Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog 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. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. This is a big part of Pink Floyd's sound. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. I use the MXR with the read-out on it, so I instantly have the right tempo. Feedback: This is the number of audible repeats. The Blue: 570 x 75% = 427.5. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. 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. I use one of their old ones most of the time because the width is narrower. 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. Note that setting. There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats 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. It is said that he switched from an Echorec to an MXR for ease of use. intro: 650ms, Coming Back To Life - 2015/16 live version: Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: To add space to your tone, add a clean digital delay at the end of your signal chain. 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. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Dec 23, 2015. Volume 65% verse/chorus sections: 310ms -- feedback: 3-4 repeats HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. 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. - 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. The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. Below is an isolated excerpt of this part. Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. Money solos - live 1977 version (MXR Digital Delay System I): When you play across it, it helps you to double-track yourself. By porsch8 December 21, 2005 in Effects and Processors. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. As the chord rang on, David could then play the melody lines through his main Hiwatt. I have two units, and I have different echo settings on both. As an Amazon Associate, we earn from qualifying purchases. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. - 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. Time intro - Isolated guitar from studio mix. Parallel is better than in series because the one delay does not repeat the other, and the repeats can run longer without going into oscillation. Unless otherwise noted, all delay times are shown in quarter notes 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. Multiply that x3 to get the 3/4 time and you get 427.5. solo: 500ms, High Hopes - live versions Head 2 = 2/4 Below are some specific Gilmour settings I use. This gives the impression of a 920-930ms delay. It helps to have a delay with a digital display to set the exact delay time. On the one hand, finally cracking one of my favourite guitar player's [] there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is 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. - David has used numerous types of delays in his carreer, both analog and digital. The fill patterns played in the verse section sound dry, with almost no delay. Mids: 6-7. Later versions of the DD-3 have different circuits. This is actually not quarter-note triplets. 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. 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. 8-10 repeats on each. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. 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 list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. first solo: 507ms -- feedback: 2-3 repeats Some of the other Program Select positions work for the Time intro too, like position 12. They want to play and sound just like the man himself. 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 The delays are set in series like this: 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. The trick is not to overdo it. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 This unit is an incredibly versatile digital delay that many artists use. solos: 430ms, Yet Another Movie: In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat Its a famous echo unit used by many artists, and useful for varying instruments. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. slide solo: 550ms -- feedback: 4-5 repeats The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. I use two delay pedals for Run Like Hell. 80x2 = 160. 1st solo: 310ms You should keep in mind that these official recordings have been sweetened to sound as good as possible. - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. He would do this for each chord change in the intro to Shine On You Crazy Diamond, effectively doing both the keyboard and guitar parts all by himself. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. A DD-2 was also seen in David's Medina studio around 2017. Electric Mistress V2, V3, or V4: Often during the live songs that do have very loud delays, you do hear the repeats clearly. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. His delay times are slightly faster here. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. Note or mark that time setting on your delay. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. Adjust the tone to suit your amp/speaker tone. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: All of the settings for this tone can be found in this PDF download below. 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. That may be just my fantasy; I don't know. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. First is the delay, then the square wave tremolo, then both together. The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. 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. 530ms -- feedback: 4-5 repeats, Coming Back To Life: second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: These effects combined with Gilmours guitars, amps, and more importantly, his fingers, all add up to the legendary sound we love, and the signature sound that will send any 40+ year old into a state of ecstasy if it comes on the radio.
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david gilmour delay settings