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The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. What delay pedal does David Gilmour? - Guitar Reviewed Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. Tim Renwick solo: 520ms, Louder Than Words: 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. 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. Delay time depends on the era. On the one hand, finally cracking one of my favourite guitar player's [] 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. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. He did sometimes use the Swell mode. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. 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 tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. Just get any old delay pedal, analog or digital, and set the time slow. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for A single delay set at 1400ms with 3 repeats has a similar feel as well. David probably just uses the term triplet because what he does has a similar feel. Sometimes these are called "parallel mixers" or "looper" pedals. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. >> Click to read more <<. alternate 2nd Solo: 540ms Then I play the bass rhythm clean, then with the effects on. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital 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. His talent doesnt just limit to his skill, but also to his creativity. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. Below is a breakdown of how to play this effect. This creates a different bouncy feel to the delay rhythm. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. Make David Gilmour's Shimmering Sustained Delay in Live. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. 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. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: solos: 660ms -- feedback: 6-7 repeats, Time: On Reverb, the average Echorec sells for between 3500$ to 5000$. Below is a song-by-song list of delay times with some settings. 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. 650-680ms were occasionally used for long delays. He has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. Run Like Hell with 380ms and 507ms delay in series. The other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. David Gilmour Tone Building - Kit Rae A DD-2 was also seen in David's Medina studio around 2017. Those are not the type of parallel setup we are talking about here. Unless otherwise noted, all delay times are shown in quarter notes second solo: 480ms -- feedback: 6-7 repeats - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. The tempo used in this demo is slightly too. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. When you play across it, it helps you to double-track yourself. The PE 603 Echorec had similar controls, but rather than having a switch to select different combinations of the four playback heads, it had individual switches for each head. 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. Note or mark that time setting on your delay. 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. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. 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. David has used many different types of compressors throughout his career, but a few common ones are the MXR Dynacomp, Boss CS-2, and Demeter Compulator. Read an explanation about how this is achieved here. 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). The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. PDF David Gilmour Solo Tone Settings For "Time" There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. Delay Level: This is the volume level of the delay repeat compared to the original signal. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. 2nd delay 94ms. For the middle section another piece of technology came into play: an HH amp with vibrato. He then upgraded to an MXR Digital Delay System II. solos: 375ms. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. David was very much in control of his sound system We rarely added effects to his guitar in the control room. The Effect Level (volume) and Feedback (number of repeats) will vary. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. 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. Electric Mistress - How to use it - Settings There are several parallel looper pedals that can be used for the actual "looping" part of the setup. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Echorec head 4 = 312ms / Echorec head 1 - 78ms Below is a breakdown of how to play this effect. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. Last update July 2022. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: 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. Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. The simplest option is to use an online Beats Per Minute caculator, like, - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. One of These Days - gated tremolo section isolated. 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. - 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. intro: 425ms 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. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats This gives the impression of a 920-930ms delay. Again, I'll simulate that with only two dominant delays. 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. 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. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: 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. David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? A little later he switched to the MXR Digital Delay. As I said before, he often doesnt just use the delay to make his solos fit in the particular vibe of the song, but also the help build the rest of the soundscape. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. The S-O-S unit was basically a buffered interface with two send/returns. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. 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 3/4 and 4/4 delay can be used for more than just some Echorec effects. Gilmour uses pristine delays. Listen to some of the 5.1 live tracks separately and you can clearly hear this. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. Its a famous echo unit used by many artists, and useful for varying instruments. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? It created a unique stuttered stacatto rhythm. 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 . 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. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. The repeats are bright and shimmery but not brighter than the original signal. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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! volume swells: 1100ms -- feedback: 4-5 repeats. The tremolo is from an HH IC-100 amp was used for the studio recording. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: The delay time must also be precisely in time with the song tempo. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. first solo and fills: 470ms Then go to a website with a Delay Time Calculator, like the one on this page. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 The main rhythm guitar, chords, and fills are all double tracked. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. His tone is instantly recognizable and unique. 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. 525ms, Sorrow Solo - 2016/15 live version: You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. 2nd delay 375ms. It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. - Phil Taylor, David's backline tech. 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. Great, lets get started. 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: In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. A large part of that comes from Davids use of delay. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): His final delay was the TC Electronic 2290. Make David Gilmour's Shimmering Sustained Delay in Live David has often usied very long delay times, so the repeats are not as obvious because he is playing the next bit of a solo phrase right when the repeats from the previous notes start. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: slide solo: 550ms -- feedback: 7-8 repeats All rights reserved. Some of the other Program Select positions work for the Time intro too, like position 12. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. Alt. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. If running the delays parallel, set for about 12 repeats on each. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. 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. I have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use. 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). This obviously means that a lot of guitarists want to be like him. This is probably spring reverb from David's Twin Reverb. first solo: 507ms -- feedback: 2-3 repeats third solo (after dry solo): 380ms -- feedback: 2-3 repeats. If you set it too high it will self oscillate into a whining feedback. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats The TC Flashback can be set up with the Tone Print edito. 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.