david gilmour delay settings

#4. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. This was most likely a reel-to reel recorder set up for a tape-loop delay. They averaged from 290-310ms. 2. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. 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. Delay volume 90%. 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. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 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. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the. His delay times are slightly faster here. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. The delays are set in series like this: Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. 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. 1st delay 428ms. You can simulate the verse delay with two delays in-line going to one amp. 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 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 second delay should just be accenting the first, filling the space between the 3/4 repeats. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. You could get some wonderful delay effects that aren't attainable on anything that's been made since. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. 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. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. intro: From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. It was set for a light overdrive setting and was most likely an always-on pedal. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 Head 3 = 3/4 intro: 440ms 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. The delays are set in series like this: 520ms -- feedback: 4-5 repeats, Obscured by Clouds: If you adjust the delay time in that in-between zone while listening to the song, you will hear when it is right in 3/4 time. 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. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 I also use it to add some of the bigger room and concert hall sounds. His most commonly used delay times were in the 294-310ms range and 430ms. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): Shorter delay times are more obvious because the repeats are heard in between notes and phrases. 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. David Gilmour, as many guitarists will agree on, is an absolute legend. 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. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): David would use the latter setting for most of the album. 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. 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. 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 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital Last update July 2022. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): Other common delay times were 380, 440-450, 480, and 540ms. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. delay 1 time: 90ms 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. 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. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, By porsch8 December 21, 2005 in Effects and Processors. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Some duplicate the studio album delay times and some duplicate the live delay times. 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. Sometimes these are called "parallel mixers" or "looper" pedals. 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): Shown below are some typical Gilmour DD-2 delay times. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: - 2016/15 live version: Verse / Chorus : TC 2290 Digital Delay: 430ms 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. Solo: 300ms. It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. Both in the studio and live their musicality seeps from every note, every rest, and every beat. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. Often what I hear in the recordings is just natural room or hall reverb. Mar 8, 2013. 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. The clip below is played with those same 428ms and 570ms delay times. - 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. 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. Fine tune it until you hear the repeats are exactly in sync with the song tempo. 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. Both delays are in series with the delay volume around 75% and about 9 repeats. Syd's theme - Hollywood Bowl March 2016. 614ms -- feedback: 6-7 repeats, Rattle That Lock: delay 1: 250ms First is the delay, then the square wave tremolo, then both together. 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. On the one hand, finally cracking one of my favourite guitar player's [] That equates to 428ms, which we will call the 4/4 time. solo: 500ms, High Hopes - live versions 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. Plate reverb is far more accurate. Comfortably Numb: 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. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. MXR DIGITAL DELAYS - David began using digital delays in 1977. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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%. - Pulse version (TC 2290 Digital Delay): 570 divided by four (4/4) is 142.5. I used a Free the Tone Future Factory delay set for 300ms and long repeats. 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. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Electric Mistress - How to use it - Settings It's actually a metallic disc that spins around. Below are settings to get that sound. 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. Head 1 = 75ms .Head 1 = 95ms. - 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. Note that David Gilmour varied his settings. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. The 4/4 delay can barely be heard on the studio recording and is really not necessary, but it is fun to experiment with two delays. 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. There is a 440ms delay on the guitars in the studio recording. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. The Echorec 2 had a 12 position switch to select among various combinations of heads. slide solo: 550ms -- feedback: 4-5 repeats volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats Its more modern than the MXR, but it sounds just as good. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? 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. I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. Copyright 2023 Killer Guitar Rigs. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Below is my best guess at the delay times David used there. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): 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. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. 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. The MXR Digital Delay System II was an upgraded version of the 113 that showed the delay time in milliseconds on the front panel and featured additional fine tuning controls. - Phil Taylor, David's backline tech. This creates a different bouncy feel to the delay rhythm. He usually had the time set to 440ms. For Run Like Hell, David's using what he refers to as "triplets".. Below is an example of replicating the Syd's Theme delays from 1994. Delay volume 85% DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 1st delay 470ms. This is also one of the few Gilmour solos that features a heavy reverb effect, so it does not sound the same with delay only. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. 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. We are a participant in several affiliate programs including but not limited to the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. 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. 2nd delay 94ms. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. Alt. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: DD-500 Settings for David Gilmour Style Lead Guitar Delay I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. He did sometimes use the Swell mode. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. If you put it in a 3/4 time it has an interesting bounce to it. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. April 9, 2022. by Joe Nevin. Make David Gilmour's Shimmering Sustained Delay in Live 5 A.M. : The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. Theyre so famous they sell for a very high price and are deemed a collectable for many. 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. All rights reserved. solo: 400ms, Raise My Rent: HH IC-100 amplifier with built in tremolo. Its hard to give an estimate as every pedal will respond differently. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for How to you get the proper 3/4 delay time from that 4/4 time? The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. The level or volume knob would be set to maximum on most delays for this. Give Blood David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably I use the MXR Digital Delay. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. Tutorial - Run Like Hell (David Gilmour) Delay Setting - YouTube That equates to 250 - 240ms. second solo: 370ms -- feedback: 7-8 repeats -- delay level: 20% -- delay type: analogSyd's theme: 290ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: analog

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