It also stems from the fact that analog equipment is frequently much more expensive than it is worth. 614ms -- feedback: 6-7 repeats, Rattle That Lock: I have two units, and I have different echo settings on both. solo: 680ms, Another Brick in the Wall Part 1: 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. - In general, no - but sometimes, yes. 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. He became known for this effect as he used it for his guitar solo in practically every queen concert. 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. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. Example: You determine the 4/4 beat/song tempo is 600ms. He has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. Just get any old delay pedal, analog or digital, and set the time slow. I'll keep this simple rather than going into an explanation of time signatures. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. 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. 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. 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. 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). WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? 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. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: 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. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. David probably just uses the term triplet because what he does has a similar feel. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. See all posts by Andrew Bell. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: Below is a breakdown of how to play this effect. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. 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. I was able to dismantle them, put them back together, and change the head positioning. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital 5 A.M. : The level or volume knob would be set to maximum on most delays for this. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. I use a compressor or a Tube Driver for this. What delay does David Gilmour use? - Killer Guitar Rigs This is a big part of Pink Floyd's sound. 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. It's actually a metallic disc that spins around. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. 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. David Gilmour's delay sounds (part 2) - YouTube 440ms -- feedback: 4-5 repeats, No More Lonely Nights: David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. David usually used positions 1-4, for single playback repeats of heads 1-4. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. outro solo: 680ms -- feedback: 4-5 repeats. This is also one of the few Gilmour solos that features a heavy reverb effect, so it does not sound the same with delay only. David Gilmour, as many guitarists will agree on, is an absolute legend. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes He used three delays there, but again, I can only distinctly hear two. 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. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. Shown below are some typical Gilmour DD-2 delay times. Why is that important? Some duplicate the studio album delay times and some duplicate the live delay times. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? I also use it to add some of the bigger room and concert hall sounds. 5. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): David almost always uses delays in his live rigs, not reverbs. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: 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. - 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. Both types have been described as "warm" sounding, which can get confusing. 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. I set the vibrato to more or less the same tempo as the delay. 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: 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 usually set for single head and a fixed time at about 310ms. 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. Both types have been described as "warm" sounding, which can get confusing. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 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. Kits Secret Guitar, Gear, and Music Page It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. David Gilmour Lead Guitar Tone PDF Download middle section: 1000ms -- feedback: 4-5 repeats You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. 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. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. If you adjust the delay time in that in-between zone while listening to the song, you will hear when it is right in 3/4 time. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. Anyone got some David Gilmour delay settings first solo: 340ms -- feedback: 3-4 repeats chords / arpeggios: 480ms rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): Delay and reverb should be the last effect in the chain. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. 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). Gilmour uses pristine delays. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. Solo: 440ms ? Hes got the sort of guitar-god charisma that comes with his insane talent. 2. Head 1 = 75ms .Head 1 = 95ms. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. intro: 650ms, Coming Back To Life - 2015/16 live version: I turn each effect on one at a time so you can hear how they add to the tone. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. >> Click to read more <<. Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. 380ms -- feedback 7-8 repeats - delay level: 90% -- delay type: digital, Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. 3rd solo: 430ms, Money solos - 2015/16 live version: 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. This was most likely a reel-to reel recorder set up for a tape-loop delay. Volume 65% bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats - 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. 525ms, Sorrow Solo - 2016/15 live version: 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. 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. Again, I'll simulate that with only two dominant delays. moderate reverb, probably from the plate reverbs at Abbey Road studios. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. Here is a breakdown from the Great Gig multi tracks. David Gilmour Tone Building- Signal Chain Order - Kit Rae To add some modulation and a spacious feel to the delay tone on the studio recording David used either a Yamaha RA-200 rotary speaker cabinet or an Electric Mistress flanger. The second delay David used was the MXR Digital M-113 Delay. Using Program position 3 for that part also works. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. 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. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Head 2 = 2/4 Read an explanation about how this is achieved here. 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. The tremolo is from an HH IC-100 amp was used for the studio recording. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting.