delay 1 time: 90ms - David Gilmour, Guitar World magazine. There are several reasons. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats which is what gives the verse section that floaty, ethereal feel. It is said that he switched from an Echorec to an MXR for ease of use. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. Questa guida al setup di David Gilmour vuole essere d'aiuto per tutti coloro che volendo ricreare il sound che David ha utilizzato in un'album, in un tour o in una specifica canzone, sono alla ricerca dei setting precisi di ogni effetto usato da Gilmour. It is impossible to achieve the exact same tone as a player without using the same equipment. Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017). The first delay is definitely set to 470ms, which is the 4/4 time. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, 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. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. 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. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. Delay time depends on the era. MXR DIGITAL DELAYS - David began using digital delays in 1977. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. These effects combined with Gilmours guitars, amps, and more importantly, his fingers, all add up to the legendary sound we love, and the signature sound that will send any 40+ year old into a state of ecstasy if it comes on the radio. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. Free shipping for many products! Reverb was also added at the mixing desk when recording or mixing. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. 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. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. 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. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. 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. David used a Binson Echorec for his delay at the time DSOTM was recorded, but the Binson cannot create a delay as long as 440ms. I'll keep this simple rather than going into an explanation of time signatures. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. 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. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. - Be sure to read the section above. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: This unit can also be heard on the The Wall album. 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. Gilmour's Binson Echorec 2 model T7E from 1970-71. - David Gilmour from Guitar for the Practicing Musician, 1985. verse, solos: 450ms, Learning To Fly - Pulse version: 570 x 75% = 427.5. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Solo: 440ms ? I have two units, and I have different echo settings on both. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. verse / chorus: 435ms, Wearing the Inside Out: 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. Fine tune it until you hear the repeats are exactly in sync with the song tempo. 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. When the notes pitch up or down the delay has 4-5 repeats. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. For the middle section another piece of technology came into play: an HH amp with vibrato. All these effects can be heard in most of Pink Floyds discography. solo: 400ms, Raise My Rent: Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. 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. middle section: 1500ms -- feedback: 10-12 repeats It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. David Gilmour was the guitarist for English rock band Pink Floyd. He became known for this effect as he used it for his guitar solo in practically every queen concert. - 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. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. delay 1: 90ms 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. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: Blue Light Riff - with and without delay. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. So why don't you hear the repeats most of the time? They want to play and sound just like the man himself. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. So why don't you hear the repeats most of the time? I use the MXR Digital Delay. A little later he switched to the MXR Digital Delay. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. 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. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. 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. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. 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. 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. 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: David's T7E and PE603 Echorecs, and even the stock Echoplexes at the time, were not capable of anything even close to that length of delay. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 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. There are also instances where he has had a long delay time, but only one or two repeats, which gives the big sound, but makes the repeats almost inaudible in the band mix. By porsch8 December 21, 2005 in Effects and Processors. Mids: 6-7. Other common delay times were 380, 440-450, 480, and 540ms. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: If the repeats are slower, reduce it. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. 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. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. As technology was progressing, the use of rack effects units became more and more efficient. 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. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. I set the vibrato to more or less the same tempo as the delay. 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.
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