david gilmour delay settings

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. Example: You determine the 4/4 beat/song tempo is 600ms. REEL-TO-REEL SOUND-ON-SOUND - 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. This would not only be one of the only times David is known to have used a tape delay effect live, but he seems to have used it much earlier than other guitarist more well known for this effect. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. I use one of their old ones most of the time because the width is narrower. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. Sort of a triplet on top of a triplet time delay. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Its also easier for live situations as changes can be made on the fly. slide solo: 550ms -- feedback: 4-5 repeats Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 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. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Blue Light Riff - with and without delay. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Head 3 = 3/4 When the notes pitch up or down the delay has 4-5 repeats. The Blue - 2016/15 live version: Volume 85% With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. This was most likely a reel-to reel recorder set up for a tape-loop delay. solo: 440ms. Note or mark that time setting on your delay. Another option is to run two delay pedals simultaneously. Read an explanation about how this is achieved here. Theyre so famous they sell for a very high price and are deemed a collectable for many. Note that setting. solos: 375ms. The notes fade in and out, like a pedal steel guitar. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). This is actually not quarter-note triplets. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. I don't care how I get it. 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. This is something us Gilmour fans have sought to recreate in our own playing. alternate: 380ms, High Hopes - 2015/16 live version: The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. "Square wave" means the sound wave looks square shaped, rather than wavy. 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. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. 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. 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. intro: 425ms It was usually set for single head and a fixed time at about 310ms. 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: delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital Solo: 300ms. - 2016/15 live version: 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. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. 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. solos: 540ms, What Do you Want From Me? The PE 603 Echorec had similar controls, but rather than having a switch to select different combinations of the four playback heads, it had individual switches for each head. The delay time must also be precisely in time with the song tempo. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. 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. Getting an original Binson Echorec these days is nearly impossible. He did sometimes use the Swell mode. 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. David Gilmour Lead Guitar Tone PDF Download verse / chorus: 435ms, Wearing the Inside Out: David could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. Kits Secret Guitar, Gear, and Music Page David probably just uses the term triplet because what he does has a similar feel. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. David Gilmour was the guitarist for English rock band Pink Floyd. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. 614ms -- feedback: 6-7 repeats, Rattle That Lock: David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. 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. It's a beautiful sound, but David did not use tape delays like this. Below are some specific Gilmour settings I use. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. 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 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. Every aspect of his tone can change on different albums, even on different tracks of the same album! a`Its very reliable, just like the MXR, but its much more versatile and teachable. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 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): buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. I use a compressor or a Tube Driver for this. 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. As an Amazon Associate, we earn from qualifying purchases. I turn each effect on one at a time so you can hear how they add to the tone. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital Check here for more Big Muffs to achieve the Gilmour tone. 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. 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. There are several parallel looper pedals that can be used for the actual "looping" part of the setup. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. Make David Gilmour's Shimmering Sustained Delay in Live. 1st delay 470ms. 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. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. Solo: 440ms ? The repeats are bright and shimmery but not brighter than the original signal. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: Gilmour used the TC Electronic 2290, but any digital delay will do. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. 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. 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. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. Its more modern than the MXR, but it sounds just as good. I'll keep this simple rather than going into an explanation of time signatures. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. David was very much in control of his sound system We rarely added effects to his guitar in the control room. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. 2nd delay 570ms. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. But which delay pedal (s) does/did he use? volume swells: 1100ms -- feedback: 4-5 repeats. Run Like Hell - Delay Rhythm Guitars Mixed Up Front - both channels, Run Like Hell - Sustained Chords Mixed Up Front, Run Like Hell - Verse Fills Mixed Up Front, Run Like Hell Live Excerpts - from Is There Anybody Out There - The Wall live 1980-81, David Gilmour live in 1984, the Delicate Sound of Thunder, and Pulse. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. Often what I hear in the recordings is just natural room or hall reverb. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. The delay used must have a "kill dry" or "dry defeat" mode, which means ONLY the 100% wet delay signal is sent to the output of the delay, none of the dry signal. Set one delay for 440ms, 2 repeats, 30-35% volume. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. He set the time to 310ms for most everything. But which delay pedal(s) does/did he use? 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. 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. 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. His delay times are slightly faster here. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. See all posts by Andrew Bell. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. 1st delay 428ms. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Other common delay times were 380, 440-450, 480, and 540ms. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. David would use the latter setting for most of the album. To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. David's pedal board had two Boss digital delays, but he also had an MXR 113 Digital Delay System and MXR Digital Delay System II in his rack. Plate reverb is far more accurate. Two guitars were multi tracked in the left and right channels. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. Copyright Kit Rae. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. 80x2 = 160. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. Let's see some of the units he used over time. solo: 500ms, High Hopes - live versions The Effect Level (volume) and Feedback (number of repeats) will vary. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. Instead, it used a metal recording wheel. Again, I'll simulate that with only two dominant delays. 2nd delay 165ms. 5. middle section: 1000ms -- feedback: 4-5 repeats The 450ms delay should come before the 600ms delay in your signal chain. So why don't you hear the repeats most of the time? Treble: 4-5. 2nd delay 94ms. Heavy reverb. 5,744. Often during the live songs that do have very loud delays, you do hear the repeats clearly. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. outro solo: 680ms -- feedback: 4-5 repeats. In this example I am showing how just using a single triplet 330ms delay is sufficient for this effect, but a second 4/4 feeling delay of 440ms or even a double triplet delay time to 660ms, could be added to enhance the space. Mar 8, 2013. He did sometimes use the Swell mode. - 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. It can be simulated with a short 40-50ms digital delay with one repeat, like this: PARALLEL MIXING DELAYS - Stacking one delay after another in your signal chain can degrade your tone because your original signal travels through, and is altered by, two delay circuits before coming out the other end. 1 2. Free shipping for many products! 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. 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. There is a also bit of light overdrive in the tone. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital 3rd solo: 430ms, Money solos - 2015/16 live version: Later versions of the DD-3 have different circuits. The first send went to a volume pedal. 2. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. I use chorus, little delay and some reverb on my amps clean setting. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 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. I use the MXR Digital Delay. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. If the repeats are faster than the tempo, increase the delay time. It has a digital readout, but it's really nowhere close to being accurate. Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. Note that David Gilmour varied his settings. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. He usually had the time set to 440ms. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Based on what I hear the guitar delay levels are not much different in either song, but I noticed the delay repeats are very clear in Castellorizon, but I barely hear them in OAI . This obviously means that a lot of guitarists want to be like him. The first Money solo, for example, sounds like it is awash in spring reverb. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. I change my echo settings fairly often in concert. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. Members; 529 Members; Share; Posted December 21, 2005. which is what gives the verse section that floaty, ethereal feel. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. 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. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: - Pulse version (TC 2290 Digital Delay): Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. 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 ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: MXR DIGITAL DELAYS - David began using digital delays in 1977. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. second solo before verse: 350ms -- feedback: 3-4 repeats This unit can also be heard on the The Wall album. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: This was most likely a reel-to reel recorder set up for a tape-loop delay. First is the delay, then the square wave tremolo, then both together. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): 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. His final delay was the TC Electronic 2290. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog This gives the impression of a 920-930ms delay. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. #4. I use the MXR with the read-out on it, so I instantly have the right tempo. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. To add space to your tone, add a clean digital delay at the end of your signal chain. R channel -- 1400ms with two repeats. Members; porsch8. It is impossible to achieve the exact same tone as a player without using the same equipment. What delay pedal does David Gilmour? It is meant to simulate the sound of old analog tape delays as they aged. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. Solo: 430ms, Fat Old Sun- 1971/72 live versions: I'll keep this simple rather than going into an explanation of time signatures. 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. second solo: 640ms -- feedback: 6-7 repeats Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. 380 divided by 3 = 126.7ms. 500ms -- feedback: 5-6 repeats. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. I started off with a Binson Echo unit, which is like a tape loop thing. The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. 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. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. Time intro test with backing track - 470ms and 94ms. It's actually a metallic disc that spins around. 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. 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. He used three delays there, but again, I can only distinctly hear two. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). The type of multi-head repeats varied depending on which of the four playback heads were selected.

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