Below are settings to get that sound. The tempo used in this demo is slightly too. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. I use one of their old ones most of the time because the width is narrower. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. 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. They averaged from 290-310ms. 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. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. - 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. second solo before verse: 350ms -- feedback: 3-4 repeats 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. The fact that these two delays were studio effects may explain why David never played the slide parts live in the original Dark Side of the Moon concerts. 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. The last 8 minutes of the song is a rambling collage of echo repeats. Those are not the type of parallel setup we are talking about here. One of These Days - 294ms delay + vibratto. solos: 660ms -- feedback: 6-7 repeats, Time: verse, solos: 450ms, Learning To Fly - Pulse version: Often during the live songs that do have very loud delays, you do hear the repeats clearly. 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. - 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. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? If you don't have a delay with a millisecond display, it is still possible to find the proper 3/4 delay time in a 4/4 time signature. volume swells: 1100ms -- feedback: 4-5 repeats. Electric Mistress V2, V3, or V4: To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. 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. Verse / Chorus : TC 2290 Digital Delay: 430ms solos: 540ms, What Do you Want From Me? Alt. Members; 529 Members; Share; Posted December 21, 2005. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for Let's see some of the units he used over time. He then upgraded to an MXR Digital Delay System II. 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. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. solo: 420ms Dec 23, 2015. You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. 1 2. 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. Every aspect of his tone can change on different albums, even on different tracks of the same album! 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. Feedback: This is the number of audible repeats. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): Gilmour used the TC Electronic 2290, but any digital delay will do. The Echorec 2 had a 12 position switch to select among various combinations of heads. Give Blood Time intro - Torino, Italy, Sept 13, 1994. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, 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. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. 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. 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): 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. Below is an isolated excerpt of this part. By porsch8 December 21, 2005 in Effects and Processors. Members; porsch8. If you want to use a noise gate put it right before the delay/reverb. It was used for the early live version of On the Run in 1972, the third Money solo, and used on Pink Floyd tours until 1975. 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. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. With that said, the rest of the article is designed to . -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. Many of the sound effects youll hear on the earlier albums were created with this machine. If the repeats are slower, reduce it. 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): CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. If you put it in a 3/4 time it has an interesting bounce to it. Run Like Hell Intro Runs - Examples of the left hand muted runs up and down the neck to create some of the intro delay sounds similar to what David Gilmour has dome when playing this song live. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. 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. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. I was able to dismantle them, put them back together, and change the head positioning. This warble is similar to a light chorus sound, with high end roll-off. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. Below is an example using two digital delays in series. If you want to somewhat recreate his delay youre in luck, as its pretty simple. SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. Why is that important? Comfortably Numb: This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. These are 5 note scales, pretty much the simplest scale a guitarist could use. 2nd delay 165ms. Time intro test with backing track - 470ms and 94ms. Fat Old Sun- 2015/16 live version: La guida un lavoro in continua evoluzione ed in continuo aggiornamento. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat I change my echo settings fairly often in concert. >> Click to read more <<. Here is a clip of a single 330ms delay playing the Blue Light riff. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. That equates to 428ms, which we will call the 4/4 time. Some duplicate the studio album delay times and some duplicate the live delay times. Record yourself playing alone verses playing along with a backing track to see what I mean. 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. Let's see some of the units he used over time. Sort of a triplet on top of a triplet time delay. There is a 440ms delay on the guitars in the studio recording. Both in the studio and live their musicality seeps from every note, every rest, and every beat. 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. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. 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. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. It can be simulated with a short 40-50ms digital delay with one repeat, like this: PARALLEL MIXING DELAYS - Stacking one delay after another in your signal chain can degrade your tone because your original signal travels through, and is altered by, two delay circuits before coming out the other end.