david gilmour delay settings david gilmour delay settings

The TC Flashback can be set up with the Tone Print edito. delay 2: 254ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital delay 2 alternate: 90ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital, Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. 234ms and 150ms also works. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat Posted December 21, 2005. porsch8. First is the delay, then the square wave tremolo, then both together. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): solos: 375ms. Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. 5 A.M. : This is the primary delay time you hear in the song. - 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. So why don't you hear the repeats most of the time? - David Gilmour. Last update July 2022. Every aspect of his tone can change on different albums, even on different tracks of the same album! Below is my best guess at the delay times David used there. Kits Secret Guitar, Gear, and Music Page The studio recording was likely duplicated and played back 440ms behind the original guitar recording to create the effect, or the mixing board was outfitted with a longer delay to create the effect in the mix. 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 380 divided by 3 = 126.7ms. David almost always uses delays in his live rigs, not reverbs. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. A key to the way David has done this is to run each delay in its own separate channel, parallel and separate from the line signal. 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. Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. 5,744. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. As technology was progressing, the use of rack effects units became more and more efficient. This is probably spring reverb from David's Twin Reverb. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: David also had an MXR 113 Digital Delay System that could do that delay time. For the wet 1st and 3rd solos from Money I use basically the same settings, but I dial the mix knob up a bit for the third section after the dry solo. This the dominant delay, but there is also a 300ms delay low in the mix The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. 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. In this video I'm demonstrating how to set up your David Gilmour delay sounds 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. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. The primary reason is becasue the delay time is usually set in time with the tempo of the song, so each repeat lands on the beat. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. 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 before verse: 350ms -- feedback: 3-4 repeats ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: Multiply that x3 to get the 3/4 time and you get 427.5. 1st delay 470ms. The level or volume knob would be set to maximum on most delays for this. outro solo: 680ms -- feedback: 4-5 repeats. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. 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. 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? 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. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: But delay is not the only effect that Gilmour tends to use. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog intro: 650ms, Coming Back To Life - 2015/16 live version: It's actually a metallic disc that spins around. - Phil Taylor, David's backline tech. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) By the way, you might also want to check out our top picks for the best delay pedals, our guides to the delay pedals used bySlashandEddie Van Halen, as well as our tips for where to place your delay in the chain withreverbandchoruspedals. THE BOSS DD-2 DELAY - 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. Then go to a website with a Delay Time Calculator, like the one on this page. 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. verse / chorus: 435ms, Wearing the Inside Out: Some duplicate the studio album delay times and some duplicate the live delay times. 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. This is because the orchestra in Castellorizon is not loud enough to mask the repeats, but the band playing under the solo in On an Island certainly is. I have two units, and I have different echo settings on both. The S-O-S unit was basically a buffered interface with two send/returns. 2nd delay 165ms. This was most likely a reel-to reel recorder set up for a tape-loop delay. Use the feedback option to set it right where you think it sounds closest. 2,434. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. 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. 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. 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. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog Below is a breakdown switching between the various tracks of all three solos. The effect actually works fine with only two delays. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. verse, solos: 450ms, Learning To Fly - Pulse version: The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. 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 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. There are times when I have both running at the same time for certain effects. Gilmour's guitar playing is an integral part of this sound. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. 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. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Below are examples from 2016 of David using three digital delays in series for Syd's theme from performances of Shine of You Crazy Diamond. Run Like Hell with 380ms and 254ms delays in series. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): It was usually set for single head and a fixed time at about 310ms. 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. If you break the beat into a four count, that second repeat would be on 4. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. solo: 400ms, Raise My Rent: You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. Great Gig Slide Guitar Breakdown. Another option is to run two delay pedals simultaneously. But which delay pedal(s) does/did he use? To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. When you play across it, it helps you to double-track yourself. You can hear this in songs like One of These Days, Short and Sweet, Another Brick in the Wall Parts I and III, Run Like Hell, Blue Light, Give Blood, One Slip, Keep Talking, Take it Back, and Allons-Y. However, it is possible to play this one one guitar. He usually had the time set to 440ms. solo: 500ms, High Hopes - live versions Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. slide solo: 550ms -- feedback: 7-8 repeats Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. 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. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life.