In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. All of the settings for this tone can be found in this PDF download below. 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): -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. The official live recordings often have an even larger delay sound than the studio versions. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. 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. 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. Below is an example using two digital delays in series. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : 80x2 = 160. Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. Make David Gilmour's Shimmering Sustained Delay in Live. To add space to your tone, add a clean digital delay at the end of your signal chain. 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. Head 1 = 1/4. Below is an example of replicating the Syd's Theme delays from 1994. His final delay was the TC Electronic 2290. Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. Fat Old Sun- 2015/16 live version: To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. slide solo: 550ms -- feedback: 7-8 repeats REVERB OR NO REVERB ? 5 A.M. : David would play a two note chord, then fade the volume in as he slides to the next position. alternate: 380ms, High Hopes - 2015/16 live version: Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. - David Gilmour, Guitar World magazine. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. 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. 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. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. NOTE: This website is frequently updated. 234ms and 150ms also works. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: www.gilmourish.com this website has info on Gilmours tone and gear used. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. >> Click to read more <<. 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. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: But the delay was in 3/4 increments of the beat and the vibrato went with the beat. David Gilmour, as many guitarists will agree on, is an absolute legend. 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. 530ms -- feedback: 4-5 repeats, Coming Back To Life: I have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use. 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. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. I don't care how I get it. The Mode switch is in position 7, which is Head 3 + Head 4. The main rhythm guitar, chords, and fills are all double tracked. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. He is also known for using the legendary Proco Rat and MXR Phase 90. You should keep in mind that these official recordings have been sweetened to sound as good as possible. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). A single delay set at 1400ms with 3 repeats has a similar feel as well. 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. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats He began using digital delays in place of the Echorec around 1977. All those divisions and subdivisions will be in time with the song. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): What delay pedal does David Gilmour? His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. The shorter delay fills in the gaps between the longer delay repeats, creating a smooth delay sound, but the delay time on both makes the repeats fall inline with the song tempo. slide solo: 550ms -- feedback: 4-5 repeats CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. 1st delay 470ms. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. David probably just uses the term triplet because what he does has a similar feel. Here is a clip of a single 330ms delay playing the Blue Light riff. These are 5 note scales, pretty much the simplest scale a guitarist could use. He became known for this effect as he used it for his guitar solo in practically every queen concert. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). Below is a medley of David using the Echorec from 1969-1977. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. You can simulate the verse delay with two delays in-line going to one amp. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? 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. Note that setting. 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 . slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog That equates to 250 - 240ms. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 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. They averaged from 290-310ms. 2nd delay 570ms. This was most likely a reel-to reel recorder set up for a tape-loop delay. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. In this clip I'm using Coming Back to Life as a reference with 700ms. The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. intro: 650ms, Coming Back To Life - 2015/16 live version: 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.