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. NOTE: This website is frequently updated. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. - 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. Theyre so famous they sell for a very high price and are deemed a collectable for many. 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. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. 570 divided by four (4/4) is 142.5. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. You must remember this, Those settings are used for a stadium show, set to produce for a huge arena, not your 8 x 10 bedroom, and not your 100 x 100 bar. 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): solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 80x2 = 160. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Both delays are in series with the delay volume around 75% and about 9 repeats. The S-O-S unit was basically a buffered interface with two send/returns. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. 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. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. Solo: 300ms. - Delay Rhythm Guitars Mixed Up Front - both channels. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): 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. For his general ambient delays, choose the most tape flavored setting and use 50%-ish feedback (or 7-8ish repeats) and mix it fairly low so it sounds more like a subtle reverb. 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. It only added a very slight gain boost to his clean amp tone, but . 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. verse: 360ms This is a big part of Pink Floyds sound. 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. 570 x 75% = 427.5. Run Like Hell with 380ms and 507ms delay in series. He did sometimes use the Swell mode. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, All rights reserved. solos: 375ms. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. 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). I'll keep this simple rather than going into an explanation of time signatures. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. There is a also bit of light overdrive in the tone. Delay volume 65% It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. Start new topic; Recommended Posts. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. ANOTHER BRICK IN THE WALL PART I - This one is very similar to Run Like Hell, played in D, with a 450ms delay, around 7 repeats, with the repeat volume equal to the signal volume. 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. 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. intro: 425ms I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. Electric Mistress V2, V3, or V4: I am not talking about spring reverb from an amp. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. My sound has everything to do with what sounds good to me. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. 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. I used to be expert with Binsons. The Free the Tone Ambi Space pedal is my favorite device for this. If you want to use a noise gate put it right before the delay/reverb. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 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. 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. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): Here are what the settings mean -. Dec 23, 2015. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. - 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. solos: 660ms -- feedback: 6-7 repeats, Time: Head 3 = 3/4 DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. Feedback: This is the number of audible repeats. 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. 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. It's actually a metallic disc that spins around. 2nd delay 570ms. As an Amazon Associate, we earn from qualifying purchases. 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. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. second solo: 460ms -- feedback: 5-7 repeats, Dogs: 5,744. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. He did sometimes use the Swell mode. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. - 2016/15 live version: verse / chorus: 430ms, Us and Them - 2016/15 live version: 5 A.M. : I use two delay pedals for Run Like Hell. 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. Here is my example of this sound. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital 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 . All of the settings for this tone can be found in this PDF download below. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. 540ms, Take A Breath: Kits Secret Guitar, Gear, and Music Page. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. The Blue: If you break the beat into a four count, that second repeat would be on 4. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. Free shipping for many products! In this clip I'm using Coming Back to Life as a reference with 700ms. Below is a song-by-song list of delay times with some settings. You could get some wonderful delay effects that aren't attainable on anything that's been made since. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. 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. The type of multi-head repeats varied depending on which of the four playback heads were selected. studio . alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. middle section: 1500ms -- feedback: 10-12 repeats 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. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. Bass: 5-6. 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. verse / chorus: 435ms, Wearing the Inside Out: intro: 440ms The first is set in 3/4 time (dotted eighth notes) for about 8 echo repeats at exactly 380ms, or three repeats for every song beat. See all posts by Andrew Bell. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms which is what gives the verse section that floaty, ethereal feel. You can simulate the verse delay with two delays in-line going to one amp. The last 8 minutes of the song is a rambling collage of echo repeats. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. - 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. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. Delay volume 85% His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. 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. The Effect Level (volume) and Feedback (number of repeats) will vary. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end.