Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. alternate: 380ms, High Hopes - 2015/16 live version: Verse / Chorus : TC 2290 Digital Delay: 430ms 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. 8-10 repeats on each delay. 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. Once you have that, turn the feedback down so there are only about 3-6 repeats, adjust the delay volume to suit the song, and you are ready to go. 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. 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. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? See all posts by Andrew Bell. It's fun to just jam around using the unique delay rhythm it creates. 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. 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. You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. I often hear a guitar recorded dry, a reverb only track, and a delay only track. delay 1 time: 90ms solo: 440ms. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. 8-10 repeats on each. There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. That may be just my fantasy; I don't know. 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. 380 divided by 3 = 126.7ms. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Below is a medley of David using the Echorec from 1969-1977. intro: delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: It was strange because it didn't utilize tape loops. Time intro - Torino, Italy, Sept 13, 1994. This the dominant delay, but there is also a 300ms delay low in the mix 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. I don't care how I get it. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. A DD-2 was also seen in David's Medina studio around 2017. The delays are set in series like this: Gilmour used the TC Electronic 2290, but any digital delay will do. I turn each effect on one at a time so you can hear how they add to the tone. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. Sort of a triplet on top of a triplet time delay. But delay is not the only effect that Gilmour tends to use. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: The second delay should just be accenting the first, filling the space between the 3/4 repeats. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. 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 are some specific Gilmour settings I use. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. - Pulse version (TC 2290 Digital Delay): It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. He did sometimes use the Swell mode. 650-680ms were occasionally used for long delays. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat 570 divided by four (4/4) is 142.5. Getting an original Binson Echorec these days is nearly impossible. 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. There are several reasons. Mids: 6-7. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. The repeats had a warm high end roll off, similar to David's Binson Echorecs. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). - David often has a big, watery delay tone, as if he were playing in a large hall, but the actual audible echo repeats in his solos are almost absent in many cases. Solo: 300ms. Members; 529 Members; Share; Posted December 21, 2005. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. - 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. When you have a drum and bass note landing at the same time it somewhat masks the repeat. 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. Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! second solo: 460ms -- feedback: 5-7 repeats, Dogs: - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. - 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. The first is set in 3/4 time (dotted eighth notes) for about 8 echo repeats at exactly 380ms, or three repeats for every song beat. If running the delays parallel, set for about 12 repeats on each. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. I'll keep this simple rather than going into an explanation of time signatures. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. David would play a two note chord, then fade the volume in as he slides to the next position. Delay time depends on the era. 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: It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. Tim Renwick solo: 520ms, Louder Than Words: Its more modern than the MXR, but it sounds just as good. This creates a different bouncy feel to the delay rhythm. For real room reverb, mics were placed in different parts of the recording studio to capture the room sound, not just the speaker cabinet from the amp. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. 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. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. David Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an echo. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. It's a beautiful sound, but David did not use tape delays like this. 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. This obviously means that a lot of guitarists want to be like him. This is something us Gilmour fans have sought to recreate in our own playing. 5 A.M. : The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. - 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. 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. Reaction score. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. verse/chorus sections: 310ms -- feedback: 3-4 repeats Below is an example of replicating the Syd's Theme delays from 1994. 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. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. 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. The notes fade in and out, like a pedal steel guitar. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. Below are settings to get that sound. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): Divide 240 by 3 and you get 80. The tempo used in this demo is slightly too. 570 x 75% = 427.5. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): 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. : Volume 85% (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017). The delay time and your playing must be precisely in time with the song tempo, so it takes some practice to perfect this style of playing. 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): 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. I change my echo settings fairly often in concert. A little later he switched to the MXR Digital Delay. This unit is an incredibly versatile digital delay that many artists use. If you set it too high it will self oscillate into a whining feedback. David almost always uses delays in his live rigs, not reverbs. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. Some duplicate the studio album delay times and some duplicate the live delay times. Shown below are some typical Gilmour DD-2 delay times. David was very much in control of his sound system We rarely added effects to his guitar in the control room. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. Great Gig Slide Guitar Breakdown. 500ms -- feedback: 5-6 repeats. *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! I use the MXR with the read-out on it, so I instantly have the right tempo. Delay volume 90%. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. Every aspect of his tone can change on different albums, even on different tracks of the same album! Note that David Gilmour varied his settings. It is meant to simulate the sound of old analog tape delays as they aged. As I said before, he often doesnt just use the delay to make his solos fit in the particular vibe of the song, but also the help build the rest of the soundscape. 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): Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. Delay and reverb should be the last effect in the chain. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. Use the feedback option to set it right where you think it sounds closest. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. Note that setting. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: When you play across it, it helps you to double-track yourself. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. 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. It only added a very slight gain boost to his clean amp tone, but . Money solos - live 1977 version (MXR Digital Delay System I): Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. Echorec 2 ..Echorec PE 603 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: Both types have been described as "warm" sounding, which can get confusing. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. 5. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. I have managed to nearly replicate what a Binson will do using a combination of modern digital unitsthe multi-head sounds, as well as the Swell settingwhich is what I use on the beginning of Time, for example - David Gilmour, Guitar World March 2015. Gilmour's Binson Echorec 2 model T7E from 1970-71. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: 1st solo: 435ms I started off with a Binson Echo unit, which is like a tape loop thing. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms David Gilmour, as many guitarists will agree on, is an absolute legend. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. 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. This is actually not quarter-note triplets. When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? David has often usied very long delay times, so the repeats are not as obvious because he is playing the next bit of a solo phrase right when the repeats from the previous notes start. This is a big part of Pink Floyd's sound. 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. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): 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. One of These Days - 294ms delay + vibratto. Volume 65% The first delay is 380ms, 10-12 repeats, delay voume 95%. 234ms and 150ms also works. Copyright Kit Rae. David Gilmour is famous for his unique use of delay and echo. You can also get something similar with one 650ms delay set for 2 repeats. Its hard to give an estimate as every pedal will respond differently. You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. Below is an example using two digital delays in series. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. They want to play and sound just like the man himself. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog 525ms, Sorrow Solo - 2016/15 live version: slide solo: 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. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. outro solo: 680ms -- feedback: 4-5 repeats. 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. If you break the beat into a four count, that second repeat would be on 4. A 300ms and 380ms delay had the heads repeating in these specific delay times. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. SHINE ON YOU CRAZY DIAMOND 1-5 settings. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. 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. Then go to a website with a Delay Time Calculator, like the one on this page. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): It created a unique stuttered stacatto rhythm. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: All rights reserved. He would do this for each chord change in the intro to, 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. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: Make David Gilmour's Shimmering Sustained Delay in Live. But which delay pedal(s) does/did he use? 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. Run Like Hell with 380ms and 254ms delays in series. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. 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. Kits Secret Guitar, Gear, and Music Page One of These Days - gated tremolo section isolated. Syd's theme: 370ms and 480ms All these effects can be heard in most of Pink Floyds discography. He came up with that basic riff that we all worked on and turned into One of these Days. His delay times are slightly faster here. intro: 440ms The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. 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. Then I play the bass rhythm clean, then with the effects on. 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.