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For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. Gilmour's guitar playing is an integral part of this sound. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. 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. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. 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): In 2006 the dry signal split off at the end of his pedal board signal chain into two separate loops, each going to a separate delay. 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. alternate: 380ms, High Hopes - 2015/16 live version: For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. 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. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. All rights reserved. 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). solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog I use 240ms. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. 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. The TC Flashback can be set up with the Tone Print edito. How to you get the proper 3/4 delay time from that 4/4 time? One of These Days - gated tremolo section isolated. He would do this for each chord change in the intro to Shine On You Crazy Diamond, effectively doing both the keyboard and guitar parts all by himself. Delay Level: This is the volume level of the delay repeat compared to the original signal. But delay is not the only effect that Gilmour tends to use. This was most likely a reel-to reel recorder set up for a tape-loop delay. Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made. 614ms -- feedback: 6-7 repeats, Rattle That Lock: 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! 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. The delays are set in series like this: Pink Floyd recording engineer Andy Jackson has said he usually uses a couple of EMT plate reverbs in the studio for David's voice and guitar, and sometimes a Lexicon Hall reverb. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. Volume 65% delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog David would use a Binson Echorec in the early days between 1968-1978. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. What delay pedal does David Gilmour? THE BOSS DD-2 DELAY - The 1983 Boss DD-2 was one of the first, and best sounding digital delays to come out of the early days of digital effects pedals. In fact, Dark Side engineer Alan Parsons said plate reverb was virtually the only reverb used for those recordings, although he has said they also used as many as five or six tape machines to create various reverb delays. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats When you have a drum and bass note landing at the same time it somewhat masks the repeat. You could get some wonderful delay effects that aren't attainable on anything that's been made since. 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). outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): 3. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. R channel -- 1400ms with two repeats. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. 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 reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. 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. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. >> Click to read more <<. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. The repeats are bright and shimmery but not brighter than the original signal. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The Mode switch is in position 7, which is Head 3 + Head 4. 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. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. "Square wave" means the sound wave looks square shaped, rather than wavy. It is around 294ms on the studio recording. It's actually a metallic disc that spins around. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. 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. Head 3 = 3/4 third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat Alt. Money solos - live 1977 version (MXR Digital Delay System I): If you want this sound and have a delay that shows the time in milliseconds, follow these steps. Delay volume 90%. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. - 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. All those divisions and subdivisions will be in time with the song. His talent doesnt just limit to his skill, but also to his creativity. Below is a medley of David using the Echorec from 1969-1977. 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. slide solo: 550ms -- feedback: 7-8 repeats Check here for more Big Muffs to achieve the Gilmour tone. 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. A key to the way David has done this is to run each delay in its own separate channel, parallel and separate from the line signal. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. The delay time must also be precisely in time with the song tempo. REEL-TO-REEL SOUND-ON-SOUND - David did an early version of sound-on-sound way back in October of 1970, in one of the few times Pink Floyd performed Alan's Psychadelic Breakfast live. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. 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 use the MXR with the read-out on it, so I instantly have the right tempo. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. Delay volume 50%. Again, I'll simulate that with only two dominant delays. Listen to some of the 5.1 live tracks separately and you can clearly hear this. 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. verse: 360ms Syd's theme - Hollywood Bowl March 2016. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. 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. Often what I hear in the recordings is just natural room or hall reverb. Heavy reverb. 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 . Another option is to run two delay pedals simultaneously. Its more modern than the MXR, but it sounds just as good. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. 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. You can simulate the verse delay with two delays in-line going to one amp. 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. 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 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital They want to play and sound just like the man himself. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. The Effect Level (volume) and Feedback (number of repeats) will vary. www.gilmourish.com this website has info on Gilmours tone and gear used. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): 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. The Binson Echorec is an analogue echo unit made by Binson in Italy. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. ONE OF THESE DAYS - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song One of These Days from Pink Floyd's Meddle album in 1971. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. 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. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. a`Its very reliable, just like the MXR, but its much more versatile and teachable. Adjust the tone to suit your amp/speaker tone. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. Some are actually too high quality for my personal taste. 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. David was very much in control of his sound system We rarely added effects to his guitar in the control room. #4. You can also play in time with the delays in a kind of shuffle rhythm. first solo: 310ms -- feedback: 2-3 repeats. That keeps you from getting a loud, double-tappy mess. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): David usually used positions 1-4, for single playback repeats of heads 1-4. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. This website is frequently updated. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. Copyright Kit Rae. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. This the dominant delay, but there is also a 300ms delay low in the mix 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. - David Gilmour from Guitar for the Practicing Musician, 1985. 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. There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. As technology was progressing, the use of rack effects units became more and more efficient. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. Both in the studio and live their musicality seeps from every note, every rest, and every beat. The Free the Tone Ambi Space pedal is my favorite device for this. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Divide 240 by 3 and you get 80. Below is my best guess at the delay times David used there. This is actually not quarter-note triplets. 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). 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 . - Delay Rhythm Guitars Mixed Up Front - both channels. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: The first delay is 380ms, 10-12 repeats, delay voume 95%. slide solo: 550ms -- feedback: 4-5 repeats Tim Renwick solo: 520ms, Louder Than Words: You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. Last update September 2022. Alternately, you can use 380ms as the long delay and 285ms as the short time delay, equivalent to Head 3 and Head 4 on the PE 603 Echorec, but that creates a slightly different delay rhythm than the album sound. - 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. outro solo: 680ms -- feedback: 4-5 repeats. The Effect Level (volume) and Feedback (number of repeats) will vary. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Make David Gilmour's Shimmering Sustained Delay in Live. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. 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. 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. 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. Electric Mistress V2, V3, or V4: It is said that he switched from an Echorec to an MXR for ease of use. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. delay 2: 430ms, In Any Tongue - 2015/16 live version: solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): I used to be expert with Binsons. 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, . WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. 430ms, Faces of Stone - 2015/16 live version: Copyright Kit Rae. 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. 540ms, Take A Breath: 530ms -- feedback: 4-5 repeats, Coming Back To Life: The clip below is played with those same 428ms and 570ms delay times. 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. It created a unique stuttered stacatto rhythm. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. 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. Often during the live songs that do have very loud delays, you do hear the repeats clearly. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay):