david gilmour delay settings david gilmour delay settings

Let's see some of the units he used over time. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Echorec Style Delay Jamming - 428ms and 570ms. 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: Also, two delays in line, while useful for some double tap delay effects, means that the repeats from the first delay are then repeated again by the second when both are used at the same time, which can sometimes create a mushy mess of repeats. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. His final delay was the TC Electronic 2290. Instead, it used a metal recording wheel. 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. If you set it too high it will self oscillate into a whining feedback. The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital 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. 380 divided by 3 = 126.7ms. 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. - David has used numerous types of delays in his carreer, both analog and digital. 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. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. Below is an isolated excerpt of this part. 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. Sort of a triplet on top of a triplet time delay. Delay volume 50%. MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for Adjust the tone to suit your amp/speaker tone. Syd's theme: 370ms and 480ms This is the primary delay time you hear in the song. You simply have to practice your timing so you can play the fills and get back to the D rhythm note exactly in time with the delay repeats. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: 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. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. 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. So why don't you hear the repeats most of the time? The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: Tweaking the delay time was simply more tweakable on the MXR Digital Delay. Every aspect of his tone can change on different albums, even on different tracks of the same album! 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. Often what I hear in the recordings is just natural room or hall reverb. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): Note or mark that time setting on your delay. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. - 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. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. Delay settings for Pink Floyd's David Gilmour sound You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. How to Sound Like Dave Gilmour - Guitar Lessons London - David Gilmour, Guitar World magazine. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. second solo: 490ms, What Do you Want From Me? David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. 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. 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. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. 8-10 repeats on each. All of the settings for this tone can be found in this PDF download below. Getting an original Binson Echorec these days is nearly impossible. I have two units, and I have different echo settings on both. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: That equates to 250 - 240ms. 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. My sound has everything to do with what sounds good to me. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. 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. If you want to use a noise gate put it right before the delay/reverb. 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. Again, I'll simulate that with only two dominant delays. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. 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. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. Another option is to run two delay pedals simultaneously. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. chords / arpeggios: 480ms E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. Example: You determine the 4/4 beat/song tempo is 600ms. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): 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. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Echorec 2 ..Echorec PE 603 slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, 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. 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. David Gilmour Delay Time Library - Kit Rae The second is around 94ms, which is 1/5 of 470 (470/5=94). Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. Why is that important? The tape splices were then camouflaged with cymbal crashes. It's a beautiful sound, but David did not use tape delays like this. This is actually not quarter-note triplets. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. His delay times typically ranged from 300ms-550ms, with 5-8 repeats, but some songs required more specific delay times and settings, as detailed below. Kits Secret Guitar, Gear, and Music Page I use two delay pedals for Run Like Hell. 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. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): This unit is an incredibly versatile digital delay that many artists use. He began using digital delays in place of the Echorec around 1977. Members; porsch8. Listen to some of the 5.1 live tracks separately and you can clearly hear this. Sometimes these are called "parallel mixers" or "looper" pedals. 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). He did sometimes use the Swell mode. As technology was progressing, the use of rack effects units became more and more efficient. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats There is a also bit of light overdrive in the tone. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). You could get some wonderful delay effects that aren't attainable on anything that's been made since. The Blue: Check here for more Big Muffs to achieve the Gilmour tone. It was usually set for single head and a fixed time at about 310ms. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. 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): The first send went to a volume pedal. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. Kits Secret Guitar, Gear, and Music Page. 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. Use the feedback option to set it right where you think it sounds closest. I'll keep this simple rather than going into an explanation of time signatures. 570 x 75% = 427.5. intro: 425ms Free shipping for many products! 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. As the chord rang on, David could then play the melody lines through his main Hiwatt. It's a sort of melodic delay to use. 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. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. This is something us Gilmour fans have sought to recreate in our own playing. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. Some duplicate the studio album delay times and some duplicate the live delay times. #4. He did sometimes use the Swell mode. There are several reasons. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. Volume 85% second solo: 640ms -- feedback: 6-7 repeats Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. 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. But delay is not the only effect that Gilmour tends to use. The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. 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. 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 . Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. These are 5 note scales, pretty much the simplest scale a guitarist could use. The clip below is played with those same 428ms and 570ms delay times. The delays are set in series like this: second solo: 480ms -- feedback: 6-7 repeats PDF David Gilmour Solo Tone Settings For "Time" But which delay pedal(s) does/did he use? As the song plays on I dial the delay volume and number of repeats higher and higher. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) He came up with that basic riff that we all worked on and turned into One of these Days. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. The delay used must have a "kill dry" or "dry defeat" mode, which means ONLY the 100% wet delay signal is sent to the output of the delay, none of the dry signal. A little later he switched to the MXR Digital Delay. With that said, the rest of the article is designed to . This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. David Gilmour is famous for his unique use of delay and echo. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. If you get too high a quality bandwidth on a DDL you hear too much pinging and lose the sort of echo effect I use it for. The official live recordings often have an even larger delay sound than the studio versions. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. 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. which is what gives the verse section that floaty, ethereal feel. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. He then upgraded to an MXR Digital Delay System II. middle section: 1500ms -- feedback: 10-12 repeats 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. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. 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. In this clip I have one set for 380ms for Run Like Hell and one for 440ms for Another Brick in the Wall (part 1). Delay Time: Shown in milliseconds. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. Solo: 440ms ? Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. delay 2: 254ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital delay 2 alternate: 90ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital, Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. intro slide guitar: 1023ms To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. 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. Some are actually too high quality for my personal taste. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats Verse / Chorus : TC 2290 Digital Delay: 430ms It is not known exactly which delay David used for the sudio recording of Run Like Hell, but I do not think he used his Binson Echorec for the main delay. David used a Binson Echorec for his delay at the time DSOTM was recorded, but the Binson cannot create a delay as long as 440ms. The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). I also use it to add some of the bigger room and concert hall sounds. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. 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. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Flashback/David Gilmour | The Gear Page 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. 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. Copyright Kit Rae. Make David Gilmour's Shimmering Sustained Delay in Live