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 IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. intro slide guitar: 1023ms Guida Al Setup Di David Gilmour - Giampaolo Noto Kits Secret Guitar, Gear, and Music Page Delay volume 65% second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. Volume 65% It's just like the old Echoplex unit - David Gilmour from Guitar for the Practicing Musician, 1985, The Binson was an Italian made delay unit. The type of multi-head repeats varied depending on which of the four playback heads were selected. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): The tremolo is from an HH IC-100 amp was used for the studio recording. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. On Reverb, the average Echorec sells for between 3500$ to 5000$. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. 5. Below is a song-by-song list of delay times with some 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. Mids: 6-7. Then go to a website with a Delay Time Calculator, like the one on this page. 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. middle section: 1500ms -- feedback: 10-12 repeats If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. These three separate channels are blended back together with the original dry signal at the end of the signal chain. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: His delay times are slightly faster here. The official live recordings often have an even larger delay sound than the studio versions. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. This is probably spring reverb from David's Twin Reverb. David probably just uses the term triplet because what he does has a similar feel. Both types have been described as "warm" sounding, which can get confusing. The notes fade in and out, like a pedal steel guitar. This was most likely a reel-to reel recorder set up for a tape-loop delay. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats Below is a breakdown of how to play this effect. - 2016/15 live version: . If you want to use a noise gate put it right before the delay/reverb. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less 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. What delay pedal does David Gilmour? solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): Head 2 = 2/4 Example: You determine the 4/4 beat/song tempo is 600ms. There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. David Gilmour's delay sounds (part 2) - YouTube 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! delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: If running the delays parallel, set for about 12 repeats on each. verse / chorus: 430ms, Us and Them - 2016/15 live version: It has a digital readout, but it's really nowhere close to being accurate. 8-10 repeats on each delay. Tim Renwick solo: 520ms, Louder Than Words: The Free the Tone Ambi Space pedal is my favorite device for this. His most commonly used delay times were in the 294-310ms range and 430ms. Both in the studio and live their musicality seeps from every note, every rest, and every beat. Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. I use the MXR Digital Delay. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. This is a big part of Pink Floyd's sound. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: 525ms, Sorrow Solo - 2016/15 live version: 1st delay 470ms. intro: The last 8 minutes of the song is a rambling collage of echo 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. The repeats are bright and shimmery but not brighter than the original signal. The Tone From Heaven: SETTINGS 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. That equates to 428ms, which we will call the 4/4 time. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: 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. 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. Using Program position 3 for that part also works. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. I use the Tremotron from Stone Deaf Effects for this. Those are not the type of parallel setup we are talking about here. slide solo: 550ms -- feedback: 7-8 repeats 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). 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. Great, lets get started. 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). 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. Below is an isolated excerpt of this part. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. solos: 375ms. A little later he switched to the MXR Digital Delay. 2nd delay 165ms. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. He usually had the time set to 440ms. This obviously means that a lot of guitarists want to be like him. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. Some duplicate the studio album delay times and some duplicate the live delay times. If the repeats are slower, reduce it. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Although he often blends different types of delays, creating rich textures and layers, I'm going to break it down into four signature setups covering each era. How to you get the proper 3/4 delay time from that 4/4 time? Listening to the trails specifically, something a little darker like a DM-2 would do it. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. Some of the other Program Select positions work for the Time intro too, like position 12. Sometimes these are called "parallel mixers" or "looper" pedals. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). But the delay was in 3/4 increments of the beat and the vibrato went with the beat. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions:
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