david gilmour delay settings david gilmour delay settings

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. 2nd delay 375ms. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. Free shipping for many products! April 9, 2022. by Joe Nevin. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. Also, two delays in line, while useful for some double tap delay effects, means that the repeats from the first delay are then repeated again by the second when both are used at the same time, which can sometimes create a mushy mess of repeats. 310ms -- feedback: 3-4 repeats The volume swells can be easily created today with a delay and a volume pedal. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. David Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an 'echo'. The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: 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. second solo: 480ms -- feedback: 6-7 repeats The simplest option is to use an online Beats Per Minute caculator, like, - 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. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. All of the settings for this tone can be found in this PDF download below. 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. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats - Be sure to read the section above. Let's see some of the units he used over time. Below is an isolated excerpt of this part. It's all on a D pedal. 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. When using both the mono and stereo outputs together (each running to a separate amp) the DD-2 produces a very defined stereo field, with one channel being the dry signal only, and one being the delayed signal only. I turn each effect on one at a time so you can hear how they add to the tone. Below is a link to a song-by-song list of Gilmour's delay settings, compiled from measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of his digital delays. middle section: 1500ms -- feedback: 10-12 repeats Unless otherwise noted, all delay times are shown in quarter notes . That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. 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. His talent doesnt just limit to his skill, but also to his creativity. Head 1 = 1/4. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. Remember that these settings should just be used as a starting point. 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. Comfortably Numb: These three separate channels are blended back together with the original dry signal at the end of the signal chain. USING TWO DELAYS AT ONCE - David has sometimes simultaneously used two separate delays with different delay times to create a larger sound, similar to what can be accomplished with the multi heads on an Binson Echorec. Other common delay times were 380, 440-450, 480, and 540ms. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. Hes got the sort of guitar-god charisma that comes with his insane talent. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats 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). Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. 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. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: 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. If you want to somewhat recreate his delay youre in luck, as its pretty simple. 1st delay 428ms. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). Last update July 2022. You can hear this in songs like One of These Days, Short and Sweet, Another Brick in the Wall Parts I and III, Run Like Hell, Blue Light, Give Blood, One Slip, Keep Talking, Take it Back, and Allons-Y. 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. 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. Great, lets get started. My sound has everything to do with what sounds good to me. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. #4. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. Below are settings to get that sound. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. second solo: 460ms -- feedback: 5-7 repeats, Dogs: There are several parallel looper pedals that can be used for the actual "looping" part of the setup. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. The other output went to a Sound-on-Sound interface built into David's rack, which fed a second Hiwatt amp and 4x12 speaker cabinet. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. Here is my example of this sound. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. 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. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. The level or volume knob would be set to maximum on most delays for this. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. 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. intro: Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. Delay Time: Shown in milliseconds. 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. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. That sounds complicated, but to recreate this sound all you really need is one digital delay set to 380ms, as David did whenever he played it live. 1 2. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Shown below are some typical Gilmour DD-2 delay times. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. The first delay is 380ms, 10-12 repeats, delay voume 95%. 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: Use the feedback option to set it right where you think it sounds closest. 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. 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. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Treble: 4-5. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. Bass: 12 o'clock Mid: 1 o'clock Treble: 11 o'clock Delay: Time: 484 ms Mix: 40% Level: 75% Feedback: 50% Only about one audible repeat fading very quickly after that Reverb: Medium Room Time: 2.20 sec EQ: High Cut 4000Hz Level: 75% Mix: 50% Input Gain: 100%. 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). Instead, it used a metal recording wheel. Its also easier for live situations as changes can be made on the fly. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. I use the MXR with the read-out on it, so I instantly have the right tempo. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. They averaged from 290-310ms. The S-O-S unit was basically a buffered interface with two send/returns. Head 2 = 2/4 Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. For example, 380ms is your triplet time. Listening to the trails specifically, something a little darker like a DM-2 would do it. David would play a two note chord, then fade the volume in as he slides to the next position. 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. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital 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. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. which is what gives the verse section that floaty, ethereal feel. The main rhythm guitar, chords, and fills are all double tracked. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: Both types have been described as "warm" sounding, which can get confusing. The second delay David used was the MXR Digital M-113 Delay. 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. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. 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. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: Run Like Hell with 380ms and 254ms delays in series. Read an explanation about how this is achieved here. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. 1st solo: 310ms Time intro - Isolated guitar from studio mix. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): 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. solo: 400ms, Raise My Rent: 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. 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. I use the Tremotron from Stone Deaf Effects for this. The delay time must also be precisely in time with the song tempo. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. 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 . There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. I used a Free the Tone Future Factory delay set for 300ms and long repeats. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Some duplicate the studio album delay times and some duplicate the live delay times. delay 1: 90ms 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. Alt. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats Reverb was also added at the mixing desk when recording or mixing. Electric Mistress V2, V3, or V4: 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. Let's see some of the units he used over time. Gilmour delay: '60s-'70s: Binson Echorec II. Solo: 300ms. In 2006 the dry signal split off at the end of his pedal board signal chain into two separate loops, each going to a separate delay. His most commonly used delay times were in the 294-310ms range and 430ms. Members; 529 Members; Share; Posted December 21, 2005. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. There is a 440ms delay on the guitars in the studio recording.