He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. Give Blood David Gilmour is famous for his unique use of delay and echo. 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. All these effects can be heard in most of Pink Floyds discography. 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats Getting an original Binson Echorec these days is nearly impossible. Copyright 2023 Killer Guitar Rigs. Great Gig Slide Guitar Breakdown. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. These three separate channels are blended back together with the original dry signal at the end of the signal chain. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Some duplicate the studio album delay times and some duplicate the live delay times. The effect actually works fine with only two delays. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. 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. In the studio recording I hear one guitar playing the single note triplet time rhythm, a second guitar playing the fills, and a third guitar playing occasional accents on top of the fills. The MXR Digital Delay System II was an upgraded version of the 113 that showed the delay time in milliseconds on the front panel and featured additional fine tuning controls. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. 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 first send went to a volume pedal. 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. I change my echo settings fairly often in concert. Run Like Hell with 380ms and 507ms delay in series. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. It has a digital readout, but it's really nowhere close to being accurate. 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. Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. His main analog delays were nearly always the drum type, like the Echorec, which only had high end-roll off as the magnetic drum and record/playback heads aged. It created a unique stuttered stacatto rhythm. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. His tone is instantly recognizable and unique. The Echorec 2 had six knobs - INPUT CONTROL (volume), LENGTH OF SWELL (number of repeats), VOLUME OF SWELL (volume of repeats), BASS/TREBLE (tone knob for the repeats), a three position SELECTOR knob, and a SWITCH knob that selected various combinations of the four playback heads. The delays are set in series like this: Below is an example of replicating the Syd's Theme delays from 1994. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. He set the time to 310ms for most everything. 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. 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 . Its more compact, more reliable, and just easier to use. 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 If the repeats are slower, reduce it. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. For the middle section another piece of technology came into play: an HH amp with vibrato. Copyright Kit Rae. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog As the song plays on I dial the delay volume and number of repeats higher and higher. Below is an isolated excerpt of this part. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. - Delay Rhythm Guitars Mixed Up Front - both channels. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. solos: 430ms, Yet Another Movie: Hes got the sort of guitar-god charisma that comes with his insane talent. I also use it to add some of the bigger room and concert hall sounds. It was set for a light overdrive setting and was most likely an always-on pedal. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. 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. Mar 8, 2013. solos: 660ms -- feedback: 6-7 repeats, Time: 380 divided by 3 = 126.7ms. If you have a good sound in the room or hall you are playing in, there is no need to add reverb, but in small or dead sounding rooms, adding a small amount of reverb in your effects rig can really enhance the sound. David would play a two note chord, then fade the volume in as he slides to the next position. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *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. Heavy reverb. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Last update July 2022. 1 2. This was most likely a reel-to reel recorder set up for a tape-loop delay. second solo: 460ms -- feedback: 5-7 repeats, Dogs: 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). There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. 3. Theyre so famous they sell for a very high price and are deemed a collectable for many. solo: 400ms, Raise My Rent: 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. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: - 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. Start new topic; Recommended Posts. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. Find the proper delay time for the song as described above, then let's do some "Echorec math". Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: This setup can also be used for songs like On the Turning Away and Sorrow.--------------------------Signal chain:Guitar - Fender Stratocaster, with D Allen Voodoo 69 neck and middle pickups and Seymour Duncan SSL5 bridge pickupAmp - Reeves Custom 50, Laney LT212 cabinet with Celestion V30 speakersMic - Sennheiser e906Follow Gilmourish.Com here:http://www.gilmourish.comhttps://www.facebook.com/pages/Gilmouhttp://www.bjornriis.com The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. 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. And what I meant with using it as a reverb was that he tends to tune his delay to the rest of the band so that it creates a cohesive piece that captures their signature atmospheric sound. As the chord rang on, David could then play the melody lines through his main Hiwatt. Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. 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. 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. 5,744. Solo: 300ms. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. This the dominant delay, but there is also a 300ms delay low in the mix Delay settings - Tony Samperi Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. 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. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Multiply that number by 75% to get the triplet time delay. This is similar to the sound David had for his 1984 live performances of Run Like Hell, as heard on the David Gilmour In Concert video released in 1984 by CBS, and the Westwood One Radio Network FM broadcast of the July 12th concert in Bethlehem Pennsylvania.