To add some modulation and a spacious feel to the delay tone on the studio recording David used either a Yamaha RA-200 rotary speaker cabinet or an Electric Mistress flanger. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) delay time to simulate offset multi track recordings: 930ms -- feedback: 4-5 repeats -- delay level: 30-35% -- delay type: analog, Breathe - Pulse version (TC2290 Digital Delay): If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. Delay volume 90%. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse How to you get the proper 3/4 delay time from that 4/4 time? One of These Days - 294ms delay + vibratto. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): The studio recording was likely duplicated and played back 440ms behind the original guitar recording to create the effect, or the mixing board was outfitted with a longer delay to create the effect in the mix. As technology was progressing, the use of rack effects units became more and more efficient. Some of the other Program Select positions work for the Time intro too, like position 12. #4. It is impossible to achieve the exact same tone as a player without using the same equipment. 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. alternate: 380ms, High Hopes - 2015/16 live version: 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. 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. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. Other common delay times were 380, 440-450, 480, and 540ms. intro: 650ms, Coming Back To Life - 2015/16 live version: 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. Example: You determine the 4/4 beat/song tempo is 600ms. second solo: 640ms -- feedback: 6-7 repeats Mar 8, 2013. In fact, Dark Side engineer Alan Parsons said plate reverb was virtually the only reverb used for those recordings, although he has said they also used as many as five or six tape machines to create various reverb delays. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. A 300ms and 380ms delay had the heads repeating in these specific delay times. 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. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. - 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. Mids: 6-7. The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. solo: 400ms, Raise My Rent: moderate reverb, probably from the plate reverbs at Abbey Road studios. Instead, it used a metal recording wheel. second solo: 480ms -- feedback: 6-7 repeats I used a Free the Tone Future Factory delay set for 300ms and long repeats. The main rhythm guitar, chords, and fills are all double tracked. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. 8-10 repeats on each delay. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. 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. The type of multi-head repeats varied depending on which of the four playback heads were selected. This creates a different bouncy feel to the delay rhythm. The delays are set in series like this: David probably just uses the term triplet because what he does has a similar feel. first solo: 310ms -- feedback: 2-3 repeats. It was usually set for single head and a fixed time at about 310ms. I use a compressor or a Tube Driver for this. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. Both in the studio and live their musicality seeps from every note, every rest, and every beat. Note that David Gilmour varied his settings. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. - Phil Taylor, David's backline tech. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. The delays are set in series like this: There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. Using Program position 3 for that part also works. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. 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. 650-680ms were occasionally used for long delays. - Be sure to read the section above. He has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. intro slide guitar: 1023ms 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 David Gilmour was the guitarist for English rock band Pink Floyd. His most commonly used delay times were in the 294-310ms range and 430ms. Some duplicate the studio album delay times and some duplicate the live delay times. David usually used positions 1-4, for single playback repeats of heads 1-4. Kits Secret Guitar, Gear, and Music Page. 2. first solo: 507ms -- feedback: 2-3 repeats Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. 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. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital 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. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. However, it is possible to play this one one guitar. You could get some wonderful delay effects that aren't attainable on anything that's been made since. Echorec Style Delay Jamming - 428ms and 570ms. Many of the sound effects youll hear on the earlier albums were created with this machine. Time intro - Torino, Italy, Sept 13, 1994. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. I use chorus, little delay and some reverb on my amps clean setting. The tremolo is from an HH IC-100 amp was used for the studio recording. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? A DD-2 was also seen in David's Medina studio around 2017. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. 2nd delay 375ms. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): 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). Some are actually too high quality for my personal taste. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: 614ms -- feedback: 6-7 repeats, Rattle That Lock: The second delay should just be accenting the first, filling the space between the 3/4 repeats. 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. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 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. Start new topic; Recommended Posts. This obviously means that a lot of guitarists want to be like him. slide solo: 550ms -- feedback: 4-5 repeats The third delay is probably in 3/4 time, but I can barely hear it. I demonstrate many of the unique sounds that can be created but playing repeating patterns in and out-of-tempo with the delay repeats, letting the repeats get to the point of self oscillating, tapping the strings with a glass slide, tapping the strings with my fingers and pick to create percussive effects, and rubbing my fingers and pick up and down the strings. He did sometimes use the Swell mode. If the repeats are faster than the tempo, increase the delay time. 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. - 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. 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. Multiply that number by 75% to get the triplet time delay. There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. 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. 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. The tempo used in this demo is slightly too. The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. Alternately, you can use 380ms as the long delay and 285ms as the short time delay, equivalent to Head 3 and Head 4 on the PE 603 Echorec, but that creates a slightly different delay rhythm than the album 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. Last update September 2022. David probably just uses the term triplet because what he does has a similar feel. He usually had the time set to 440ms. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. There are times when I have both running at the same time for certain effects. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. Head 1 = 75ms .Head 1 = 95ms. In this clip I'm using Coming Back to Life as a reference with 700ms. Syd's theme: 370ms and 480ms That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. Sometimes these are called "parallel mixers" or "looper" pedals. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version 1. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. Alt. slide solo: This gives the impression of a 920-930ms delay. solo: 540ms, Poles Apart - 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 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! I think the 2290 mode on the Flashback does very well for playing anything Gilmour, and if you check out some of Bjorn Riis's Floyd jams on .
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