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. 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. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. David almost always uses delays in his live rigs, not reverbs. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. second solo: 490ms, What Do you Want From Me? The last 8 minutes of the song is a rambling collage of echo repeats. . 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 Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. I used to be expert with Binsons. I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. 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). Let's see some of the units he used over time. Multiply that x3 to get the 3/4 time and you get 427.5. - 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. Andrew Bell has 42 posts and counting. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital 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. Comfortably Numb: Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : 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): In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. For the middle section another piece of technology came into play: an HH amp with vibrato. I use two delay pedals for Run Like Hell. Sort of a triplet on top of a triplet time delay. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. This is something us Gilmour fans have sought to recreate in our own playing. The 3/4 time delay is 380ms and the second 4/4 delay time is 507ms, or one repeat on every quarter note (one beat). 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. The second delay David used was the MXR Digital M-113 Delay. 650-680ms were occasionally used for long delays. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. 380 divided by 3 = 126.7ms. 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. When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. Those are not the type of parallel setup we are talking about here. And lastly, youll want to mix it surprisingly quietly. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. Sort of a triplet on top of a triplet time delay. The Mode switch is in position 7, which is Head 3 + Head 4. I change my echo settings fairly often in concert. 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. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats alternate: 380ms, High Hopes - 2015/16 live version: To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. 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 the repeats are slower, reduce it. One of the ways to do that, is by using your effects creatively, just as he does. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: 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. - Delay Rhythm Guitars Mixed Up Front - both channels. Heavy reverb. The type of multi-head repeats varied depending on which of the four playback heads were selected. David used a Binson Echorec for his delay at the time DSOTM was recorded, but the Binson cannot create a delay as long as 440ms. 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 want to use a noise gate put it right before the delay/reverb. If you put it in a 3/4 time it has an interesting bounce to it. - 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. You simply have to practice your timing so you can play the fills and get back to the D rhythm note exactly in time with the delay repeats. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. Starting with the finer details of the setup's tone like amp EQ and drive pedal levels and EQ will help you hear everything much more clearly before adding all the delay and reverb. However, it is possible to play this one one guitar. 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. Below is my best guess at the delay times David used there. When you have a drum and bass note landing at the same time it somewhat masks the repeat. The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. Here are what the settings mean -. 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. solos: 430ms, Yet Another Movie: 4. solo: 680ms, Another Brick in the Wall Part 1: There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms 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. Instead, it used a metal recording wheel. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. I use 240ms. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. Volume 65% If you set it too high it will self oscillate into a whining feedback. Copyright 2023 Killer Guitar Rigs. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. During the tour a T-Rex Replica was added specifically to use for "Echoes". Some of the other Program Select positions work for the Time intro too, like position 12. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. - In general, no - but sometimes, yes. Run Like Hell with 380ms and 507ms delay in series. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. 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. Copyright Kit Rae. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. I often hear a guitar recorded dry, a reverb only track, and a delay only track. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: I was able to dismantle them, put them back together, and change the head positioning. He did sometimes use the Swell mode. Treble: 4-5. 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). solos: 660ms -- feedback: 6-7 repeats, Time: Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. 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. I use the Tremotron from Stone Deaf Effects for this. Run Like Hell with 380ms and 254ms delays in series. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. Generally speaking, the sound on the album is pretty much what came out of his amp. Another option is to run two delay pedals simultaneously. 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. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: The repeats in the RLH studio recording sound clear and clean, so the MXR was probably the delay used for the studio recording, and it was used for the 1980-81 live performances. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. I use the MXR with the read-out on it, so I instantly have the right tempo. 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. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. delay 2: 275-290ms -- feedback: 5-7 repeats - delay level: 25% -- delay type: analog, Short and Sweet - David Gilmour live 1984 version (Boss DD-2): - Be sure to read the section above. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog I used a Free the Tone Future Factory delay set for 300ms and long repeats. One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. USING TWO DELAYS - David has stated he used two delays, one in 3/4 time (dotted eighth notes) and one in 4/4 time (quarter notes). Head 1 = 1/4. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. He would do this for each chord change in the intro to, David did an early version of sound-on-sound way back in October of 1970, in one of the few times Pink Floyd performed Alan's Psychadelic Breakfast live. The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. David probably just uses the term triplet because what he does has a similar feel. 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. Kits Secret Guitar, Gear, and Music Page 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.
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