Below is an isolated excerpt of this part. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): 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. 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. 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. In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog For example, take 450ms divided by 3 = 150ms. All rights reserved. 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. The repeats had a warm high end roll off, similar to David's Binson Echorecs. 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. 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. 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. 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 You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. His delay times typically ranged from 300ms-550ms, with 5-8 repeats, but some songs required more specific delay times and settings, as detailed below. David has often usied very long delay times, so the repeats are not as obvious because he is playing the next bit of a solo phrase right when the repeats from the previous notes start. The notes fade in and out, like a pedal steel guitar. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977.
Make David Gilmour's Shimmering Sustained Delay in Live The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. Time intro test with backing track - 470ms and 94ms. If you want to try the two-delay effect on one amp, it is best to place the second delay after the main 380ms delay in your signal chain, and set the second delay repeat volume MUCH lower, with roughly 1/3 the repeats of the main delay. A large part of that comes from Davids use of delay. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Ex-DragonForce Bassist Reveals Why He Really Left the Band, Claims He Was Unhappy and Arguing All the Time With Them, Nuno Bettencourt Recalls How Eddie Van Halen Reacted to His Tapping Technique, Names Favorite Van Halen Album. Head 1 = 1/4. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. - David Gilmour, Guitar World magazine. volume swells: 1100ms -- feedback: 4-5 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. The primary reason is becasue the delay time is usually set in time with the tempo of the song, so each repeat lands on the beat. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: Let's see some of the units he used over time. 2nd delay 375ms. 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. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. 1st delay 500ms. - 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. Echorec head 4 = 312ms / Echorec head 1 - 78ms But which delay pedal (s) does/did he use? The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. "Square wave" means the sound wave looks square shaped, rather than wavy. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): Money solos - live 1977 version (MXR Digital Delay System I): He began using digital delays in place of the Echorec around 1977. 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. 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. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. ONE OF THESE DAYS - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song One of These Days from Pink Floyd's Meddle album in 1971. Head 2 = 2/4 As the recording drum and playback heads aged there was a slight loss of high end that added a unique high end roll-off as the echoes decayed. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. 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. Some duplicate the studio album delay times and some duplicate the live delay times. Parallel is better than in series because the one delay does not repeat the other, and the repeats can run longer without going into oscillation. 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.
David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. The TC Flashback can be set up with the Tone Print edito. Then I play the bass rhythm clean, then with the effects on. The delay time must also be precisely in time with the song tempo. He became known for this effect as he used it for his guitar solo in practically every queen concert. Free shipping for many products! You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. delay 2: 430ms, In Any Tongue - 2015/16 live version: Solo: 430ms, Fat Old Sun- 1971/72 live versions: 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. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. David Gilmour was the guitarist for English rock band Pink Floyd. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. Delay and reverb should be the last effect in the chain. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. 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. Great Gig Slide Guitar Breakdown, Here's another, starting with the dry guitar in the left channel, then the right channel with the 440ms delay. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. His main analog delays were nearly always the drum type, like the Echorec, which only had high end-roll off as the magnetic drum and record/playback heads aged. The clip below is played with those same 428ms and 570ms delay times. 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. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats Let's do some "Echorec math." . 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. 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. Both types have been described as "warm" sounding, which can get confusing. You can also play in time with the delays in a kind of shuffle rhythm. The delay time must also be precisely in time with the song tempo. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. which is what gives the verse section that floaty, ethereal feel. 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: The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. David Gilmour, as many guitarists will agree on, is an absolute legend. For example, 380ms is your triplet time. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse This unit is an incredibly versatile digital delay that many artists use. He usually had the time set to 440ms. verse: 360ms I use 240ms. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. 5 A.M. : It still retained the warmth of the original signal rather well, but there is no high end roll-off in the repeats, so it is not "warm" analog delay in that regard. second solo before verse: 350ms -- feedback: 3-4 repeats One of the smoothest guitarists in rock, Pink Floyd's David Gilmour has built a reputation for great melodic control and an expressive soloing approach that has influenced millions. It's fun to just jam around using the unique delay rhythm it creates. 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. I think the 2290 mode on the Flashback does very well for playing anything Gilmour, and if you check out some of Bjorn Riis's Floyd jams on . Volume 85% The Mode switch is in position 7, which is Head 3 + Head 4. For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. solos 2/3: Delay 1 = 360ms / Delay 2 = 650ms, Coming Back To Life - 2006 live version: The PE 603 Echorec had similar controls, but rather than having a switch to select different combinations of the four playback heads, it had individual switches for each head. He came up with that basic riff that we all worked on and turned into One of these Days. Every aspect of his tone can change on different albums, even on different tracks of the same album! Alan Parsons has said David was generating all the effects himself for the first solo, so this was probably spring reverb from the Twin Reverb David had in the studio. The Effect Level (volume) and Feedback (number of repeats) will vary. A single delay set at 1400ms with 3 repeats has a similar feel as well. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. 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.