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. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital Often what I hear in the recordings is just natural room or hall reverb. 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. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. 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. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. A little later he switched to the MXR Digital Delay. 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. 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. 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. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: www.gilmourish.com this website has info on Gilmours tone and gear used. It was set for a light overdrive setting and was most likely an always-on pedal. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. 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. 650-680ms were occasionally used for long delays. Make David Gilmour's Shimmering Sustained Delay in Live. Here is a clip of a single 330ms delay playing the Blue Light riff. The clip below is played with those same 428ms and 570ms delay times. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. Its also easier for live situations as changes can be made on the fly. Syd's theme: 370ms and 480ms outro solo: 680ms -- feedback: 4-5 repeats. 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. See all posts by Andrew Bell. The delay time must also be precisely in time with the song tempo. For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. On Reverb, the average Echorec sells for between 3500$ to 5000$. This is probably spring reverb from David's Twin Reverb. HOW TO FIND THE PROPER DELAY TIMES - You can go here for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. The Mode switch is in position 7, which is Head 3 + Head 4. Time intro test with backing track - 470ms and 94ms. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: 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. Reverb was also added at the mixing desk when recording or mixing. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. 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. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: La guida un lavoro in continua evoluzione ed in continuo aggiornamento. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. 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. My sound has everything to do with what sounds good to me. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. David Gilmour was the guitarist for English rock band Pink Floyd. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. The level or volume knob would be set to maximum on most delays for this. 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. R channel -- 1400ms with two repeats. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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. HH IC-100 amplifier with built in tremolo. 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. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. It's actually a metallic disc that spins around. Delay volume 90%. 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. Alan Parsons has said David was generating all the effects himself for the first solo, so this was probably spring reverb from the Twin Reverb David had in the studio. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. Check here for more Big Muffs to achieve the Gilmour tone. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. 5,744. The reverb could have been added in the mixing stage, or it could be natural room reverb from mics positioned in the recording studio to capture the natural room sound. You can also play in time with the delays in a kind of shuffle rhythm. Below is a breakdown of how to play this effect. - David Gilmour from Guitar for the Practicing Musician, 1985, We also have an old MXR DDL (MXR Digital Delay System II) digital delay unit built into a rack unit. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): I set the vibrato to more or less the same tempo as the delay. Alt. first solo: 507ms -- feedback: 2-3 repeats He used three delays there, but again, I can only distinctly hear two. Bass: 5-6. Set up your preferred delay settings and beam that into your pedal. USING TWO DELAYS - David has stated he used two delays, one in 3/4 time (dotted eighth notes) and one in 4/4 time (quarter notes). 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. There is a 440ms delay on the guitars in the studio recording. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. . Head 2 = 2/4 I started off with a Binson Echo unit, which is like a tape loop thing. 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. All these effects can be heard in most of Pink Floyds discography. >> Click to read more <<. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. 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. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. You should keep in mind that these official recordings have been sweetened to sound as good as possible. The first Money solo, for example, sounds like it is awash in spring reverb. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: Set one delay for 440ms, 2 repeats, 30-35% volume. 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. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: solos: 660ms -- feedback: 6-7 repeats, Time: verse: 360ms 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. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Volume 65% In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. The volume swells can be easily created today with a delay and a volume pedal. Every aspect of his tone can change on different albums, even on different tracks of the same album! 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. Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. 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. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. The third delay is probably in 3/4 time, but I can barely hear it. By porsch8 December 21, 2005 in Effects and Processors. This creates a different bouncy feel to the delay rhythm. 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Note that David Gilmour varied his settings. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. 2,434. Last update September 2022. With that said, the rest of the article is designed to . Comfortably Numb: 530ms -- feedback: 4-5 repeats, Coming Back To Life: Head 3 = 3/4 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. 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. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. Its more modern than the MXR, but it sounds just as good. The 450ms delay should come before the 600ms delay in your signal chain. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): This is a big part of Pink Floyds sound. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Posted December 21, 2005. porsch8. Reaction score. One of the ways to do that, is by using your effects creatively, just as he does. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. moderate reverb, probably from the plate reverbs at Abbey Road studios. It helps to have a delay with a digital display to set the exact delay time. second solo: 480ms -- feedback: 6-7 repeats 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. Some duplicate the studio album delay times and some duplicate the live delay times. There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. - Pulse version (TC 2290 Digital Delay): Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: 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. 500ms -- feedback: 5-6 repeats. 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. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. 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! Gilmour uses pristine delays. I use two delay pedals for Run Like Hell. solo: 500ms, High Hopes - live versions This 3/4 and 4/4 delay can be used for more than just some Echorec effects. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): 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. David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. Feedback: This is the number of audible repeats. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. Just get any old delay pedal, analog or digital, and set the time slow. That may be just my fantasy; I don't know. The tempo used in this demo is slightly too. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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. verse / chorus: 435ms, Wearing the Inside Out: The early Boss DD-3 pedal had exactly the same circuit as the DD-2. 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. Sort of a triplet on top of a triplet time delay. Sometimes these are called "parallel mixers" or "looper" pedals. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). NOTE: This website is frequently updated. Members; 529 Members; Share; Posted December 21, 2005. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. 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. Heavy reverb. 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. Let's see some of the units he used over time. As I said before, he often doesnt just use the delay to make his solos fit in the particular vibe of the song, but also the help build the rest of the soundscape. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. 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. It still retained the warmth of the original signal rather well, but there is no high end roll-off in the repeats, so it is not "warm" analog delay in that regard. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. The delays are set in series like this: You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. 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. Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. I use the MXR Digital Delay. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog If you set it too high it will self oscillate into a whining feedback. The second delay should just be accenting the first, filling the space between the 3/4 repeats. Why is that important? 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. 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. The delays are set in series like this: Echorec Style Delay Jamming - 428ms and 570ms. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. 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. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: Electric Mistress V2, V3, or V4: David Gilmour is famous for his unique use of delay and echo. His talent doesnt just limit to his skill, but also to his creativity. Treble: 4-5. And lastly, youll want to mix it surprisingly quietly. That equates to 428ms, which we will call the 4/4 time. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. I have two units, and I have different echo settings on both. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: The tape splices were then camouflaged with cymbal crashes. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. The trick is not to overdo it. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. It's all on a D pedal. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. 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. David was very much in control of his sound system We rarely added effects to his guitar in the control room. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. 80x2 = 160. There are times when I have both running at the same time for certain effects. delay time to simulate offset multi track recordings: 930ms -- feedback: 4-5 repeats -- delay level: 30-35% -- delay type: analog, Breathe - Pulse version (TC2290 Digital Delay): For Run Like Hell, David's using what he refers to as "triplets".. 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. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): - David Gilmour from Guitar for the Practicing Musician, 1985. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. If running the delays parallel, set for about 12 repeats on each. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. 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

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