This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. David also had an MXR 113 Digital Delay System that could do that delay time. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. Kits Secret Guitar, Gear, and Music Page 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. All rights reserved. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. 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. It is said that he switched from an Echorec to an MXR for ease of use. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Its not a cheap pedal (around 250$ new), but its way cheaper than an original. Here is my example of this sound. If you set it too high it will self oscillate into a whining feedback. Gilmour uses pristine 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. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. solo: 440ms. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog A key to the way David has done this is to run each delay in its own separate channel, parallel and separate from the line signal. 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. 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. I'll keep this simple rather than going into an explanation of time signatures. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: A little later he switched to the MXR Digital Delay. He became known for this effect as he used it for his guitar solo in practically every queen concert. #4. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. 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. His delay times are slightly faster here. 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. 2nd delay 165ms. The third delay is probably in 3/4 time, but I can barely hear it. Run Like Hell Intro Runs - Examples of the left hand muted runs up and down the neck to create some of the intro delay sounds similar to what David Gilmour has dome when playing this song live. 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. 5 A.M. : The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. chords / arpeggios: 480ms 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. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017). delay 2: 254ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital delay 2 alternate: 90ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital, Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): 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. These three separate channels are blended back together with the original dry signal at the end of the signal chain. I change my echo settings fairly often in concert. - 2016/15 live version: He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. I use one of their old ones most of the time because the width is narrower. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. A DD-2 was also seen in David's Medina studio around 2017. 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. 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. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. which is what gives the verse section that floaty, ethereal feel. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. These are 5 note scales, pretty much the simplest scale a guitarist could use. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. 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. For his general ambient delays, choose the most tape flavored setting and use 50%-ish feedback (or 7-8ish repeats) and mix it fairly low so it sounds more like a subtle reverb. I'll keep this simple rather than going into an explanation of time signatures. alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: 380 divided by 3 = 126.7ms. Its more compact, more reliable, and just easier to use. So why don't you hear the repeats most of the time? He set the time to 310ms for most everything. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? 1 2. 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. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. - Be sure to read the section above. Syd's theme: 370ms and 480ms Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. 525ms, Sorrow Solo - 2016/15 live version: DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. Find the proper delay time for the song as described above, then let's do some "Echorec math". This is because the orchestra in Castellorizon is not loud enough to mask the repeats, but the band playing under the solo in On an Island certainly is. 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. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. *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 Gilmour Gear Forum for providing some of the delay times and to Will for compiling a list of the 2015/16 tour delay times seen on David's digital delays! It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. 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. 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. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. Treble: 4-5. The volume swells can be easily created today with a delay and a volume pedal. Some of the other Program Select positions work for the Time intro too, like position 12. 1978 and on: digital delay, several stompboxes and rack units used (Boss, TC, MXR, Lexicon) The 2006 all tube Cornish board has a Cornish TES delay. This was most likely a reel-to reel recorder set up for a tape-loop delay. Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. delay 1: 90ms 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. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. 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. Let's see some of the units he used over time. One of These Days - 294ms delay + vibratto. Head 1 = 75ms .Head 1 = 95ms. 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. Then I play the bass rhythm clean, then with the effects on. - 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. The main rhythm guitar, chords, and fills are all double tracked. One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. Time intro test with backing track - 470ms and 94ms. This is something us Gilmour fans have sought to recreate in our own playing. The Effect Level (volume) and Feedback (number of repeats) will vary. Dec 23, 2015. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. 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. 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. But which delay pedal(s) does/did he use? 4. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. 3rd solo: 430ms, Money solos - 2015/16 live version: There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. solos: 430ms, Yet Another Movie: 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. 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. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: When you play across it, it helps you to double-track yourself. The repeats are bright and shimmery but not brighter than the original signal. As the song plays on I dial the delay volume and number of repeats higher and higher. Solo: 430ms, Fat Old Sun- 1971/72 live versions: second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. He did sometimes use the Swell mode. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats moderate reverb, probably from the plate reverbs at Abbey Road studios. - Delay Rhythm Guitars Mixed Up Front - both channels. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Start new topic; Recommended Posts. It only added a very slight gain boost to his clean amp tone, but . Set up your preferred delay settings and beam that into your pedal. It's a beautiful sound, but David did not use tape delays like this. 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. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: It still retained the warmth of the original signal rather well, but there is no high end roll-off in the repeats, so it is not "warm" analog delay in that regard. Blue Light Riff - with and without delay. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. 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. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Note that setting. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you.
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