david gilmour delay settings

- David Gilmour interview by Bob Hewitt from Guitarist, June 1986. 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 website is frequently updated. The tempo used in this demo is slightly too. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. Solo: 430ms, Fat Old Sun- 1971/72 live versions: SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. second solo: 430ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): It's actually a metallic disc that spins around. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog second solo: 500ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: 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 specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. It's a sort of melodic delay to use. www.gilmourish.com this website has info on Gilmours tone and gear used. REEL-TO-REEL SOUND-ON-SOUND - 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. Some duplicate the studio album delay times and some duplicate the live delay times. Kits Secret Guitar, Gear, and Music Page Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. I'll keep this simple rather than going into an explanation of time signatures. 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. 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 could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. 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. 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. Those are not the type of parallel setup we are talking about here. Often during the live songs that do have very loud delays, you do hear the repeats clearly. first solo and fills: 470ms Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. Later versions of the DD-3 have different circuits. This is a big part of Pink Floyds sound. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. It is said that he switched from an Echorec to an MXR for ease of use. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. 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. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): There is a 440ms delay on the guitars in the studio recording. I turn each effect on one at a time so you can hear how they add to the tone. 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. The clip below is played with those same 428ms and 570ms delay times. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. 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. Below is an example of David using two digital delays (TC 2290 Digital Delay and the dual delays from a PCM 70 delay) for the intro to Time in 1994. It covers all of the various ways he used echo - standard 3-4 repeat echo to make the guitar sound like it is in a large hall, using a slide like a violin with long delay repeats, slapback echo, swell mode, long repeats almost to the point of self oscillation, and what David calls "triplet" time, where he plays in time with the dotted eighth repeats. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). 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. solo: 680ms, Another Brick in the Wall Part 1: The shorter delay fills in the gaps between the longer delay repeats, creating a smooth delay sound, but the delay time on both makes the repeats fall inline with the song tempo. Note or mark that time setting on your delay. Alt. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. The S-O-S unit was basically a buffered interface with two send/returns. 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. I use the Tremotron from Stone Deaf Effects for this. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. 2nd delay 165ms. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. 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. In fact, Dark Side engineer Alan Parsons said plate reverb was virtually the only reverb used for those recordings, although he has said they also used as many as five or six tape machines to create various reverb delays. It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. The delays are set in series like this: - Be sure to read the section above. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. A large part of that comes from Davids use of delay. If you set it too high it will self oscillate into a whining feedback. 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 hard to give an estimate as every pedal will respond differently. 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. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. 530ms -- feedback: 4-5 repeats, Coming Back To Life: Great Gig Slide Guitar Breakdown. Although he often blends different types of delays, creating rich textures and layers, I'm going to break it down into four signature setups covering each era. 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. They want to play and sound just like the man himself. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. 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. 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. Volume 65% I am not talking about spring reverb from an amp. For the middle section another piece of technology came into play: an HH amp with vibrato. I use the MXR Digital Delay. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. 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. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: 2nd delay 570ms. solos: 430ms, Yet Another Movie: Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. Shown below are some typical Gilmour DD-2 delay times. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: 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. If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. If you don't have a delay with a millisecond display, it is still possible to find the proper 3/4 delay time in a 4/4 time signature. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. Copyright 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. I use the MXR with the read-out on it, so I instantly have the right tempo. 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. 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. second solo: 490ms, What Do you Want From Me? 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! David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. 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. moderate reverb, probably from the plate reverbs at Abbey Road studios. The official live recordings often have an even larger delay sound than the studio versions. It is meant to simulate the sound of old analog tape delays as they aged. The 450ms delay should come before the 600ms delay in your signal chain. 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. As the chord rang on, David could then play the melody lines through his main Hiwatt. I have managed to nearly replicate what a Binson will do using a combination of modern digital unitsthe multi-head sounds, as well as the Swell settingwhich is what I use on the beginning of Time, for example - David Gilmour, Guitar World March 2015. 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. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- 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 - Phil Taylor, David's backline tech. Example: You determine the 4/4 beat/song tempo is 600ms. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. The delays are set in series like this: Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. "Square wave" means the sound wave looks square shaped, rather than wavy. The first delay is definitely set to 470ms, which is the 4/4 time. Below is an isolated excerpt of this part. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse But the delay was in 3/4 increments of the beat and the vibrato went with the beat. outro solo: 680ms -- feedback: 4-5 repeats. This was most likely a reel-to reel recorder set up for a tape-loop delay. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: 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. Getting an original Binson Echorec these days is nearly impossible. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. a`Its very reliable, just like the MXR, but its much more versatile and teachable. 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. As the chord rang on, David could then play the melody lines through his main Hiwatt. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. 540ms, Take A Breath: Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Mar 8, 2013. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. You can also play in time with the delays in a kind of shuffle rhythm. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. How to you get the proper 3/4 delay time from that 4/4 time? 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. The second is around 94ms, which is 1/5 of 470 (470/5=94). - 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. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. solo: 500ms, High Hopes - live versions Some are actually too high quality for my personal taste. David Gilmour was the guitarist for English rock band Pink Floyd. 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. 4. 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). Members; porsch8. 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. 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. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. All these effects can be heard in most of Pink Floyds discography. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog 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. Many of the sound effects youll hear on the earlier albums were created with this machine. 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. The Echorec 2 had six knobs - INPUT CONTROL (volume), LENGTH OF SWELL (number of repeats), VOLUME OF SWELL (volume of repeats), BASS/TREBLE (tone knob for the repeats), a three position SELECTOR knob, and a SWITCH knob that selected various combinations of the four playback heads. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) Gilmour's Binson Echorec 2 model T7E from 1970-71. - 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. 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 It was strange because it didn't utilize tape loops. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. Both types have been described as "warm" sounding, which can get confusing. BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. David used the DD-2 extensively in the mid to late 1980s, as well as using a Pete Cornish Tape Echo Simulator (TES) in 2006, which was a Boss DD-2 circuit with a selectable roll-off filter added to simulate the worn tape head sound of old tape delays like the Binson Echorec. Note that David Gilmour varied his settings. April 9, 2022. by Joe Nevin. This creates a different bouncy feel to the delay rhythm. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital 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. REVERB OR NO REVERB ? 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. It has a digital readout, but it's really nowhere close to being accurate.

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