david gilmour delay settings david gilmour delay settings

Coming Back to Life Intro Tone Build - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). 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. Multiply that x3 to get the 3/4 time and you get 427.5. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): The volume swells can be easily created today with a delay and a volume pedal. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. solos: 430ms, Yet Another Movie: If you don't have a delay with a millisecond display, it is still possible to find the proper 3/4 delay time in a 4/4 time signature. 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. 1st delay 500ms. David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. 614ms -- feedback: 6-7 repeats, Rattle That Lock: 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 HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? A DD-2 was also seen in David's Medina studio around 2017. The Blue - 2016/15 live version: Many of the sound effects youll hear on the earlier albums were created with this machine. 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. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. Mids: 6-7. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. A single delay set at 1400ms with 3 repeats has a similar feel as well. 234ms and 150ms also works. 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. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: A little later he switched to the MXR Digital Delay. The repeats had a warm high end roll off, similar to David's Binson Echorecs. 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 Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. If you set it too high it will self oscillate into a whining feedback. You must remember this, Those settings are used for a stadium show, set to produce for a huge arena, not your 8 x 10 bedroom, and not your 100 x 100 bar. 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. Below are examples from 2016 of David using three digital delays in series for Syd's theme from performances of Shine of You Crazy Diamond. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. Brian May (of Queen) did the same effect a few years later on, - 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. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: slide guitar solos: 300ms, One Of These Days - 2015/16 live version: He used three delays there, but again, I can only distinctly hear two. - 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. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. This is probably spring reverb from David's Twin Reverb. alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: slide solo: 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. HOW TO FIND THE PROPER DELAY TIMES - You can go here 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. verse: 360ms Another option is to run two delay pedals simultaneously. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. 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. >> Click to read more <<. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. Hes got the sort of guitar-god charisma that comes with his insane talent. Below is a breakdown of how to play this effect. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. I used a Free the Tone Future Factory delay set for 300ms and long repeats. Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. Check here for more Big Muffs to achieve the Gilmour tone. The shorter delay fills in the gaps between the longer delay repeats, creating a smooth delay sound, but the delay time on both makes the repeats fall inline with the song tempo. Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made. The other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. These are 5 note scales, pretty much the simplest scale a guitarist could use. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. 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. 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. 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. Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. R channel -- 1400ms with two repeats. 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. Gilmour used the same 294ms delay from the Echorec plus the built in vibrato from an HH IC-100 amplifier, which was a very choppy tremolo effect. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. 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. 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. Last update September 2022. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. Reverb was also added at the mixing desk when recording or mixing. Here are what the settings mean -. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): 310ms -- feedback: 3-4 repeats This is a big part of Pink Floyd's sound. - David Gilmour. The Effect Level (volume) and Feedback (number of repeats) will vary. The tape splices were then camouflaged with cymbal crashes. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. 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. www.gilmourish.com this website has info on Gilmours tone and gear used. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats I set the vibrato to more or less the same tempo as the 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. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. Copyright 2023 Killer Guitar Rigs. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon 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. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. . Gilmour uses pristine delays. 2nd delay 570ms. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: Time intro - Isolated guitar from studio mix. It was used for the early live version of On the Run in 1972, the third Money solo, and used on Pink Floyd tours until 1975. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. The second delay should just be accenting the first, filling the space between the 3/4 repeats. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. There is a also bit of light overdrive in the tone. 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. Why is that important? solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog 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. These three separate channels are blended back together with the original dry signal at the end of the signal chain. 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). second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog The tone is broken down to illustrate what each effect adds to the sound, in this order: Boss CS-2 compressor, Boss CE-2 chorus, Boss RT-20 Rotary Ensemble, FTT Future Factory stereo delay, BKB/Chandler Tube Driver. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. Reaction score. Copyright Kit Rae. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. If you want to try the two-delay effect on one amp, it is best to place the second delay after the main 380ms delay in your signal chain, and set the second delay repeat volume MUCH lower, with roughly 1/3 the repeats of the main delay. See all posts by Andrew Bell. Volume 85% Delay volume 65% If running the delays parallel, set for about 12 repeats on each. 570 divided by four (4/4) is 142.5. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. 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). Here is my example of this sound. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. The notes fade in and out, like a pedal steel guitar. The level or volume knob would be set to maximum on most delays for this. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. That sounds complicated, but to recreate this sound all you really need is one digital delay set to 380ms, as David did whenever he played it live. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: - David Gilmour, Guitar World magazine. All of the settings for this tone can be found in this PDF download below. I'll keep this simple rather than going into an explanation of time signatures. 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. slide solo: 550ms -- feedback: 7-8 repeats -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. 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. 5,744. Copyright Kit Rae. 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.