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The Blue - 2016/15 live version: solo: 680ms, Another Brick in the Wall Part 1: David Gilmour's delay sounds - YouTube Let's see some of the units he used over time. 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. David Gilmour, as many guitarists will agree on, is an absolute legend. David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. David used various Echorec models but he was most known for using the Echorec 2 model T7E. Some duplicate the studio album delay times and some duplicate the live delay times. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. 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. 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, . first solo: 310ms -- feedback: 2-3 repeats. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): 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. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). The Free the Tone Ambi Space pedal is my favorite device for this. Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. Dec 23, 2015. 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. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: 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. second solo: 430ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version - In general, no - but sometimes, yes. Its hard to give an estimate as every pedal will respond differently. 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. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): 8-10 repeats on each delay. This is a big part of Pink Floyds sound. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. 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. 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. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. I use a compressor or a Tube Driver for this. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. 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. 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. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. 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 long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. - 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. Bass: 5-6. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. You should keep in mind that these official recordings have been sweetened to sound as good as possible. verse / chorus: 435ms, Wearing the Inside Out: During the tour a T-Rex Replica was added specifically to use for "Echoes". 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. 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. Just get any old delay pedal, analog or digital, and set the time slow. His final delay was the TC Electronic 2290. MXR DIGITAL DELAYS - David began using digital delays in 1977. I used to be expert with Binsons. Kits Secret Guitar, Gear, and Music Page. slide solo: 550ms -- feedback: 4-5 repeats Gilmour's delay on Coming Back to Life | The Gear Page 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. - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. 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. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): Delay settings for Pink Floyd's David Gilmour sound If you want this sound and have a delay that shows the time in milliseconds, follow these steps. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. Often what I hear in the recordings is just natural room or hall reverb. Kits Secret Guitar, Gear, and Music Page Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. I use one of their old ones most of the time because the width is narrower. It is said that he switched from an Echorec to an MXR for ease of use. How to Sound Like Pink Floyd: Amp Settings Guide a`Its very reliable, just like the MXR, but its much more versatile and teachable. The Echorec 2 had a 12 position switch to select among various combinations of heads. 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. R channel -- 1400ms with two repeats. solos: 430ms, Yet Another Movie: - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. Great Gig Slide Guitar Breakdown. alternate 2nd Solo: 540ms 147ms (2X the delay repeats), or 2 pulses for every delay repeat. 570 divided by four (4/4) is 142.5. - 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. This was most likely a reel-to reel recorder set up for a tape-loop delay. This is a big part of Pink Floyd's sound. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): 540ms, Take A Breath: This is actually not quarter-note triplets. You can also play in time with the delays in a kind of shuffle rhythm. The S-O-S unit was basically a buffered interface with two send/returns. David usually used positions 1-4, for single playback repeats of heads 1-4. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. 5,744. Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. David Gilmour Tone Building - Kit Rae Hes got the sort of guitar-god charisma that comes with his insane talent. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. david gilmour delay settings | London Guitar Academy 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. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. - David has used numerous types of delays in his carreer, both analog and digital. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: 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. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. His talent doesnt just limit to his skill, but also to his creativity. DD-500 Settings for David Gilmour Style Lead Guitar Delay Sort of a triplet on top of a triplet time delay. - David Gilmour. Below is an example of replicating the Syd's Theme delays from 1994. - Be sure to read the section above. This unit can also be heard on the The Wall album. All of the settings for this tone can be found in this PDF download below. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: David Gilmour Lead Guitar Tone PDF Download For example, take 450ms divided by 3 = 150ms. Reverb was also added at the mixing desk when recording or mixing. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. 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. Multiply that number by 75% to get the triplet time delay. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. Below are some specific Gilmour settings I use. Comfortably Numb: That may be just my fantasy; I don't know. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. A DD-2 was also seen in David's Medina studio around 2017. 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. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. first solo and fills: 470ms second solo: 490ms, What Do you Want From Me? How to Nail Gilmour's "Comfortably Numb" Solo | Reverb News Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Its more compact, more reliable, and just easier to use. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. #4. Time intro - Isolated guitar from studio mix. middle keyboard section: 340ms -- feedback: 8-9 repeats Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. Its more modern than the MXR, but it sounds just as good. 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. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The delay time must also be precisely in time with the song tempo. If you want to somewhat recreate his delay youre in luck, as its pretty simple. Run Like Hell with 380ms and 507ms delay in series - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Set one delay for 440ms, 2 repeats, 30-35% volume. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. 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. Members; 529 Members; Share; Posted December 21, 2005. Below is a medley of David using the Echorec from 1969-1977. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. 2nd delay 94ms. 2nd delay 570ms. 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. 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. moderate reverb, probably from the plate reverbs at Abbey Road studios. His delay times are slightly faster here. 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 . 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. Delay and reverb should be the last effect in the chain. Last update September 2022. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel. >> Click to read more <<. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. delay 1: 90ms Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. If the repeats are slower, reduce it. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. Let's see some of the units he used over time. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. Gilmour's Binson Echorec 2 model T7E from 1970-71. 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. 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. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? The primary reason is becasue the delay time is usually set in time with the tempo of the song, so each repeat lands on the beat. Its also easier for live situations as changes can be made on the fly. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. The level or volume knob would be set to maximum on most delays for this. 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! There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. However, it is possible to play this one one guitar. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. 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. 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. Find the proper delay time for the song as described above, then let's do some "Echorec math". 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. 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. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. Great Gig Slide Guitar Breakdown, Here's another, starting with the dry guitar in the left channel, then the right channel with the 440ms delay. studio . Make David Gilmour's Shimmering Sustained Delay in Live. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. David would play a two note chord, then fade the volume in as he slides to the next position. 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. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay.