david gilmour delay settings

How to Nail Gilmour's "Comfortably Numb" Solo | Reverb News 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. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital What delay pedal does David Gilmour? - Guitar Reviewed The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): The delays are set in series like this: 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. Then go to a website with a Delay Time Calculator, like the one on this page. Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017). David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. alternate: 380ms, High Hopes - 2015/16 live version: The Different Effects Used By David Gilmour Throughout His Career This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. Pink Floyd recording engineer Andy Jackson has said he usually uses a couple of EMT plate reverbs in the studio for David's voice and guitar, and sometimes a Lexicon Hall reverb. Run Like Hell with 380ms and 254ms delays in series. One of the ways to do that, is by using your effects creatively, just as he does. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. Some of the other Program Select positions work for the Time intro too, like position 12. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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. 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. It was set for a light overdrive setting and was most likely an always-on pedal. In this clip I have one set for 380ms for Run Like Hell and one for 440ms for Another Brick in the Wall (part 1). 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. This obviously means that a lot of guitarists want to be like him. This is actually not quarter-note triplets. 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. 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. The level or volume knob would be set to maximum on most delays for this. Free shipping for many products! It was usually set for single head and a fixed time at about 310ms. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. intro slide guitar: 1023ms 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. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. Why is that important? In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Delay settings - Tony Samperi Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. 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. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. Let's see some of the units he used over time. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. David probably just uses the term triplet because what he does has a similar feel. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): www.gilmourish.com this website has info on Gilmours tone and gear used. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. His most commonly used delay times were in the 294-310ms range and 430ms. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): 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. The official live recordings often have an even larger delay sound than the studio versions. Check here for more Big Muffs to achieve the Gilmour tone. For the middle section another piece of technology came into play: an HH amp with vibrato. second solo: 430ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Sound like David Gilmour (Pink Floyd) By Busting The Bank! As the chord rang on, David could then play the melody lines through his main Hiwatt. The second is around 94ms, which is 1/5 of 470 (470/5=94). Many of the sound effects youll hear on the earlier albums were created with this machine. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: Set one delay for 440ms, 2 repeats, 30-35% volume. Every aspect of his tone can change on different albums, even on different tracks of the same album! fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. 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. I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. slide solo: 550ms -- feedback: 7-8 repeats solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): He did sometimes use the Swell mode. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. - 2016/15 live version: David Gilmour Delay / Echo - Kit Rae As I said before, he often doesnt just use the delay to make his solos fit in the particular vibe of the song, but also the help build the rest of the soundscape. 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. If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. 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 and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. This is something us Gilmour fans have sought to recreate in our own playing. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats 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. 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. solo: 680ms, Another Brick in the Wall Part 1: 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. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. The third delay is probably in 3/4 time, but I can barely hear it. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. David used various Echorec models but he was most known for using the Echorec 2 model T7E. It was strange because it didn't utilize tape loops. The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. David Gilmour Tone Building- Signal Chain Order - Kit Rae 2nd delay 570ms. 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. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. The tempo used in this demo is slightly too. REVERB OR NO REVERB ? 1st delay 500ms. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. Treble: 4-5. solos: 660ms -- feedback: 6-7 repeats, Time: I use one of their old ones most of the time because the width is narrower. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): I use 240ms. On the one hand, finally cracking one of my favourite guitar player's [] Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. Copyright 2023 Killer Guitar Rigs. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. Heavy reverb. PDF David Gilmour Solo Tone Settings For "Time" Blue Light Riff - with and without delay. I change my echo settings fairly often in concert. 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. Great, lets get started. 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. Find the song tempo delay time as described above, so your delay is making one repeat per song beat, exactly in time with the beat. For example, take 450ms divided by 3 = 150ms. Echorec 2 ..Echorec PE 603 The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. Anyone got some David Gilmour delay settings Solo: 300ms. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: Here are what the settings mean -. The first send went to a volume pedal. alternate 2nd Solo: 540ms I use the MXR Digital Delay. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: This is similar to the sound David had for his 1984 live performances of Run Like Hell, as heard on the David Gilmour In Concert video released in 1984 by CBS, and the Westwood One Radio Network FM broadcast of the July 12th concert in Bethlehem Pennsylvania. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. Divide 240 by 3 and you get 80. 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 The delay time and your playing must be precisely in time with the song tempo, so it takes some practice to perfect this style of playing. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. When you play across it, it helps you to double-track yourself. 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. 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. The second delay should just be accenting the first, filling the space between the 3/4 repeats. The delays are set in series like this: 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. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. Both in the studio and live their musicality seeps from every note, every rest, and every beat. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. first solo: 507ms -- feedback: 2-3 repeats The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. intro: 425ms DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. The delay time must also be precisely in time with the song tempo. 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. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. Great Gig Slide Guitar Breakdown. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. A single delay set at 1400ms with 3 repeats has a similar feel as well. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. Sort of a triplet on top of a triplet time delay. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. The repeats are bright and shimmery but not brighter than the original signal. Syd's theme: 375ms and 500ms Delay settings for Pink Floyd's David Gilmour sound In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. outro solo: 680ms -- feedback: 4-5 repeats. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. Tutorial - Run Like Hell (David Gilmour) Delay Setting - YouTube 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. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. Hes got the sort of guitar-god charisma that comes with his insane talent. How to Sound Like Dave Gilmour - Guitar Lessons London To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. Volume 65% These are 5 note scales, pretty much the simplest scale a guitarist could use. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Kits Secret Guitar, Gear, and Music Page. If running the delays parallel, set for about 12 repeats on each. Below is a medley of David using the Echorec from 1969-1977. It plays through first with the guitar and delay, then plays through again with just the left channel dry guitar, then again with the right channel, which is a multi tracked guitar, but delayed behind the left channel guitar. Head 3 = 3/4 This is the primary delay time you hear in the song. 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 helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. There are several reasons. Head 2 = 2/4 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. David would play a two note chord, then fade the volume in as he slides to the next position. 650-680ms were occasionally used for long delays. Run Like Hell - Delay Rhythm Guitars Mixed Up Front - both channels, Run Like Hell - Sustained Chords Mixed Up Front, Run Like Hell - Verse Fills Mixed Up Front, Run Like Hell Live Excerpts - from Is There Anybody Out There - The Wall live 1980-81, David Gilmour live in 1984, the Delicate Sound of Thunder, and Pulse.