Time intro - Torino, Italy, Sept 13, 1994. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital - 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. Head 1 = 75ms .Head 1 = 95ms. Sound Like Pink Floyd: Amp Settings And Gear Guide If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. It's fun to just jam around using the unique delay rhythm it creates. Here is a breakdown from the Great Gig multi tracks. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. - 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. Below is a breakdown of how to play this effect. 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. 1st delay 470ms. 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 few of David Gilmour's vintage Binson Echorec 2 model T7E delays. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. If you set it too high it will self oscillate into a whining feedback. It created a unique stuttered stacatto rhythm. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) Syd's theme - Hollywood Bowl March 2016. 5. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. Reverb was also added at the mixing desk when recording or mixing. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): 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). 310ms -- feedback: 3-4 repeats MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): The official live recordings often have an even larger delay sound than the studio versions. verse, solos: 450ms, Learning To Fly - Pulse version: 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. This creates a different bouncy feel to the delay rhythm. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Members; porsch8. The fill patterns played in the verse section sound dry, with almost no delay. Echorec 2 ..Echorec PE 603 - 2016/15 live version: It's a beautiful sound, but David did not use tape delays like this. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably 1st solo: 310ms I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. I use chorus, little delay and some reverb on my amps clean setting. 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, I started off with a Binson Echo unit, which is like a tape loop thing. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. 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. Gilmour used a similar gated tremolo effect for the sustained chords in the verse sections of Money, using the noise gate from an Allison Research Kepex (Keyable Program Expander) studio module, modulated with an external sine wave generator (according to engineer Alan Parsons). If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. David used various Echorec models but he was most known for using the Echorec 2 model T7E. 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. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog David Gilmour Tone Building - Kit Rae 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. Echorec Style Delay Jamming - 428ms and 570ms. 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. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. middle section: 1500ms -- feedback: 10-12 repeats He did sometimes use the Swell mode. This is actually not quarter-note triplets. Give Blood Time intro - Isolated guitar from studio mix. He set the time to 310ms for most everything. SHINE ON YOU CRAZY DIAMOND 1-5 settings. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: The second delay should just be accenting the first, filling the space between the 3/4 repeats. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. The Mode switch is in position 7, which is Head 3 + Head 4. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. You can also get something similar with one 650ms delay set for 2 repeats. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. Tim Renwick solo: 520ms, Louder Than Words: The last 8 minutes of the song is a rambling collage of echo repeats. David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. - David Gilmour, Guitar World magazine. Set one delay for 440ms, 2 repeats, 30-35% volume. 430ms, Faces of Stone - 2015/16 live version: For Run Like Hell, David's using what he refers to as "triplets".. Below is an isolated excerpt of this part. 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): delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. 380 divided by 3 = 126.7ms. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. 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. I use the MXR with the read-out on it, so I instantly have the right tempo. REEL-TO-REEL SOUND-ON-SOUND - 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. See all posts by Andrew Bell. 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. 3. - David Gilmour, Guitar World magazine. Last update September 2022. Below is a breakdown of how to play this effect. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. 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. The repeats are bright and shimmery but not brighter than the original signal. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. He usually had the time set to 440ms. 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. . 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. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. For example, take 450ms divided by 3 = 150ms. verse: 360ms It only added a very slight gain boost to his clean amp tone, but . Run Like Hell with 380ms and 507ms delay in series. delay 1: 250ms - 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.