want to mix it surprisingly quietly. This warble is similar to a light chorus sound, with high end roll-off. Last update July 2022. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. 570 divided by four (4/4) is 142.5. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. It's a sort of melodic delay to use. Mar 8, 2013. verse, solos: 450ms, Learning To Fly - Pulse version: David probably just uses the term triplet because what he does has a similar feel. 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. Here are what the settings mean -. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. Solo: 440ms ? first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog The Binson Echorec is an analogue echo unit made by Binson in Italy. 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. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: - David has used numerous types of delays in his carreer, both analog and digital. It's a beautiful sound, but David did not use tape delays like this. second solo: 490ms, What Do you Want From Me? solo: 400ms, Raise My Rent: On the left is my standard setting range for the early 1970s Gilmour Echorec sound. 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 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. NOTE: This website is frequently updated. 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. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog 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. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. Free shipping for many products! I'll keep this simple rather than going into an explanation of time signatures. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: It was my very first delay and one of my favorite pedals for Gilmour-ish delay. Solo: 300ms. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. These are 5 note scales, pretty much the simplest scale a guitarist could use. This is similar to the sound David had for his 1984 live performances of Run Like Hell, as heard on the David Gilmour In Concert video released in 1984 by CBS, and the Westwood One Radio Network FM broadcast of the July 12th concert in Bethlehem Pennsylvania. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time 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. Set up your preferred delay settings and beam that into your pedal. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. Then I play the bass rhythm clean, then with the effects on. But delay is not the only effect that Gilmour tends to use. Dec 23, 2015. Below is my best guess at the delay times David used there. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. It was strange because it didn't utilize tape loops. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital first solo: 340ms -- feedback: 3-4 repeats It was used for the early live version of, There is a misconception that David always used the Echorec for its multi-head function, but in reality he primarily used it in single playback head mode, just like any other typical delay. The Effect Level (volume) and Feedback (number of repeats) will vary. He did sometimes use the Swell mode. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 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 slide solo: 550ms -- feedback: 7-8 repeats second solo delay #1 TC2290 Digital Delay (whole solo): 480ms To get the Pink Floyd sound, you'll need to use some specific equipment and settings. 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 bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. 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. 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 "Square wave" means the sound wave looks square shaped, rather than wavy. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. Treble: 4-5. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. 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. 1. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. 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. - David Gilmour from Guitar for the Practicing Musician, 1985, We also have an old MXR DDL (MXR Digital Delay System II) digital delay unit built into a rack unit.