I turn each effect on one at a time so you can hear how they add to the tone. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog 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. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. second solo: 500ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Dec 23, 2015. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: 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. Below is a breakdown switching between the various tracks of all three solos. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats I'll keep this simple rather than going into an explanation of time signatures. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: Kits Secret Guitar, Gear, and Music Page. Coming Back to Life Intro Tone Build - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Here are what the settings mean -. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. The volume swells can be easily created today with a delay and a volume pedal. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. Here is my example of this sound. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. studio . In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: 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. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. Treble: 4-5. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat www.gilmourish.com this website has info on Gilmours tone and gear used. Here is a clip of a single 330ms delay playing the Blue Light riff. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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. The last 8 minutes of the song is a rambling collage of echo repeats. David Gilmour Tone Building - Kit Rae The type of multi-head repeats varied depending on which of the four playback heads were selected. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. Start new topic; Recommended Posts. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. 3rd solo: 430ms, Money solos - 2015/16 live version: 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. David also had an MXR 113 Digital Delay System that could do that delay time. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: It's actually a metallic disc that spins around. The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. Getting an original Binson Echorec these days is nearly impossible. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. 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. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats 2nd delay 375ms. verse / chorus: 430ms, Us and Them - 2016/15 live version: Later versions of the DD-3 have different circuits. They averaged from 290-310ms. 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. 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. Also, two delays in line, while useful for some double tap delay effects, means that the repeats from the first delay are then repeated again by the second when both are used at the same time, which can sometimes create a mushy mess of repeats. 1st delay 428ms. What delay pedal does David Gilmour? 1st solo: 310ms Its a famous echo unit used by many artists, and useful for varying instruments. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. These are 5 note scales, pretty much the simplest scale a guitarist could use. Shown below are some typical Gilmour DD-2 delay times. verse, solos: 450ms, Learning To Fly - Pulse version: Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: The third delay is probably in 3/4 time, but I can barely hear it. The secrets behind David Gilmour's tone on Pink Floyd's Comfortably HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. 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. The Echorec 2 had a 12 position switch to select among various combinations of heads. I use the MXR with the read-out on it, so I instantly have the right tempo. middle section: 1000ms -- feedback: 4-5 repeats 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. Note or mark that time setting on your delay. middle section: 1500ms -- feedback: 10-12 repeats Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: second solo before verse: 350ms -- feedback: 3-4 repeats Potent Pairings: Achieving the Tones of David Gilmour 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): solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: This was most likely a reel-to reel recorder set up for a tape-loop delay. This is a big part of Pink Floyd's sound. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. A 300ms and 380ms delay had the heads repeating in these specific delay times. Below is a breakdown of how to play this effect. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) David Gilmour's delay sounds - YouTube What delay does David Gilmour use? - Killer Guitar Rigs 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. Time intro - Isolated guitar from studio mix. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. 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): Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. David's T7E and PE603 Echorecs, and even the stock Echoplexes at the time, were not capable of anything even close to that length of delay. Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. Comfortably Numb: second solo: 460ms -- feedback: 5-7 repeats, Dogs: As the chord rang on, David could then play the melody lines through his main Hiwatt. Best Delay pedal for tones ala David Gilmour? - My Les Paul Forum Its hard to give an estimate as every pedal will respond differently. To add space to your tone, add a clean digital delay at the end of your signal chain. Below are settings to get that sound. 8-10 repeats on each delay. alternate 2nd Solo: 540ms 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. 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. The effect actually works fine with only two delays. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. I also use it to add some of the bigger room and concert hall sounds. The Free the Tone Ambi Space pedal is my favorite device for this. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): 540ms, Take A Breath: delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): first solo: 507ms -- feedback: 2-3 repeats It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. David used various Echorec models but he was most known for using the Echorec 2 model T7E. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): See all posts by Andrew Bell. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. 234ms and 150ms also works. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. Members; 529 Members; Share; Posted December 21, 2005. With that said, the rest of the article is designed to . 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. There is a 440ms delay on the guitars in the studio recording. This is actually not quarter-note triplets. Based on what I hear the guitar delay levels are not much different in either song, but I noticed the delay repeats are very clear in Castellorizon, but I barely hear them in OAI . Divide 240 by 3 and you get 80. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. 2,434. If the repeats are faster than the tempo, increase the delay time. Again, I'll simulate that with only two dominant delays. 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. Then I play the bass rhythm clean, then with the effects on. 1st delay 240ms. 650-680ms were occasionally used for long delays.