The primary reason is becasue the delay time is usually set in time with the tempo of the song, so each repeat lands on the beat. I use one of their old ones most of the time because the width is narrower. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. Gilmour's Binson Echorec 2 model T7E from 1970-71. Verse / Chorus : TC 2290 Digital Delay: 430ms delay 2: 430ms, In Any Tongue - 2015/16 live version: intro: 440ms But the delay was in 3/4 increments of the beat and the vibrato went with the beat. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. For the multi-head Echorec sound needed when performing the intro to Time and the four-note Syd's theme section of Shine on You Crazy Diamond he used two delays, and sometimes three! When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. The delays are set in series like this: Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. 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. Echorec 2 ..Echorec PE 603 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. For Run Like Hell, David's using what he refers to as "triplets".. delay 1 time: 90ms I'll keep this simple rather than going into an explanation of time signatures. Some duplicate the studio album delay times and some duplicate the live delay times. David would play a two note chord, then fade the volume in as he slides to the next position. The level or volume knob would be set to maximum on most delays for this. 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. It's a sort of melodic delay to use. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. 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. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: 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). third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat 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. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. Head 1 = 75ms .Head 1 = 95ms. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. Below is my best guess at the delay times David used there. So why don't you hear the repeats most of the time? Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): By porsch8 December 21, 2005 in Effects and Processors. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: 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. It's all on a D pedal. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. 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. 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. Electric Mistress V2, V3, or V4: Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. A DD-2 was also seen in David's Medina studio around 2017. middle keyboard section: 340ms -- feedback: 8-9 repeats 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. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: These are 5 note scales, pretty much the simplest scale a guitarist could use. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. Feedback: This is the number of audible repeats. Gilmour delay: '60s-'70s: Binson Echorec II. 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. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. What delay pedal does David Gilmour? Head 3 = 3/4 The third delay is probably in 3/4 time, but I can barely hear it. 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. Below is an example using two digital delays in series. 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. I'll keep this simple rather than going into an explanation of time signatures. 80x2 = 160. 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, . Make David Gilmour's Shimmering Sustained Delay in Live. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. It covers all of the various ways he used echo - standard 3-4 repeat echo to make the guitar sound like it is in a large hall, using a slide like a violin with long delay repeats, slapback echo, swell mode, long repeats almost to the point of self oscillation, and what David calls "triplet" time, where he plays in time with the dotted eighth repeats. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats The TC Flashback can be set up with the Tone Print edito. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. The simplest option is to use an online Beats Per Minute caculator, like, - 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. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Copyright 2023 Killer Guitar Rigs. Then I play the bass rhythm clean, then with the effects on. To add space to your tone, add a clean digital delay at the end of your signal chain. Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. The tempo used in this demo is slightly too. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Again, I'll simulate that with only two dominant delays. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. 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. 5,744. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). It only added a very slight gain boost to his clean amp tone, but . RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. 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. Below are some specific Gilmour settings I use. I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. 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. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. 500ms -- feedback: 5-6 repeats. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. 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. - David Gilmour from Guitar for the Practicing Musician, 1985, We also have an old MXR DDL (MXR Digital Delay System II) digital delay unit built into a rack unit. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. If you want to somewhat recreate his delay youre in luck, as its pretty simple. There is a 440ms delay on the guitars in the studio recording. volume swells: 1100ms -- feedback: 4-5 repeats. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): Multiply that x3 to get the 3/4 time and you get 427.5. 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). Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Bass: 5-6. During the tour a T-Rex Replica was added specifically to use for "Echoes". 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. As the chord rang on, David could then play the melody lines through his main Hiwatt. David Gilmour Lead Guitar Tone PDF Download solos: 430ms, Yet Another Movie: 1. slide solo: 550ms -- feedback: 4-5 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 Treble: 4-5. Run Like Hell with 380ms and 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. Note that setting. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. 8-10 repeats on each. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. Its hard to give an estimate as every pedal will respond differently. Let's do some "Echorec math." One of the ways to do that, is by using your effects creatively, just as he does. His final delay was the TC Electronic 2290. Hes got the sort of guitar-god charisma that comes with his insane talent. MXR DIGITAL DELAYS - David began using digital delays in 1977. This is the primary delay time you hear in the song. I set the vibrato to more or less the same tempo as the delay. solo: 500ms, High Hopes - live versions He began using digital delays in place of the Echorec around 1977. Its also easier for live situations as changes can be made on the fly. 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): Its not a cheap pedal (around 250$ new), but its way cheaper than an original. He then upgraded to an MXR Digital Delay System II. Two guitars were multi tracked in the left and right channels. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): 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. Then go to a website with a Delay Time Calculator, like the one on this page. The type of multi-head repeats varied depending on which of the four playback heads were selected. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. A DD-2 was also seen in David's Medina studio around 2017. David Gilmour is famous for his unique use of delay and echo. 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. That may be just my fantasy; I don't know. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. 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. delay 1: 90ms Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. 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. This was most likely a reel-to reel recorder set up for a tape-loop delay. For the middle section another piece of technology came into play: an HH amp with vibrato.