david gilmour delay settings david gilmour delay settings

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). It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. 5. David Gilmour Solo Tone Settings For "Time" . A key to the way David has done this is to run each delay in its own separate channel, parallel and separate from the line signal. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: 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. second solo: 490ms, What Do you Want From Me? Here is my example of this sound. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats Andrew Bell has 42 posts and counting. chords / arpeggios: 480ms intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms Posted December 21, 2005. porsch8. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. second solo: 480ms -- feedback: 6-7 repeats It was usually set for single head and a fixed time at about 310ms. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats This is the primary delay time you hear in the song. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. On the one hand, finally cracking one of my favourite guitar player's [] 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. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. solo: 560ms USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. The first Money solo, for example, sounds like it is awash in spring reverb. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. You can simulate the verse delay with two delays in-line going to one amp. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. The repeats had a warm high end roll off, similar to David's Binson Echorecs. 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: outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: 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. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. solos: 375ms. Comfortably Numb: Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. Listen to some of the 5.1 live tracks separately and you can clearly hear this. Fine tune it until you hear the repeats are exactly in sync with the song tempo. 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. Because the DDL keeps running along, you've got time to leave the pedal playing and play a couple of chords while the effects carry on - David Gilmour from Guitar for the Practicing Musician, January 1995. HH IC-100 amplifier with built in tremolo. intro: 440ms The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). Listening to this track helped me realize how delay and reverb trails interact with what I'm playing in a way that makes unintended diads that could . solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): 1st solo: 435ms But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. Bass: 12 o'clock Mid: 1 o'clock Treble: 11 o'clock Delay: Time: 484 ms Mix: 40% Level: 75% Feedback: 50% Only about one audible repeat fading very quickly after that Reverb: Medium Room Time: 2.20 sec EQ: High Cut 4000Hz Level: 75% Mix: 50% Input Gain: 100%. Delay volume 85% David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. which is what gives the verse section that floaty, ethereal feel. 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). That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Treble: 4-5. 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. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. 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. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: 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. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. - David has used numerous types of delays in his carreer, both analog and digital. 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. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. Two guitars were multi tracked in the left and right channels. It was strange because it didn't utilize tape loops. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. If you want to somewhat recreate his delay youre in luck, as its pretty simple. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 Here are what the settings mean -. Last update September 2022. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. This was most likely a reel-to reel recorder set up for a tape-loop delay. Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. I have managed to nearly replicate what a Binson will do using a combination of modern digital unitsthe multi-head sounds, as well as the Swell settingwhich is what I use on the beginning of Time, for example - David Gilmour, Guitar World March 2015. So why don't you hear the repeats most of the time? 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. Then I play the bass rhythm clean, then with the effects on. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital Below are some specific Gilmour settings I use. I used a Free the Tone Future Factory delay set for 300ms and long repeats. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes April 9, 2022. by Joe Nevin. solos: 540ms, What Do you Want From Me? solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). If you set it too high it will self oscillate into a whining feedback. Members; 529 Members; Share; Posted December 21, 2005. Often during the live songs that do have very loud delays, you do hear the repeats clearly. To add space to your tone, add a clean digital delay at the end of your signal chain. slide solo: 550ms -- feedback: 7-8 repeats The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. And lastly, youll want to mix it surprisingly quietly. intro slide guitar: 1023ms Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for 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. Once you have that, turn the feedback down so there are only about 3-6 repeats, adjust the delay volume to suit the song, and you are ready to go. He is also known for using the legendary Proco Rat and MXR Phase 90. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. intro: 425ms 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. David Gilmour was the guitarist for English rock band Pink Floyd. 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 early Boss DD-3 pedal had exactly the same circuit as the DD-2. 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. Both types have been described as "warm" sounding, which can get confusing. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. 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. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. The notes fade in and out, like a pedal steel guitar. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. 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. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital Getting an original Binson Echorec these days is nearly impossible. Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. 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. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: The tone is broken down to illustrate what each effect adds to the sound, in this order: Boss CS-2 compressor, Boss CE-2 chorus, Boss RT-20 Rotary Ensemble, FTT Future Factory stereo delay, BKB/Chandler Tube Driver. REVERB OR NO REVERB ? He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. The tremolo is from an HH IC-100 amp was used for the studio recording. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. Delay volume 65% 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog verse / chorus: 430ms, Us and Them - 2016/15 live version: I don't care how I get it. If running the delays parallel, set for about 12 repeats on each. 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. solo: 680ms, Another Brick in the Wall Part 1: David Gilmour, as many guitarists will agree on, is an absolute legend. 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. Time intro - Isolated guitar from studio mix. Run Like Hell with 380ms and 254ms delays in series. It is around 294ms on the studio recording. This was most likely a reel-to reel recorder set up for a tape-loop delay. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 This setup can also be used for songs like On the Turning Away and Sorrow.--------------------------Signal chain:Guitar - Fender Stratocaster, with D Allen Voodoo 69 neck and middle pickups and Seymour Duncan SSL5 bridge pickupAmp - Reeves Custom 50, Laney LT212 cabinet with Celestion V30 speakersMic - Sennheiser e906Follow Gilmourish.Com here:http://www.gilmourish.comhttps://www.facebook.com/pages/Gilmouhttp://www.bjornriis.com 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. David used a Binson Echorec for his delay at the time DSOTM was recorded, but the Binson cannot create a delay as long as 440ms. That may be just my fantasy; I don't know. This is actually not quarter-note triplets. Later versions of the DD-3 have different circuits. delay 1: 90ms All rights reserved. He did sometimes use the Swell mode. It's a beautiful sound, but David did not use tape delays like this. 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. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): 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. The effect actually works fine with only two delays. David has used many different types of compressors throughout his career, but a few common ones are the MXR Dynacomp, Boss CS-2, and Demeter Compulator. He became known for this effect as he used it for his guitar solo in practically every queen concert. It's a sort of melodic delay to use. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. Dec 23, 2015. The Mode switch is in position 7, which is Head 3 + Head 4. 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. Some duplicate the studio album delay times and some duplicate the live delay times. 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. 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 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. Using Program position 3 for that part also works. It created a unique stuttered stacatto rhythm. He did sometimes use the Swell mode. 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. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. During the tour a T-Rex Replica was added specifically to use for "Echoes". Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: David probably just uses the term triplet because what he does has a similar feel. For Run Like Hell, David's using what he refers to as "triplets".. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. Questa guida al setup di David Gilmour vuole essere d'aiuto per tutti coloro che volendo ricreare il sound che David ha utilizzato in un'album, in un tour o in una specifica canzone, sono alla ricerca dei setting precisi di ogni effetto usato da Gilmour. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): 614ms -- feedback: 6-7 repeats, Rattle That Lock: 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. The fact that these two delays were studio effects may explain why David never played the slide parts live in the original Dark Side of the Moon concerts. Below are settings to get that sound. 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. It's actually a metallic disc that spins around. 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. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. Example: You determine the 4/4 beat/song tempo is 600ms. 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. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. It can be simulated with a short 40-50ms digital delay with one repeat, like this: PARALLEL MIXING DELAYS - Stacking one delay after another in your signal chain can degrade your tone because your original signal travels through, and is altered by, two delay circuits before coming out the other end. 1st delay 428ms. David usually used positions 1-4, for single playback repeats of heads 1-4. solo: 420ms The delay time must also be precisely in time with the song tempo. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. Delay time depends on the era. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. Shown below are some typical Gilmour DD-2 delay times. When you have a drum and bass note landing at the same time it somewhat masks the repeat. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. David would use the latter setting for most of the album. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. 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. 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. 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. This is actually not quarter-note triplets. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. second solo before verse: 350ms -- feedback: 3-4 repeats 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). The second delay should just be accenting the first, filling the space between the 3/4 repeats. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. 3. 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. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. A 300ms and 380ms delay had the heads repeating in these specific delay times. Head 2 = 2/4 rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. To figure a 4/4 delay time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. The type of multi-head repeats varied depending on which of the four playback heads were selected. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. Below is a breakdown switching between the various tracks of all three solos. You can hear this in songs like One of These Days, Short and Sweet, Another Brick in the Wall Parts I and III, Run Like Hell, Blue Light, Give Blood, One Slip, Keep Talking, Take it Back, and Allons-Y. The Blue: 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 an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour.