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second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. By porsch8 December 21, 2005 in Effects and Processors. 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. It's a beautiful sound, but David did not use tape delays like this. He used three delays there, but again, I can only distinctly hear two. 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. Brian May (of Queen) did the same effect a few years later on, - The 1983 Boss DD-2 was one of the first, and best sounding digital delays to come out of the early days of digital effects pedals. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. 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. Later versions of the DD-3 have different circuits. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. 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. He became known for this effect as he used it for his guitar solo in practically every queen concert. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. 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): The main rhythm guitar, chords, and fills are all double tracked. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats A DD-2 was also seen in David's Medina studio around 2017. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. 2. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): On the left is my standard setting range for the early 1970s Gilmour Echorec sound. Below is a breakdown of how to play this effect. The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. Tim Renwick solo: 520ms, Louder Than Words: Note that setting. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): 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. One of the ways to do that, is by using your effects creatively, just as he does. 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): USING TWO DELAYS AT ONCE - David has sometimes simultaneously used two separate delays with different delay times to create a larger sound, similar to what can be accomplished with the multi heads on an Binson Echorec. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). 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). Just get any old delay pedal, analog or digital, and set the time slow. 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): Gilmour's guitar playing is an integral part of this sound. If running the delays parallel, set for about 12 repeats on each. So why don't you hear the repeats most of the time? One of These Days - 294ms delay + vibratto. 310ms -- feedback: 3-4 repeats It's fun to just jam around using the unique delay rhythm it creates. - David Gilmour from Guitar for the Practicing Musician, 1985. 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%. My sound has everything to do with what sounds good to me. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. 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. Gilmour used the same 294ms delay from the Echorec plus the built in vibrato from an HH IC-100 amplifier, which was a very choppy tremolo effect. verse: 360ms It is around 294ms on the studio recording. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. solo: 500ms, High Hopes - live versions David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. delay time for both solos: 465ms or 480ms - feedback: 15-20% -- delay level: 20% (30-35% for waving part) -- delay type: digital, Comfortably Numb - Pulse version and most Division Bell tour performances: To add some modulation and a spacious feel to the delay tone on the studio recording David used either a Yamaha RA-200 rotary speaker cabinet or an Electric Mistress flanger. That equates to 250 - 240ms. Two guitars were multi tracked in the left and right channels. I set the vibrato to more or less the same tempo as the delay. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. How to you get the proper 3/4 delay time from that 4/4 time? HH IC-100 amplifier with built in tremolo. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): 2nd delay 165ms. I have one for specific time settings, for things like Run Like Hell and Give Blood, so I know in numbers (delay time in milliseconds) what setting I need to use. Below is an example using two digital delays in series. Delay volume 85% When using both the mono and stereo outputs together (each running to a separate amp) the DD-2 produces a very defined stereo field, with one channel being the dry signal only, and one being the delayed signal only. He began using digital delays in place of the Echorec around 1977. There are several reasons. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: solos: 430ms, Yet Another Movie: It helps to have a delay with a digital display to set the exact delay time. 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. intro: Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Echorec Style Delay Jamming - 428ms and 570ms. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : . As the song plays on I dial the delay volume and number of repeats higher and higher. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. 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. 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. I'll keep this simple rather than going into an explanation of time signatures. 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. And lastly, youll want to mix it surprisingly quietly. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. His final delay was the TC Electronic 2290. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) volume swells: 1100ms -- feedback: 4-5 repeats. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. I use the MXR with the read-out on it, so I instantly have the right tempo. Money solos - live 1977 version (MXR Digital Delay System I): This unit is an incredibly versatile digital delay that many artists use. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. - 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. 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. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog The Binson Echorec is an analogue echo unit made by Binson in Italy. solo: 680ms, Another Brick in the Wall Part 1: chords / arpeggios: 480ms I change my echo settings fairly often in concert. - David Gilmour, Guitar World magazine. Its also easier for live situations as changes can be made on the fly. First is the delay, then the square wave tremolo, then both together. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog 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. Reverb was also added at the mixing desk when recording or mixing. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. Solo: 430ms, Fat Old Sun- 1971/72 live versions: I use the MXR with the read-out on it, so I instantly have the right tempo. Use the feedback option to set it right where you think it sounds closest. As the recording drum and playback heads aged there was a slight loss of high end that added a unique high end roll-off as the echoes decayed, . But which delay pedal(s) does/did he use? You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. 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. www.gilmourish.com this website has info on Gilmours tone and gear used. 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. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. This obviously means that a lot of guitarists want to be like him. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: The Blue: 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. For real room reverb, mics were placed in different parts of the recording studio to capture the room sound, not just the speaker cabinet from the amp. 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. He did sometimes use the Swell mode. That equates to 428ms, which we will call the 4/4 time. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: 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 second delay David used was the MXR Digital M-113 Delay. delay 1: 250ms What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Its more compact, more reliable, and just easier to use. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. The official live recordings often have an even larger delay sound than the studio versions. I use the Tremotron from Stone Deaf Effects for this. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. R channel -- 1400ms with two repeats. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: Time intro - Torino, Italy, Sept 13, 1994. 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. All of the settings for this tone can be found in this PDF download below. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: It's all on a D pedal. - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. All these effects can be heard in most of Pink Floyds discography. There is a also bit of light overdrive in the tone. alternate 2nd Solo: 540ms 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. NOTE: This website is frequently updated. which is what gives the verse section that floaty, ethereal feel. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than 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. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Instead, it used a metal recording wheel. - David Gilmour. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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. That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 It was my very first delay and one of my favorite pedals for Gilmour-ish delay. - 2016/15 live version: verse, solos: 450ms, Learning To Fly - Pulse version: You simply have to practice your timing so you can play the fills and get back to the D rhythm note exactly in time with the delay repeats. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. Remember that these settings should just be used as a starting point. Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. - 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. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. A little later he switched to the MXR Digital Delay. Run Like Hell with 380ms and 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. 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. 1 2. Often what I hear in the recordings is just natural room or hall reverb. a`Its very reliable, just like the MXR, but its much more versatile and teachable. 2nd delay 375ms. 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 first delay is definitely set to 470ms, which is the 4/4 time. It is meant to simulate the sound of old analog tape delays as they aged. I use chorus, little delay and some reverb on my amps clean setting. 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. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. 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. 234ms and 150ms also works. See all posts by Andrew Bell. If you put it in a 3/4 time it has an interesting bounce to it. 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. intro: 650ms, Coming Back To Life - 2015/16 live version: middle section: 1500ms -- feedback: 10-12 repeats 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. Below are some specific Gilmour settings I use. Then go to a website with a Delay Time Calculator, like the one on this page. 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 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. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? MXR DIGITAL DELAYS - David began using digital delays in 1977.