- Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. How to you get the proper 3/4 delay time from that 4/4 time? 1st solo: 310ms Time intro test with backing track - 470ms and 94ms. 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. verse / chorus: 430ms, Us and Them - 2016/15 live version: The repeats are bright and shimmery but not brighter than the original signal. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. I use two delay pedals for Run Like Hell. When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: The third delay is probably in 3/4 time, but I can barely hear it. Money solos - live 1977 version (MXR Digital Delay System I): 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? That equates to 428ms, which we will call the 4/4 time. All those divisions and subdivisions will be in time with the song. - David has used numerous types of delays in his carreer, both analog and digital. The delays are set in series like this: When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. The first delay is definitely set to 470ms, which is the 4/4 time. Kits Secret Guitar, Gear, and Music Page - 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. 3rd solo: 430ms, Money solos - 2015/16 live version: Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. 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. A little later he switched to the MXR Digital Delay. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. You could get some wonderful delay effects that aren't attainable on anything that's been made since. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. This gives the impression of a 920-930ms delay. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): The Effect Level (volume) and Feedback (number of repeats) will vary. For example, 380ms is your triplet time. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. 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. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. I'll keep this simple rather than going into an explanation of time signatures. middle keyboard section: 340ms -- feedback: 8-9 repeats Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. Its a famous echo unit used by many artists, and useful for varying instruments. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. He then upgraded to an MXR Digital Delay System II. 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. 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. The volume swells can be easily created today with a delay and a volume pedal. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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. delay 1: 90ms 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. 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. That keeps you from getting a loud, double-tappy mess. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. 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. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. 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. 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. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. 614ms -- feedback: 6-7 repeats, Rattle That Lock: In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. Copyright Kit Rae. If you want to use a noise gate put it right before the delay/reverb. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. A little later he switched to the MXR Digital Delay. 2,434. Gilmour used a similar gated tremolo effect for the sustained chords in the verse sections of Money, using the noise gate from an Allison Research Kepex (Keyable Program Expander) studio module, modulated with an external sine wave generator (according to engineer Alan Parsons). -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. Note the controls show playback mode switch is in position 4, which is single playback Head 4, Gilmour's Binson Echorec 2 model T7E from 1970-71 with the playback mode switch in position 4, Gilmour's Binson Echorec 2 model T7E from 1972 and 1977 with the playback mode switch in position 1, which is singe playback Head 1, Various Echorec 2 settings seen in David's Medina studio from 2013, 2014, and 2017, The Echorec 2 in David's Medina studio from 2017. 1st delay 428ms. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. solo: 440ms. first solo: 340ms -- feedback: 3-4 repeats This creates a different bouncy feel to the delay rhythm. Some duplicate the studio album delay times and some duplicate the live delay times. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. The second delay David used was the MXR Digital M-113 Delay. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. He used three delays there, but again, I can only distinctly hear two. 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. The last 8 minutes of the song is a rambling collage of echo repeats. 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. Delay Level: This is the volume level of the delay repeat compared to the original signal. solos: 375ms. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. 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 notes fade in and out, like a pedal steel guitar. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) Then I play the bass rhythm clean, then with the effects on. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. The level or volume knob would be set to maximum on most delays for this. intro: 650ms, Coming Back To Life - 2015/16 live version: 520ms -- feedback: 4-5 repeats, Obscured by Clouds: The S-O-S unit was basically a buffered interface with two send/returns. David usually used positions 1-4, for single playback repeats of heads 1-4. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): This unit is an incredibly versatile digital delay that many artists use. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats Let's see some of the units he used over time. Listening to this track helped me realize how delay and reverb trails interact with what I'm playing in a way that makes unintended diads that could . David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. To figure a 4/4 delay time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. Shown below are some typical Gilmour DD-2 delay times. 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. There are several reasons. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. If you put it in a 3/4 time it has an interesting bounce to it. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. Fat Old Sun- 2015/16 live version: The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. Copyright 2023 Killer Guitar Rigs. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. Treble: 4-5. To add space to your tone, add a clean digital delay at the end of your signal chain. It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. delay 2: 275-290ms -- feedback: 5-7 repeats - delay level: 25% -- delay type: analog, Short and Sweet - David Gilmour live 1984 version (Boss DD-2): It's just like the old Echoplex unit - David Gilmour from Guitar for the Practicing Musician, 1985, The Binson was an Italian made delay unit. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital To get the Pink Floyd sound, you'll need to use some specific equipment and settings. 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. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. 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. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for 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. The simplest option is to use an online Beats Per Minute caculator, like this one. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): 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. On the one hand, finally cracking one of my favourite guitar player's [] There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. 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. Often what I hear in the recordings is just natural room or hall reverb. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. So why don't you hear the repeats most of the time? I am not talking about spring reverb from an amp. It is not known exactly which delay David used for the sudio recording of Run Like Hell, but I do not think he used his Binson Echorec for the main delay. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. Syd's theme - Hollywood Bowl March 2016. 8-10 repeats on each delay. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. By porsch8 December 21, 2005 in Effects and Processors. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. 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: fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes It created a unique stuttered stacatto rhythm. One of These Days - 294ms delay + vibratto. A 300ms and 380ms delay had the heads repeating in these specific delay times. And lastly, youll want to mix it surprisingly quietly. 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. Adjust the tone to suit your amp/speaker tone. It was strange because it didn't utilize tape loops. 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 This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. It is impossible to achieve the exact same tone as a player without using the same equipment. - David Gilmour, Guitar World magazine. studio album solo: 275ms 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.

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