Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. 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! Gilmour used the TC Electronic 2290, but any digital delay will do. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. 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. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: Mids: 6-7. It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. He did sometimes use the Swell mode. Delay volume 90%. 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. I demonstrate many of the unique sounds that can be created but playing repeating patterns in and out-of-tempo with the delay repeats, letting the repeats get to the point of self oscillating, tapping the strings with a glass slide, tapping the strings with my fingers and pick to create percussive effects, and rubbing my fingers and pick up and down the strings. Below is a medley of David using the Echorec from 1969-1977. He is also known for using the legendary Proco Rat and MXR Phase 90. Solo: 440ms ? This is probably spring reverb from David's Twin Reverb. His delay times are slightly faster here. 5,744. studio album solo: 275ms Below is an example using two digital delays in series. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. Multiply that x3 to get the 3/4 time and you get 427.5. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: If you put it in a 3/4 time it has an interesting bounce to it. Echorec head 4 = 312ms / Echorec head 1 - 78ms 650-680ms were occasionally used for long delays. The main rhythm guitar, chords, and fills are all double tracked. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. It plays through first with the guitar and delay, then plays through again with just the left channel dry guitar, then again with the right channel, which is a multi tracked guitar, but delayed behind the left channel guitar. delay 1: 250ms Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. 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. Let's see some of the units he used over time. You can simulate the verse delay with two delays in-line going to one amp. 3rd solo: 430ms, Money solos - 2015/16 live version: 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). Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. Gilmour delay: '60s-'70s: Binson Echorec II. Time intro test with backing track - 470ms and 94ms. first solo: 507ms -- feedback: 2-3 repeats Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. 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. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. DELAY 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. 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): slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. I use a compressor or a Tube Driver for this. The first is set in 3/4 time (dotted eighth notes) for about 8 echo repeats at exactly 380ms, or three repeats for every song beat. This is a big part of Pink Floyds sound. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. Instead, it used a metal recording wheel. which is what gives the verse section that floaty, ethereal feel. The reverb could have been added in the mixing stage, or it could be natural room reverb from mics positioned in the recording studio to capture the natural room sound. solos: 660ms -- feedback: 6-7 repeats, Time: It created a unique stuttered stacatto rhythm. 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. 2nd delay 94ms. All these effects can be heard in most of Pink Floyds discography. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Some of the other Program Select positions work for the Time intro too, like position 12. REEL-TO-REEL SOUND-ON-SOUND - 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. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. 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. 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. 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. The delay time must also be precisely in time with the song tempo. Getting an original Binson Echorec these days is nearly impossible. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. 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. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. 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. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. Delay time depends on the era. Note that setting. I turn each effect on one at a time so you can hear how they add to the tone. Let's do some "Echorec math." Example: You determine the 4/4 beat/song tempo is 600ms. Why is that important? 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. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. That equates to 250 - 240ms. Sort of a triplet on top of a triplet time delay. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. Posted December 21, 2005. porsch8. Listen to some of the 5.1 live tracks separately and you can clearly hear this. 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. 2nd delay 570ms. *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the Gilmour Gear Forum 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! David usually used positions 1-4, for single playback repeats of heads 1-4. Its hard to give an estimate as every pedal will respond differently. Set one delay for 440ms, 2 repeats, 30-35% volume. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. Below is a breakdown switching between the various tracks of all three solos. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. In fact, Dark Side engineer Alan Parsons said plate reverb was virtually the only reverb used for those recordings, although he has said they also used as many as five or six tape machines to create various reverb delays. Every aspect of his tone can change on different albums, even on different tracks of the same album! You could get some wonderful delay effects that aren't attainable on anything that's been made since. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. 614ms -- feedback: 6-7 repeats, Rattle That Lock: 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. verse/chorus sections: 310ms -- feedback: 3-4 repeats The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. 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. 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. David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. 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. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. David almost always uses delays in his live rigs, not reverbs. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. I use the MXR with the read-out on it, so I instantly have the right tempo. intro slide guitar: 1023ms solo: 560ms 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 do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. 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. alternate: 380ms, High Hopes - 2015/16 live version: The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. 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. So why don't you hear the repeats most of the time? You should keep in mind that these official recordings have been sweetened to sound as good as possible. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for David used various Echorec models but he was most known for using the Echorec 2 model T7E. 430ms, Faces of Stone - 2015/16 live version: Although it is not often that this roll-off effect was heard in David's use of the Echorec, you can clearly hear it in the echo repeats in the very beginning of the song One of These Days from Pink Floyd's Meddle album in 1971. Other common delay times were 380, 440-450, 480, and 540ms. 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. 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 two delay pedals for Run Like Hell. Both types have been described as "warm" sounding, which can get confusing. Blue Light Riff - with and without delay. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. There are also instances where he has had a long delay time, but only one or two repeats, which gives the big sound, but makes the repeats almost inaudible in the band mix. 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. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. He then upgraded to an MXR Digital Delay System II. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. 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. That equates to 428ms, which we will call the 4/4 time. For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. Multiply that number by 75% to get the triplet time delay. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. This gives the impression of a 920-930ms 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. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. 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. Reverb was also added at the mixing desk when recording or mixing. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. verse / chorus: 435ms, Wearing the Inside Out: This is the primary delay time you hear in the song. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. Kits Secret Guitar, Gear, and Music Page. The delays are set in series like this: To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. Time intro - Torino, Italy, Sept 13, 1994. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. - Be sure to read the section above. To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. Listening to the trails specifically, something a little darker like a DM-2 would do it. Copyright Kit Rae. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. 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). Let's see some of the units he used over time. Run Like Hell with 380ms and 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. I was able to dismantle them, put them back together, and change the head positioning. Record yourself playing alone verses playing along with a backing track to see what I mean. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. I started off with a Binson Echo unit, which is like a tape loop thing. 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. 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. I don't care how I get it. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. The second delay David used was the MXR Digital M-113 Delay. 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. 2. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Again, I'll simulate that with only two dominant delays. I use 240ms. 1. It was set for a light overdrive setting and was most likely an always-on pedal. Its also easier for live situations as changes can be made on the fly. Below is an isolated excerpt of this part. 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). Brian May (of Queen) did the same effect a few years later on, - The 1983 Boss DD-2 was one of the first, and best sounding digital delays to come out of the early days of digital effects pedals. 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. Delay volume 50%. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. Delay volume 65% Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. 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. Heavy reverb. 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. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital 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. . If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. He did sometimes use the Swell mode. I'll keep this simple rather than going into an explanation of time signatures. verse: 360ms Head 3 = 3/4 ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. 1st delay 470ms. A little later he switched to the MXR Digital Delay. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off.
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