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. Kits Secret Guitar, Gear, and Music Page Its not a cheap pedal (around 250$ new), but its way cheaper than an original. 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 The tempo used in this demo is slightly too. Members; porsch8. - David Gilmour. I'll keep this simple rather than going into an explanation of time signatures. Theyre so famous they sell for a very high price and are deemed a collectable for many. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. To add space to your tone, add a clean digital delay at the end of your signal chain. The Effect Level (volume) and Feedback (number of repeats) will vary. 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. 1 2. volume swells: 1100ms -- feedback: 4-5 repeats. 530ms -- feedback: 4-5 repeats, Coming Back To Life: Although it is not often that this roll-off effect was heard in David's use of the Echorec, you can clearly hear it in the echo repeats in the very beginning of the song, I started off with a Binson Echo unit, which is like a tape loop thing. 310ms -- feedback: 3-4 repeats outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. - 2016/15 live version: 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. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. 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. delay time for both solos: 465ms or 480ms - feedback: 15-20% -- delay level: 20% (30-35% for waving part) -- delay type: digital, Comfortably Numb - Pulse version and most Division Bell tour performances: He used three delays there, but again, I can only distinctly hear two. However, it is possible to play this one one guitar. As the song plays on I dial the delay volume and number of repeats higher and higher. His talent doesnt just limit to his skill, but also to his creativity. 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. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. 8-10 repeats on each delay. - 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. The repeats had a warm high end roll off, similar to David's Binson Echorecs. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: *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! The repeats are bright and shimmery but not brighter than the original signal. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital All these effects can be heard in most of Pink Floyds discography. Some of the other Program Select positions work for the Time intro too, like position 12. Multiply 600 x 75% to get the triplet time delay of 450ms (or divide 600 by 4 to get the quarter note time of 150ms, multiply that X3 for a triplet time, which equals 450ms). You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. 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. solo: 420ms Reverb was also added at the mixing desk when recording or mixing. If you set it too high it will self oscillate into a whining feedback. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. 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. His delay times are slightly faster here. THE BOSS DD-2 DELAY - 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. Some duplicate the studio album delay times and some duplicate the live delay times. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. If you break the beat into a four count, that second repeat would be on 4. 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 also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. 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. 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. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. Unless otherwise noted, all delay times are shown in quarter notes It is impossible to achieve the exact same tone as a player without using the same equipment. 2. 430ms, Faces of Stone - 2015/16 live version: 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. The Effect Level (volume) and Feedback (number of repeats) will vary. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). 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. 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. Last update September 2022. www.gilmourish.com this website has info on Gilmours tone and gear used. This the dominant delay, but there is also a 300ms delay low in the mix POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. Gilmour's guitar playing is an integral part of this sound. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. 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 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. David would use the latter setting for most of the album. for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. 2nd delay 375ms. Andrew Bell has 42 posts and counting. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: Syd's theme: 375ms and 500ms 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): second solo: 490ms, What Do you Want From Me? Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. 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. His tone is instantly recognizable and unique. . Every aspect of his tone can change on different albums, even on different tracks of the same album! 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Delay and reverb should be the last effect in the chain. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. REVERB OR NO REVERB ? It was strange because it didn't utilize tape loops. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. If you have a good sound in the room or hall you are playing in, there is no need to add reverb, but in small or dead sounding rooms, adding a small amount of reverb in your effects rig can really enhance the sound. Listen to some of the 5.1 live tracks separately and you can clearly hear this. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. Note the controls show playback mode switch is in position 4, which is single playback Head 4, Gilmour's Binson Echorec 2 model T7E from 1970-71 with the playback mode switch in position 4, Gilmour's Binson Echorec 2 model T7E from 1972 and 1977 with the playback mode switch in position 1, which is singe playback Head 1, Various Echorec 2 settings seen in David's Medina studio from 2013, 2014, and 2017, The Echorec 2 in David's Medina studio from 2017. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. Head 2 = 2/4 I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. Members; 529 Members; Share; Posted December 21, 2005. Last update September 2022. HOW TO FIND THE PROPER DELAY TIMES - You can go here for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. That may be just my fantasy; I don't know. 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.