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 . rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): Kits Secret Guitar, Gear, and Music Page. See all posts by Andrew Bell. which is what gives the verse section that floaty, ethereal feel. Syd's theme: 375ms and 500ms ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms This creates a different bouncy feel to the delay rhythm. The Binson Echorec is an analogue echo unit made by Binson in Italy. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. 540ms, Take A Breath: If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 Plate reverb is far more accurate. David was very much in control of his sound system We rarely added effects to his guitar in the control room. solo: 560ms For his general ambient delays, choose the most tape flavored setting and use 50%-ish feedback (or 7-8ish repeats) and mix it fairly low so it sounds more like a subtle reverb. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. 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. A DD-2 was also seen in David's Medina studio around 2017. 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. verse / chorus: 430ms, Us and Them - 2016/15 live version: Last update July 2022. 5,744. Dec 23, 2015. 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. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. This is something us Gilmour fans have sought to recreate in our own playing. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Comfortably Numb: To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. This is the primary delay time you hear in the song. David Gilmour Lead Guitar Tone PDF Download Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. 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. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. It is impossible to achieve the exact same tone as a player without using the same equipment. 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. Delay and reverb should be the last effect in the chain. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. 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. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Find the song tempo delay time as described above, so your delay is making one repeat per song beat, exactly in time with the beat. Remember that these settings should just be used as a starting point. The simplest option is to use an online Beats Per Minute caculator, like this one. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. I think the 2290 mode on the Flashback does very well for playing anything Gilmour, and if you check out some of Bjorn Riis's Floyd jams on . 3. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. 1978 and on: digital delay, several stompboxes and rack units used (Boss, TC, MXR, Lexicon) The 2006 all tube Cornish board has a Cornish TES delay. verse/chorus sections: 310ms -- feedback: 3-4 repeats 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): 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. 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. It's a sort of melodic delay to use. second solo: 640ms -- feedback: 6-7 repeats Sometimes these are called "parallel mixers" or "looper" pedals. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. 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. second solo before verse: 350ms -- feedback: 3-4 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. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. Members; porsch8. A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Another Brick in the Wall Part II (live): Any Colour You Like - 1994 live versions: Astronomy Domine - Pulse version (MXR Digital Delay System II for solo). This unit is an incredibly versatile digital delay that many artists use. I use chorus, little delay and some reverb on my amps clean setting. But which delay pedal (s) does/did he use? David would use a Binson Echorec in the early days between 1968-1978. - Pulse version (TC 2290 Digital Delay): 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. 310ms -- feedback: 3-4 repeats On Reverb, the average Echorec sells for between 3500$ to 5000$. In this clip I have one set for 380ms for Run Like Hell and one for 440ms for Another Brick in the Wall (part 1). Volume 85% volume swells: 1100ms -- feedback: 4-5 repeats. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. 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. David usually used positions 1-4, for single playback repeats of heads 1-4. Sort of a triplet on top of a triplet time delay. 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 main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. Set one delay for 440ms, 2 repeats, 30-35% volume. Echorec Style Delay Jamming - 428ms and 570ms. This is something us Gilmour fans have sought to recreate in our own playing. middle keyboard section: 340ms -- feedback: 8-9 repeats . This was most likely a reel-to reel recorder set up for a tape-loop delay. 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. So why don't you hear the repeats most of the time? 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. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. - Delay Rhythm Guitars Mixed Up Front - both channels. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. The fill patterns played in the verse section sound dry, with almost no delay. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: Shorter delay times are more obvious because the repeats are heard in between notes and phrases. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes 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. solo: 420ms Volume 65% - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. Copyright Kit Rae. 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. The S-O-S unit was basically a buffered interface with two send/returns. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. In 2006 the dry signal split off at the end of his pedal board signal chain into two separate loops, each going to a separate delay. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. Why is that important? second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats The type of multi-head repeats varied depending on which of the four playback heads were selected. If the repeats are slower, reduce it. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. I use the Tremotron from Stone Deaf Effects for this. Below is my best guess at the delay times David used there. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. Last update September 2022. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). This is probably spring reverb from David's Twin Reverb. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. Gilmour's Binson Echorec 2 model T7E from 1970-71. Make David Gilmour's Shimmering Sustained Delay in Live. 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. Starting with the finer details of the setup's tone like amp EQ and drive pedal levels and EQ will help you hear everything much more clearly before adding all the delay and reverb. 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. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats

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