david gilmour delay settings

PDF David Gilmour Solo Tone Settings For "Time" Delay volume 50%. Echorec head 4 = 312ms / Echorec head 1 - 78ms Anyone got some David Gilmour delay settings That equates to 428ms, which we will call the 4/4 time. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse second solo: 480ms -- feedback: 6-7 repeats A little later he switched to the MXR Digital Delay. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. For example, 380ms is your triplet time. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. 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. 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. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. Below is an example of replicating the Syd's Theme delays from 1994. Mids: 6-7. David's T7E and PE603 Echorecs, and even the stock Echoplexes at the time, were not capable of anything even close to that length of delay. Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. R channel -- 1400ms with two repeats. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. But which delay pedal (s) does/did he use? I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. Pink Floyd recording engineer Andy Jackson has said he usually uses a couple of EMT plate reverbs in the studio for David's voice and guitar, and sometimes a Lexicon Hall reverb. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms Head 1 = 1/4. 3rd solo: 430ms, Money solos - 2015/16 live version: I use the MXR with the read-out on it, so I instantly have the right tempo. His tone is instantly recognizable and unique. But delay is not the only effect that Gilmour tends to use. 1st delay 428ms. I use 240ms. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. Run Like Hell with 380ms and 507ms delay in series. 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. This obviously means that a lot of guitarists want to be like him. 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. slide solo: 550ms -- feedback: 7-8 repeats David Gilmour Tone Building - Kit Rae second solo: 490ms, What Do you Want From Me? As the song plays on I dial the delay volume and number of repeats higher and higher. solo: 500ms, High Hopes - live versions 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. When you play across it, it helps you to double-track yourself. 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. Sound like David Gilmour (Pink Floyd) By Busting The Bank! Last update July 2022. Set up your preferred delay settings and beam that into your pedal. They want to play and sound just like the man himself. 1 2. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, 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. Great Gig Slide Guitar Breakdown. - Be sure to read the section above. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. 5. : Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. The repeats are bright and shimmery but not brighter than the original signal. The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. Echorec 2 ..Echorec PE 603 which is what gives the verse section that floaty, ethereal feel. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. 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. Why is that important? The Different Effects Used By David Gilmour Throughout His Career Starting with the finer details of the setup's tone like amp EQ and drive pedal levels and EQ will help you hear everything much more clearly before adding all the delay and reverb. I used to be expert with Binsons. If running both delays in series, set the repeats however long you can go before oscillation starts, which is 8-10 repeats on most delays. I don't care how I get it. Then go to a website with a Delay Time Calculator, like the one on this page. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. a`Its very reliable, just like the MXR, but its much more versatile and teachable. delay 1: 90ms Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. David used various Echorec models but he was most known for using the Echorec 2 model T7E. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. These effects combined with Gilmours guitars, amps, and more importantly, his fingers, all add up to the legendary sound we love, and the signature sound that will send any 40+ year old into a state of ecstasy if it comes on the radio. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. 570 x 75% = 427.5. 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. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. 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. 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. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): verse / chorus: 430ms, Us and Them - 2016/15 live version: 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 songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. 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 I started off with a Binson Echo unit, which is like a tape loop thing. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. 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. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital The official live recordings often have an even larger delay sound than the studio versions. 2nd delay 375ms. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. 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 . Later versions of the DD-3 have different circuits. 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 other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. Give Blood Delay time depends on the era. 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. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. Time intro test with backing track - 470ms and 94ms. Check here for more Big Muffs to achieve the Gilmour tone. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. 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 type of multi-head repeats varied depending on which of the four playback heads were selected. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. This is the primary delay time you hear in the song. In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. Delay volume 65% David probably just uses the term triplet because what he does has a similar feel. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. Andrew Bell has 42 posts and counting. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. Below is a breakdown of how to play this effect. Treble: 4-5. It's all on a D pedal. alternate: 380ms, High Hopes - 2015/16 live version: Gilmour's delay on Coming Back to Life | The Gear Page Two guitars were multi tracked in the left and right channels. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. - 2016/15 live version: I demonstrate many of the unique sounds that can be created but playing repeating patterns in and out-of-tempo with the delay repeats, letting the repeats get to the point of self oscillating, tapping the strings with a glass slide, tapping the strings with my fingers and pick to create percussive effects, and rubbing my fingers and pick up and down the strings. A large part of that comes from Davids use of delay. Use the feedback option to set it right where you think it sounds closest. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): Sort of a triplet on top of a triplet time delay. 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. It is said that he switched from an Echorec to an MXR for ease of use. Listen to some of the 5.1 live tracks separately and you can clearly hear this. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. . Delay volume 90%. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. Volume 65% Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats The delays are set in series like this: This website is frequently updated. 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. Its more modern than the MXR, but it sounds just as good. 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. He set the time to 310ms for most everything. Unless otherwise noted, all delay times are shown in quarter notes The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. first solo: 507ms -- feedback: 2-3 repeats For Run Like Hell, David's using what he refers to as "triplets".. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Its more compact, more reliable, and just easier to use. Because the DDL keeps running along, you've got time to leave the pedal playing and play a couple of chords while the effects carry on - David Gilmour from Guitar for the Practicing Musician, January 1995. For the middle section another piece of technology came into play: an HH amp with vibrato. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? Head 3 = 3/4 I use a compressor or a Tube Driver for this. 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. SHINE ON YOU CRAZY DIAMOND 1-5 settings. How to you get the proper 3/4 delay time from that 4/4 time? Both delays are in series with the delay volume around 75% and about 9 repeats. Gilmour used the TC Electronic 2290, but any digital delay will do. The Free the Tone Ambi Space pedal is my favorite device for this. Those are not the type of parallel setup we are talking about here. 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. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. 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. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. 525ms, Sorrow Solo - 2016/15 live version: Below are settings to get that sound. intro: USING TWO DELAYS - David has stated he used two delays, one in 3/4 time (dotted eighth notes) and one in 4/4 time (quarter notes). To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. NOTE: This website is frequently updated. 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. 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): 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. 2nd delay 570ms. There are times when I have both running at the same time for certain effects. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. 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. This unit can also be heard on the The Wall album. 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. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. They averaged from 290-310ms. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. It is impossible to achieve the exact same tone as a player without using the same equipment. 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. delay 1 time: 90ms If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? first solo and fills: 470ms Run Like Hell - Delay Rhythm Guitars Mixed Up Front - both channels, Run Like Hell - Sustained Chords Mixed Up Front, Run Like Hell - Verse Fills Mixed Up Front, Run Like Hell Live Excerpts - from Is There Anybody Out There - The Wall live 1980-81, David Gilmour live in 1984, the Delicate Sound of Thunder, and Pulse. A DD-2 was also seen in David's Medina studio around 2017. 614ms -- feedback: 6-7 repeats, Rattle That Lock: David Gilmour Solo Tone Settings For "Time" . 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 Mode switch is in position 7, which is Head 3 + Head 4. Coming Back to Life Intro Tone Build - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. - 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. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog Other common delay times were 380, 440-450, 480, and 540ms. There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. 80x2 = 160. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. 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, I started off with a Binson Echo unit, which is like a tape loop thing. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. 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. 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. Here is a clip of a single 330ms delay playing the Blue Light riff. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. Sound Like Pink Floyd: Amp Settings And Gear Guide You can also get something similar with one 650ms delay set for 2 repeats. David Gilmour Tone Building - Kit Rae 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'. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage.

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david gilmour delay settings

david gilmour delay settings