BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. verse / chorus: 435ms, Wearing the Inside Out: first solo: 340ms -- feedback: 3-4 repeats - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. Run Like Hell with 380ms and 507ms delay in series - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. Find the proper delay time for the song as described above, then let's do some "Echorec math". It was my very first delay and one of my favorite pedals for Gilmour-ish delay. How to Sound Like Dave Gilmour - Guitar Lessons London 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): 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. 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. There are times when I have both running at the same time for certain effects. 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%. - David often has a big, watery delay tone, as if he were playing in a large hall, but the actual audible echo repeats in his solos are almost absent in many cases. 650-680ms were occasionally used for long delays. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: David usually used positions 1-4, for single playback repeats of heads 1-4. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. This website is frequently updated. 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. 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. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): 2nd delay 570ms. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: moderate reverb, probably from the plate reverbs at Abbey Road studios. The type of multi-head repeats varied depending on which of the four playback heads were selected. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Below is a breakdown switching between the various tracks of all three solos. 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. This is a big part of Pink Floyds sound. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. second solo: 640ms -- feedback: 6-7 repeats The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. Sound like David Gilmour (Pink Floyd) By Busting The Bank! - David Gilmour. If you get too high a quality bandwidth on a DDL you hear too much pinging and lose the sort of echo effect I use it for. ANOTHER BRICK IN THE WALL PART I - This one is very similar to Run Like Hell, played in D, with a 450ms delay, around 7 repeats, with the repeat volume equal to the signal volume. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: 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. 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. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for The repeats had a warm high end roll off, similar to David's Binson Echorecs. When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. 3rd solo: 430ms, Money solos - 2015/16 live version: David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. 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. www.gilmourish.com this website has info on Gilmours tone and gear used. First is the delay, then the square wave tremolo, then both together. - Phil Taylor, David's backline tech. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? When you have a drum and bass note landing at the same time it somewhat masks the repeat. 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. The PE 603 Echorec had similar controls, but rather than having a switch to select different combinations of the four playback heads, it had individual switches for each head. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : The primary reason is becasue the delay time is usually set in time with the tempo of the song, so each repeat lands on the beat. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) If you put it in a 3/4 time it has an interesting bounce to it. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. But which delay pedal (s) does/did he use? David Gilmour Delay / Echo - Kit Rae Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. - David often has a big, watery delay tone, as if he were playing in a large hall, but the actual audible echo repeats in his solos are almost absent in many cases. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. If the repeats are faster than the tempo, increase the delay time. solo: 500ms, High Hopes - live versions The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. For the multi-head Echorec sound needed when performing the intro to Time and the four-note Syd's theme section of Shine on You Crazy Diamond he used two delays, and sometimes three! The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Time intro test with backing track - 470ms and 94ms. Treble: 4-5. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 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. The second delay should just be accenting the first, filling the space between the 3/4 repeats. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. The volume swells can be easily created today with a delay and a volume pedal. 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. It's all on a D pedal. With that said, the rest of the article is designed to . verse: 360ms slide solo: Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. I'll keep this simple rather than going into an explanation of time signatures. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Last update July 2022. These are 5 note scales, pretty much the simplest scale a guitarist could use. 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). RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. A DD-2 was also seen in David's Medina studio around 2017. middle keyboard section: 340ms -- feedback: 8-9 repeats A little later he switched to the MXR Digital Delay. Here is a clip of a single 330ms delay playing the Blue Light riff. For the middle section another piece of technology came into play: an HH amp with vibrato. This is a big part of Pink Floyd's sound. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. Listen to some of the 5.1 live tracks separately and you can clearly hear this. David Gilmour Tone Building- Signal Chain Order - Kit Rae 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. SHINE ON YOU CRAZY DIAMOND 1-5 settings. When you play across it, it helps you to double-track yourself. This gives the impression of a 920-930ms delay. Multiply that number by 75% to get the triplet time delay. I use a compressor or a Tube Driver for this. verse/chorus sections: 310ms -- feedback: 3-4 repeats 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. 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. His final delay was the TC Electronic 2290. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: But which delay pedal(s) does/did he use? solo: 420ms 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. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. Great Gig Slide Guitar Breakdown. Below are settings to get that sound. 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. This is something us Gilmour fans have sought to recreate in our own playing. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. 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. Theyre so famous they sell for a very high price and are deemed a collectable for many. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. David Gilmour Tone Building - Kit Rae 570 x 75% = 427.5. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. All these effects can be heard in most of Pink Floyds discography. 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. 2nd delay 165ms. Volume 85% second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog It's a sort of melodic delay to use. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. 2. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog Here is my example of this sound. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. 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. 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. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Solo: 440ms ? - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. delay 1: 90ms Below is an example of replicating the Syd's Theme delays from 1994. delay 2: 254ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital delay 2 alternate: 90ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital, Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Both types have been described as "warm" sounding, which can get confusing. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. - Pulse version (TC 2290 Digital Delay): On the left is my standard setting range for the early 1970s Gilmour Echorec sound. I set the vibrato to more or less the same tempo as the delay. Blue Light Riff - with and without delay. This is something us Gilmour fans have sought to recreate in our own playing. Some of the other Program Select positions work for the Time intro too, like position 12. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. Note that David Gilmour varied his settings. Syd's theme - Hollywood Bowl March 2016. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. A little later he switched to the MXR Digital Delay. David Gilmour is famous for his unique use of delay and echo.