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. David usually used positions 1-4, for single playback repeats of heads 1-4. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. Electric Mistress V2, V3, or V4: 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): That may be just my fantasy; I don't know. I use 240ms. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. 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! Brian May (of Queen) did the same effect a few years later on, - The 1983 Boss DD-2 was one of the first, and best sounding digital delays to come out of the early days of digital effects pedals. 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. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 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. Remember that these settings should just be used as a starting point. 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. I use chorus, little delay and some reverb on my amps clean setting. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Delay volume 85% solos: 375ms. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. The MXR Digital Delay System II was an upgraded version of the 113 that showed the delay time in milliseconds on the front panel and featured additional fine tuning controls. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: 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): For example, take 450ms divided by 3 = 150ms. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: David used the DD-2 extensively in the mid to late 1980s, as well as using a Pete Cornish Tape Echo Simulator (TES) in 2006, which was a Boss DD-2 circuit with a selectable roll-off filter added to simulate the worn tape head sound of old tape delays like the Binson Echorec. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. 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. When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Using Program position 3 for that part also works. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. You simply have to practice your timing so you can play the fills and get back to the D rhythm note exactly in time with the delay repeats. 8-10 repeats on each 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! Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): second solo: 640ms -- feedback: 6-7 repeats Delay volume 50%. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): USING TWO DELAYS - David has stated he used two delays, one in 3/4 time (dotted eighth notes) and one in 4/4 time (quarter notes). If you set it too high it will self oscillate into a whining feedback. Volume 85% Echorec Style Delay Jamming - 428ms and 570ms. 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. Head 2 = 2/4 Example: You determine the 4/4 beat/song tempo is 600ms. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. alternate: 380ms, High Hopes - 2015/16 live version: - 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. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat So why don't you hear the repeats most of the time? This is something us Gilmour fans have sought to recreate in our own playing. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. - 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. 525ms, Sorrow Solo - 2016/15 live version: 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. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. 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. Head 3 = 3/4 Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. If you get too high a quality bandwidth on a DDL you hear too much pinging and lose the sort of echo effect I use it for. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. 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. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. 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. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): The 450ms delay should come before the 600ms delay in your signal chain. 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. 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 Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: Both delays are in series with the delay volume around 75% and about 9 repeats. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats Then go to a website with a Delay Time Calculator, like the one on this page. 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. 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. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: 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. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. Volume 65% solos: 660ms -- feedback: 6-7 repeats, Time: delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): 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! It's all on a D pedal. I am talking about the natural reverb sound of the room or hall the amplifier or speaker cabinet was recorded in, or studio reverb added to simulate it. Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. 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. 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 When using both the mono and stereo outputs together (each running to a separate amp) the DD-2 produces a very defined stereo field, with one channel being the dry signal only, and one being the delayed signal only. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. Here is my example of this sound. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog 380 divided by 3 = 126.7ms. 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. The delay time must also be precisely in time with the song tempo. Run Like Hell with 380ms and 254ms delays in series. Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. Listening to the trails specifically, something a little darker like a DM-2 would do it. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog For example, 380ms is your triplet 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): I turn each effect on one at a time so you can hear how they add to the tone. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. intro: 425ms He came up with that basic riff that we all worked on and turned into One of these Days. : 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. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. David Gilmour Solo Tone Settings For "Time" . The level or volume knob would be set to maximum on most delays for this. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. 500ms -- feedback: 5-6 repeats. To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. 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. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. I'll keep this simple rather than going into an explanation of time signatures. If you put it in a 3/4 time it has an interesting bounce to it. Below is an example using two digital delays in series. 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): The volume swells can be easily created today with a delay and a volume pedal. Here is a breakdown from the Great Gig multi tracks. A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Another Brick in the Wall Part II (live): Any Colour You Like - 1994 live versions: Astronomy Domine - Pulse version (MXR Digital Delay System II for solo). solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. The simplest option is to use an online Beats Per Minute caculator, like this one. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. As technology was progressing, the use of rack effects units became more and more efficient. 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. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: A DD-2 was also seen in David's Medina studio around 2017. 380ms -- feedback 7-8 repeats - delay level: 90% -- delay type: digital, Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): 8-10 repeats on each. 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. Heavy reverb. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. The delays are set in series like this: volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. I use the MXR with the read-out on it, so I instantly have the right tempo. alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: The first Money solo, for example, sounds like it is awash in spring reverb. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. It was set for a light overdrive setting and was most likely an always-on pedal. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. I use the MXR with the read-out on it, so I instantly have the right tempo. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. Every aspect of his tone can change on different albums, even on different tracks of the same album! I used a Free the Tone Future Factory delay set for 300ms and long repeats. The tremolo is from an HH IC-100 amp was used for the studio recording. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. Below is a medley of David using the Echorec from 1969-1977.
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