A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. There are several parallel looper pedals that can be used for the actual "looping" part of the setup. 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 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): It's all on a D pedal. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. Those are not the type of parallel setup we are talking about here. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. This is something us Gilmour fans have sought to recreate in our own playing. When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. The Binson Echorec is an analogue echo unit made by Binson in Italy. Reverb was also added at the mixing desk when recording or mixing. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. second solo: 490ms, What Do you Want From Me? The Different Effects Used By David Gilmour Throughout His Career 520ms -- feedback: 4-5 repeats, Obscured by Clouds: 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 have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use. 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. 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. How to Sound Like Pink Floyd: Amp Settings Guide second solo delay #1 TC2290 Digital Delay (whole solo): 480ms 530ms -- feedback: 4-5 repeats, Coming Back To Life: 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. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. 8-10 repeats on each delay. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. moderate reverb, probably from the plate reverbs at Abbey Road studios. I use chorus, little delay and some reverb on my amps clean setting. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: 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. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. Shown below are some typical Gilmour DD-2 delay times. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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. Echorec 2 ..Echorec PE 603 The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. He did sometimes use the Swell mode. It was usually set for single head and a fixed time at about 310ms. Treble: 4-5. Run Like Hell with 380ms and 507ms delay in series - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. For Run Like Hell, David's using what he refers to as "triplets".. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. second solo before verse: 350ms -- feedback: 3-4 repeats 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. 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. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. 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. Example: You determine the 4/4 beat/song tempo is 600ms. But which delay pedal(s) does/did he use? Last update July 2022. This obviously means that a lot of guitarists want to be like him. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. This is actually not quarter-note triplets. middle keyboard section: 340ms -- feedback: 8-9 repeats volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats Below are settings to get that sound. HH IC-100 amplifier with built in tremolo. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. In this clip I'm using Coming Back to Life as a reference with 700ms. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: Head 1 = 1/4. So why don't you hear the repeats most of the time? How to Nail Gilmour's "Comfortably Numb" Solo | Reverb News Some duplicate the studio album delay times and some duplicate the live delay times. There are times when I have both running at the same time for certain effects. The SELECTOR knob had three positions: ECHO = one repeat, REPEAT = more than one repeat, and SWELL = outputs of the playback heads were fed back to themselves to create a spacey type of reverb effect. intro: 650ms, Coming Back To Life - 2015/16 live version: Generally speaking, the sound on the album is pretty much what came out of his amp. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. David also had an MXR 113 Digital Delay System that could do that delay time. BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. Here is a breakdown from the Great Gig multi tracks. 2. As the chord rang on, David could then play the melody lines through his main Hiwatt. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. delay 1: 90ms 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. - 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. As the recording drum and playback heads aged there was a slight loss of high end that added a unique high end roll-off as the echoes decayed. You could get some wonderful delay effects that aren't attainable on anything that's been made since. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. Gilmour used the TC Electronic 2290, but any digital delay will do. If you break the beat into a four count, that second repeat would be on 4. Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. Bass: 12 o'clock Mid: 1 o'clock Treble: 11 o'clock Delay: Time: 484 ms Mix: 40% Level: 75% Feedback: 50% Only about one audible repeat fading very quickly after that Reverb: Medium Room Time: 2.20 sec EQ: High Cut 4000Hz Level: 75% Mix: 50% Input Gain: 100%. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for The repeats had a warm high end roll off, similar to David's Binson Echorecs. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. Record yourself playing alone verses playing along with a backing track to see what I mean. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. solos: 375ms. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. Its also easier for live situations as changes can be made on the fly. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. He set the time to 310ms for most everything. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. 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 One of These Days from Pink Floyd's Meddle album in 1971. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. Remember that these settings should just be used as a starting point. 8-10 repeats on each. 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. On Reverb, the average Echorec sells for between 3500$ to 5000$. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). It is said that he switched from an Echorec to an MXR for ease of use. For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel. I use the MXR with the read-out on it, so I instantly have the right tempo. 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. The Echorec 2 had a 12 position switch to select among various combinations of heads. Use the feedback option to set it right where you think it sounds closest. NOTE: This website is frequently updated. First is the delay, then the square wave tremolo, then both together. Note that setting. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: 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. How to you get the proper 3/4 delay time from that 4/4 time? David Gilmour Tone Building - Kit Rae It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. Solo: 430ms, Fat Old Sun- 1971/72 live versions: To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. The 450ms delay should come before the 600ms delay in your signal chain. 1st delay 240ms. Comfortably Numb: In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. They want to play and sound just like the man himself. 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. 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. There are several reasons. One of the smoothest guitarists in rock, Pink Floyd's David Gilmour has built a reputation for great melodic control and an expressive soloing approach that has influenced millions. first solo: 340ms -- feedback: 3-4 repeats 570 divided by four (4/4) is 142.5. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. Potent Pairings: Achieving the Tones of David Gilmour - 2016/15 live version: Gilmour's guitar playing is an integral part of this sound. The delays are set in series like this: solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. 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. What delay does David Gilmour use? - Killer Guitar Rigs Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Both types have been described as "warm" sounding, which can get confusing. It is meant to simulate the sound of old analog tape delays as they aged. 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. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. However, it is possible to play this one one guitar. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. 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. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): 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. The tremolo is from an HH IC-100 amp was used for the studio recording. Echorec Style Delay Jamming - 428ms and 570ms. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. "Square wave" means the sound wave looks square shaped, rather than wavy. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? My sound has everything to do with what sounds good to me. I'll keep this simple rather than going into an explanation of time signatures. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: It has a certain feel, which sounds boring and ordinary if you put it in 4/4. 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. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: ONE OF THESE DAYS - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song One of These Days from Pink Floyd's Meddle album in 1971. David usually used positions 1-4, for single playback repeats of heads 1-4. That equates to 428ms, which we will call the 4/4 time. David Gilmour is famous for his unique use of delay and echo. That equates to 250 - 240ms. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. A large part of that comes from Davids use of delay. Gilmour's delay on Coming Back to Life | The Gear Page second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: If you want to use a noise gate put it right before the delay/reverb. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Another Brick in the Wall Part II (live): Any Colour You Like - 1994 live versions: Astronomy Domine - Pulse version (MXR Digital Delay System II for solo). Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. It was set for a light overdrive setting and was most likely an always-on pedal. When you have a drum and bass note landing at the same time it somewhat masks the repeat. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. Unless otherwise noted, all delay times are shown in quarter notes When you play across it, it helps you to double-track yourself. Dec 23, 2015. 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'. David used the DD-2 extensively in the mid to late 1980s, as well as using a Pete Cornish Tape Echo Simulator (TES) in 2006, which was a Boss DD-2 circuit with a selectable roll-off filter added to simulate the worn tape head sound of old tape delays like the Binson Echorec. This was most likely a reel-to reel recorder set up for a tape-loop delay. 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. slide solo: 550ms -- feedback: 4-5 repeats 2nd delay 165ms. 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. In this clip I have one set for 380ms for Run Like Hell and one for 440ms for Another Brick in the Wall (part 1). Delay volume 65% Check here for more Big Muffs to achieve the Gilmour tone. 2nd delay 94ms. 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. Ex-DragonForce Bassist Reveals Why He Really Left the Band, Claims He Was Unhappy and Arguing All the Time With Them, Nuno Bettencourt Recalls How Eddie Van Halen Reacted to His Tapping Technique, Names Favorite Van Halen Album. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 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 probably just uses the term triplet because what he does has a similar feel. 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. 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. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. This warble is similar to a light chorus sound, with high end roll-off. Time intro test with backing track - 470ms and 94ms. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. The level or volume knob would be set to maximum on most delays for this. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: It also stems from the fact that analog equipment is frequently much more expensive than it is worth. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. verse: 360ms It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. The Mode switch is in position 7, which is Head 3 + Head 4. 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. Below is a breakdown of how to play this effect. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. middle section: 1000ms -- feedback: 4-5 repeats Some duplicate the studio album delay times and some duplicate the live delay times. He began using digital delays in place of the Echorec around 1977. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. Gilmour delay: '60s-'70s: Binson Echorec II. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. What delay pedal does David Gilmour? - Guitar Reviewed david gilmour delay settings | London Guitar Academy 380 divided by 3 = 126.7ms. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. verse / chorus: 430ms, Us and Them - 2016/15 live version: 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. Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms.