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- David Gilmour. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: Why is that important? Gilmour uses pristine delays. 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. 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. David would play a two note chord, then fade the volume in as he slides to the next position. 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. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. 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. I change my echo settings fairly often in concert. Gilmour used the TC Electronic 2290, but any digital delay will do. . for providing some of the delay times and to Will for compiling a list of the 2015/16 tour delay times seen on David's digital delays! A 300ms and 380ms delay had the heads repeating in these specific delay times. Some duplicate the studio album delay times and some duplicate the live delay times. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. Many of the sound effects youll hear on the earlier albums were created with this machine. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. David would use a Binson Echorec in the early days between 1968-1978. On the one hand, finally cracking one of my favourite guitar player's [] Below is a breakdown of how to play this effect. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. second solo: 640ms -- feedback: 6-7 repeats Delay settings for Pink Floyd's David Gilmour sound delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Electric Mistress V2, V3, or V4: For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. The first Money solo, for example, sounds like it is awash in spring reverb. A single delay set at 1400ms with 3 repeats has a similar feel as well. - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, David would play a chord, raise the volume pedal to send the signal into the SDE 3000, then lower the volume back to to zero to kill the input signal. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: 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. 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): fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes 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. I'll keep this simple rather than going into an explanation of time signatures. Gilmour delay: '60s-'70s: Binson Echorec II. That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. The level or volume knob would be set to maximum on most delays for this. Here is a clip of a single 330ms delay playing the Blue Light riff. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats I use two delay pedals for Run Like Hell. Note that David Gilmour varied his settings. SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 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). So why don't you hear the repeats most of the time? 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. 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. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog If running the delays parallel, set for about 12 repeats on each. Echorec Style Delay Jamming - 428ms and 570ms. verse: 360ms Its hard to give an estimate as every pedal will respond differently. I use the MXR with the read-out on it, so I instantly have the right tempo. delay 1: 250ms REVERB OR NO REVERB ? As the chord rang on, David could then play the melody lines through his main Hiwatt. 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. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. As the chord rang on, David could then play the melody lines through his main Hiwatt. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): On the left is my standard setting range for the early 1970s Gilmour Echorec sound. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. All of the settings for this tone can be found in this PDF download below. He has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. 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. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. The clip below is played with those same 428ms and 570ms delay times. Mids: 6-7. The Binson Echorec is an analogue echo unit made by Binson in Italy. 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. When using both the mono and stereo outputs together (each running to a separate amp) the DD-2 produces a very defined stereo field, with one channel being the dry signal only, and one being the delayed signal only. alternate 2nd Solo: 540ms - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. The fact that these two delays were studio effects may explain why David never played the slide parts live in the original Dark Side of the Moon concerts. delay 2: 430ms, In Any Tongue - 2015/16 live version: Electric Mistress - How to use it - Settings delay 1: 90ms Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. If you break the beat into a four count, that second repeat would be on 4. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably 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. 1st delay 240ms. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. The Effect Level (volume) and Feedback (number of repeats) will vary. 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. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. Divide 240 by 3 and you get 80. SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. You can also play in time with the delays in a kind of shuffle rhythm. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 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. The 4/4 delay can barely be heard on the studio recording and is really not necessary, but it is fun to experiment with two delays. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977.