Let's see some of the units he used over time. 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! Listening to the trails specifically, something a little darker like a DM-2 would do it. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. One of These Days - gated tremolo section isolated. 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). outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): 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. 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. 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. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats David also had an MXR 113 Digital Delay System that could do that delay time. David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. A single delay set at 1400ms with 3 repeats has a similar feel as well. This is the primary delay time you hear in the song. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. Give Blood DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Syd's theme: 375ms and 500ms solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: Time intro test with backing track - 470ms and 94ms. It's a sort of melodic delay to use. April 9, 2022. by Joe Nevin. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. - 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. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. 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, I started off with a Binson Echo unit, which is like a tape loop thing. 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. Fine tune it until you hear the repeats are exactly in sync with the song tempo. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Its a famous echo unit used by many artists, and useful for varying instruments. The fill patterns played in the verse section sound dry, with almost no delay. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. It's just like the old Echoplex unit - David Gilmour from Guitar for the Practicing Musician, 1985, The Binson was an Italian made delay unit. *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the Gilmour Gear Forum 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`Its very reliable, just like the MXR, but its much more versatile and teachable. Generally speaking, the sound on the album is pretty much what came out of his amp. Reaction score. I used to be expert with Binsons. solo: 500ms, High Hopes - live versions Great Gig Slide Guitar Breakdown, Here's another, starting with the dry guitar in the left channel, then the right channel with the 440ms 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. 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 primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. The delays are set in series like this: middle section: 1500ms -- feedback: 10-12 repeats The Binson Echorec is an analogue echo unit made by Binson in Italy. 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. 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. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. You could get some wonderful delay effects that aren't attainable on anything that's been made since. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. The TC Flashback can be set up with the Tone Print edito. Kits Secret Guitar, Gear, and Music Page See all posts by Andrew Bell. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. 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. Often what I hear in the recordings is just natural room or hall reverb. 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 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. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital If running the delays parallel, set for about 12 repeats on each. 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. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): This is actually not quarter-note triplets. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. David Gilmour Solo Tone Settings For "Time" . As technology was progressing, the use of rack effects units became more and more efficient. delay 1: 250ms 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. 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. delay time for both solos: 465ms or 480ms - feedback: 15-20% -- delay level: 20% (30-35% for waving part) -- delay type: digital, Comfortably Numb - Pulse version and most Division Bell tour performances: I am not talking about spring reverb from an amp. It was used for the early live version of, 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. The third delay is probably in 3/4 time, but I can barely hear it. verse, solos: 450ms, Learning To Fly - Pulse version: solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. I use the Tremotron from Stone Deaf Effects for this. Check here for more Big Muffs to achieve the Gilmour tone. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. Solo: 430ms, Fat Old Sun- 1971/72 live versions: solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): ANOTHER BRICK IN THE WALL PART I - This one is very similar to Run Like Hell, played in D, with a 450ms delay, around 7 repeats, with the repeat volume equal to the signal volume. If you set it too high it will self oscillate into a whining feedback. He did sometimes use the Swell mode. 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). volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats Below is an example using two digital delays in series. It's a beautiful sound, but David did not use tape delays like this. Run Like Hell with 380ms and 507ms delay in series. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. 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. This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. 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. I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 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. second solo: 370ms -- feedback: 7-8 repeats -- delay level: 20% -- delay type: analogSyd's theme: 290ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: analog This is probably spring reverb from David's Twin Reverb. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. slide solo: 550ms -- feedback: 7-8 repeats alternate: 380ms, High Hopes - 2015/16 live version: VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. Although he often blends different types of delays, creating rich textures and layers, I'm going to break it down into four signature setups covering each era. 2nd delay 165ms. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. 500ms -- feedback: 5-6 repeats. 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. 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. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): 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. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. 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. Delay Time: Shown in milliseconds. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. delay 2: 430ms, In Any Tongue - 2015/16 live version: 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.