david gilmour delay settings

David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. Below is a breakdown of how to play this effect. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The third delay is probably in 3/4 time, but I can barely hear it. One of the ways to do that, is by using your effects creatively, just as he does. The first send went to a volume 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). delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): I was able to dismantle them, put them back together, and change the head positioning. The other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. David probably just uses the term triplet because what he does has a similar feel. There is a 440ms delay on the guitars in the studio recording. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 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. Let's see some of the units he used over time. One of These Days - gated tremolo section isolated. second solo: 480ms -- feedback: 6-7 repeats I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. www.gilmourish.com this website has info on Gilmours tone and gear used. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. David Gilmour Solo Tone Settings For "Time" . 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 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. Shown below are some typical Gilmour DD-2 delay times. 5 A.M. : intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. It is impossible to achieve the exact same tone as a player without using the same equipment. 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 . Delay settings for Pink Floyd's David Gilmour sound HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? second solo: 500ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. Some duplicate the studio album delay times and some duplicate the live delay times. moderate reverb, probably from the plate reverbs at Abbey Road studios. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. 2nd delay 165ms. 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. 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 It is meant to simulate the sound of old analog tape delays as they aged. Shown below are some typical Gilmour DD-2 delay times. The official live recordings often have an even larger delay sound than the studio versions. - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, 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. second solo: 460ms -- feedback: 5-7 repeats, Dogs: (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. Head 3 = 3/4 delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: 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. If the repeats are faster than the tempo, increase the delay time. Below is an example of David using two digital delays (TC 2290 Digital Delay and the dual delays from a PCM 70 delay) for the intro to Time in 1994. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: slide solo: 550ms -- feedback: 4-5 repeats Sometimes these are called "parallel mixers" or "looper" pedals. There is a misconception that David always used the Echorec for its multi-head function, but in reality he primarily used it in single playback head mode, just like any other typical delay. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. 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. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: 4. Great, lets get started. Divide 240 by 3 and you get 80. These are 5 note scales, pretty much the simplest scale a guitarist could use. If you put it in a 3/4 time it has an interesting bounce to it. Here is a breakdown from the Great Gig multi tracks. Sort of a triplet on top of a triplet time delay. If running the delays parallel, set for about 12 repeats on each. DD-500 Settings for David Gilmour Style Lead Guitar Delay The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. 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. - 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. chords / arpeggios: 480ms 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. solo: 400ms, Raise My Rent: delay 1 time: 90ms This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog The main rhythm guitar, chords, and fills are all double tracked. solo: 440ms. Members; porsch8. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. Comfortably Numb: The first Money solo, for example, sounds like it is awash in spring reverb. 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. 614ms -- feedback: 6-7 repeats, Rattle That Lock: The delay used must have a "kill dry" or "dry defeat" mode, which means ONLY the 100% wet delay signal is sent to the output of the delay, none of the dry signal. I set the vibrato to more or less the same tempo as the delay. I use two delay pedals for Run Like Hell. Mar 8, 2013. A large part of that comes from Davids use of delay. It was set for a light overdrive setting and was most likely an always-on pedal. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. 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. - David Gilmour from Guitar for the Practicing Musician, 1985. 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. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Example: You determine the 4/4 beat/song tempo is 600ms. The first delay is 380ms, 10-12 repeats, delay voume 95%. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. By the way, you might also want to check out our top picks for the best delay pedals, our guides to the delay pedals used bySlashandEddie Van Halen, as well as our tips for where to place your delay in the chain withreverbandchoruspedals. 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. Here is my example of this sound. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. 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. Delay Level: This is the volume level of the delay repeat compared to the original signal. He came up with that basic riff that we all worked on and turned into One of these Days. 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. 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. #4. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. *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 notes fade in and out, like a pedal steel guitar. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. 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'. The delays are set in series like this: verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: I used to be expert with Binsons. It's a beautiful sound, but David did not use tape delays like this. 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. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. 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. verse / chorus: 430ms, Us and Them - 2016/15 live version: solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: It has a digital readout, but it's really nowhere close to being accurate. 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): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. If you break the beat into a four count, that second repeat would be on 4. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: