He would do this for each chord change in the intro to, 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. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017). In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. To add some modulation and a spacious feel to the delay tone on the studio recording David used either a Yamaha RA-200 rotary speaker cabinet or an Electric Mistress flanger. I turn each effect on one at a time so you can hear how they add to the tone. Below are some specific Gilmour settings I use. I use one of their old ones most of the time because the width is narrower. The delays are set in series like this: 147ms (2X the delay repeats), or 2 pulses for every delay repeat. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. 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. I use a compressor or a Tube Driver for this. His tone is instantly recognizable and unique. The main rhythm guitar, chords, and fills are all double tracked. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. I use the MXR Digital Delay. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. 650-680ms were occasionally used for long delays. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. . 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: Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! If you have a good sound in the room or hall you are playing in, there is no need to add reverb, but in small or dead sounding rooms, adding a small amount of reverb in your effects rig can really enhance the sound. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. If you break the beat into a four count, that second repeat would be on 4. Below is an example using two digital delays in series. There are several reasons. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. 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 Effect Level (volume) and Feedback (number of repeats) will vary. Start new topic; Recommended Posts. Last update July 2022. 234ms and 150ms also works. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. 310ms -- feedback: 3-4 repeats intro: 650ms, Coming Back To Life - 2015/16 live version: But which delay pedal (s) does/did he use? 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. The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. He set the time to 310ms for most everything. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. A large part of that comes from Davids use of delay. Last update September 2022. Mids: 6-7. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms David Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an 'echo'. david gilmour delay settings | London Guitar Academy 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. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. chords / arpeggios: 480ms With that said, the rest of the article is designed to . From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 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. 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. 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. solos: 660ms -- feedback: 6-7 repeats, Time: 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 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. The second delay should just be accenting the first, filling the space between the 3/4 repeats. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. All of the settings for this tone can be found in this PDF download below. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. The Tone From Heaven: SETTINGS If you put it in a 3/4 time it has an interesting bounce to it. Some duplicate the studio album delay times and some duplicate the live delay times. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. This creates a different bouncy feel to the delay rhythm. I also use it to add some of the bigger room and concert hall sounds. David Gilmour Tone Building - Kit Rae La guida un lavoro in continua evoluzione ed in continuo aggiornamento. I use the MXR with the read-out on it, so I instantly have the right tempo. One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. Parallel is better than in series because the one delay does not repeat the other, and the repeats can run longer without going into oscillation. solos: 540ms, What Do you Want From Me? But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. Bass: 12 o'clock Mid: 1 o'clock Treble: 11 o'clock Delay: Time: 484 ms Mix: 40% Level: 75% Feedback: 50% Only about one audible repeat fading very quickly after that Reverb: Medium Room Time: 2.20 sec EQ: High Cut 4000Hz Level: 75% Mix: 50% Input Gain: 100%. Divide 240 by 3 and you get 80. In this clip I'm using Coming Back to Life as a reference with 700ms. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): And lastly, youll want to mix it surprisingly quietly. When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. HOW TO FIND THE PROPER DELAY TIMES - You can go here 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. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Electric Mistress - How to use it - Settings CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. The second delay David used was the MXR Digital M-113 Delay. David Gilmour Delay / Echo - Kit Rae The tremolo is from an HH IC-100 amp was used for the studio recording. 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 Using Program position 3 for that part also works. 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. I often hear a guitar recorded dry, a reverb only track, and a delay only track. 1st solo: 310ms Comfortably Numb: delay 2: 430ms, In Any Tongue - 2015/16 live version: extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. 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. - 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. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. There is a 440ms delay on the guitars in the studio recording. David Gilmour's delay sounds - YouTube The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. 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. Run Like Hell with 380ms and 254ms delays in series. One of the smoothest guitarists in rock, Pink Floyd's David Gilmour has built a reputation for great melodic control and an expressive soloing approach that has influenced millions. 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. 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. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 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. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. first solo: 310ms -- feedback: 2-3 repeats. solo: 440ms. 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. Time intro - Torino, Italy, Sept 13, 1994. A little later he switched to the MXR Digital Delay. You could get some wonderful delay effects that aren't attainable on anything that's been made since. Below is a breakdown of how to play this effect. The Echorec 2 had a 12 position switch to select among various combinations of heads. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat HH IC-100 amplifier with built in tremolo. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). All those divisions and subdivisions will be in time with the song. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: 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. - 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. 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. first solo and fills: 470ms All rights reserved. 1 2. Delay volume 90%. A little later he switched to the MXR Digital Delay. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. This creates a different bouncy feel to the delay rhythm. Head 1 = 1/4. Copyright 2023 Killer Guitar Rigs. 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. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. Dec 23, 2015. I use the Tremotron from Stone Deaf Effects for this. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. The Effect Level (volume) and Feedback (number of repeats) will vary. A single delay set at 1400ms with 3 repeats has a similar feel as well. The first send went to a volume pedal. 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. I use the MXR with the read-out on it, so I instantly have the right tempo. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. Below is my best guess at the delay times David used there. Guida Al Setup Di David Gilmour - Giampaolo Noto slide solo: 550ms -- feedback: 7-8 repeats RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. >> Click to read more <<. It is said that he switched from an Echorec to an MXR for ease of use. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. 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!