david gilmour delay settings

Divide 240 by 3 and you get 80. Shown below are some typical Gilmour DD-2 delay times. 2nd delay 165ms. A large part of that comes from Davids use of delay. 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. I use the MXR with the read-out on it, so I instantly have the right tempo. The clip below is played with those same 428ms and 570ms delay times. It is not known exactly which delay David used for the sudio recording of Run Like Hell, but I do not think he used his Binson Echorec for the main delay. Last update July 2022. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. The reverb could have been added in the mixing stage, or it could be natural room reverb from mics positioned in the recording studio to capture the natural room sound. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. 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. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. Just get any old delay pedal, analog or digital, and set the time slow. - David Gilmour from Guitar for the Practicing Musician, 1985, We also have an old MXR DDL (MXR Digital Delay System II) digital delay unit built into a rack unit. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. 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. David Gilmour Lead Guitar Tone Tutorial - Time - GuitarLessons365 650-680ms were occasionally used for long delays. This obviously means that a lot of guitarists want to be like him. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. It is meant to simulate the sound of old analog tape delays as they aged. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. - David has used numerous types of delays in his carreer, both analog and digital. 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. 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. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: If the repeats are faster than the tempo, increase the delay time. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. The Free the Tone Ambi Space pedal is my favorite device for this. HH IC-100 amplifier with built in tremolo. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. In the studio recording I hear one guitar playing the single note triplet time rhythm, a second guitar playing the fills, and a third guitar playing occasional accents on top of the fills. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms His talent doesnt just limit to his skill, but also to his creativity. outro solo: 680ms -- feedback: 4-5 repeats. This gives the impression of a 920-930ms delay. A little later he switched to the MXR Digital Delay. intro: 440ms David was very much in control of his sound system We rarely added effects to his guitar in the control room. 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. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats Last update July 2022. It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. Bass: 5-6. Read an explanation about how this is achieved here. 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. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog How to Sound Like Pink Floyd: Amp Settings Guide In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. This is a big part of Pink Floyd's sound. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. 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. Tutorial - Run Like Hell (David Gilmour) Delay Setting - YouTube third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats It's fun to just jam around using the unique delay rhythm it creates. REVERB OR NO REVERB ? Delay volume 50%. 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. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? 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. 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. 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. Another option is to run two delay pedals simultaneously. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog - Delay Rhythm Guitars Mixed Up Front - both channels. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. 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. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. *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! Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. Echorec Style Delay Jamming - 428ms and 570ms. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. Gilmour uses pristine delays. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): Syd's theme - Hollywood Bowl March 2016. intro: There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. #4. solos: 375ms. As the song plays on I dial the delay volume and number of repeats higher and higher. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): 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. Shown below are some typical Gilmour DD-2 delay times. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. 1978 and on: digital delay, several stompboxes and rack units used (Boss, TC, MXR, Lexicon) The 2006 all tube Cornish board has a Cornish TES delay. Mar 8, 2013. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. Note or mark that time setting on your delay. 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. To get the Pink Floyd sound, you'll need to use some specific equipment and 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. I have one for specific time settings, for things like Run Like Hell and Give Blood, so I know in numbers (delay time in milliseconds) what setting I need to use. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. 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. One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. 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. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. Members; 529 Members; Share; Posted December 21, 2005. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: Potent Pairings: Achieving the Tones of David Gilmour However, it is possible to play this one one guitar. 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. 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). On the one hand, finally cracking one of my favourite guitar player's [] Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. 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. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. studio . I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. It was set for a light overdrive setting and was most likely an always-on pedal. David Gilmour, as many guitarists will agree on, is an absolute legend. 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. I use a compressor or a Tube Driver for this. Sometimes these are called "parallel mixers" or "looper" pedals. The second is around 94ms, which is 1/5 of 470 (470/5=94). Dec 23, 2015. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. Feedback: This is the number of audible repeats. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. April 9, 2022. by Joe Nevin. Tim Renwick solo: 520ms, Louder Than Words: middle section: 1500ms -- feedback: 10-12 repeats 540ms, Take A Breath: Below are examples from 2016 of David using three digital delays in series for Syd's theme from performances of Shine of You Crazy Diamond. Then I play the bass rhythm clean, then with the effects on. Reaction score. The first delay is 380ms, 10-12 repeats, delay voume 95%. I use the MXR Digital Delay. The delays are set in series like this: They want to play and sound just like the man himself. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. Run Like Hell with 380ms and 507ms delay in series - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. . 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. David probably just uses the term triplet because what he does has a similar feel. 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 .