MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for 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. 1st delay 470ms. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. 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). Why is that important? It's actually a metallic disc that spins around. Both delays are in series with the delay volume around 75% and about 9 repeats. I use one of their old ones most of the time because the width is narrower. 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. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. Ex-DragonForce Bassist Reveals Why He Really Left the Band, Claims He Was Unhappy and Arguing All the Time With Them, Nuno Bettencourt Recalls How Eddie Van Halen Reacted to His Tapping Technique, Names Favorite Van Halen Album. - 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. There are times when I have both running at the same time for certain effects. 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. 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. 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. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. It's all on a D pedal. delay 1 time: 90ms REVERB OR NO REVERB ? 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. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: I use the Tremotron from Stone Deaf Effects for this. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. David used various Echorec models but he was most known for using the Echorec 2 model T7E. Two guitars were multi tracked in the left and right channels. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): 4. The delay time must also be precisely in time with the song tempo. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. Heavy reverb. The notes fade in and out, like a pedal steel guitar. Last update September 2022. Those are not the type of parallel setup we are talking about here. When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *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. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording 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. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. This setup can also be used for songs like On the Turning Away and Sorrow.--------------------------Signal chain:Guitar - Fender Stratocaster, with D Allen Voodoo 69 neck and middle pickups and Seymour Duncan SSL5 bridge pickupAmp - Reeves Custom 50, Laney LT212 cabinet with Celestion V30 speakersMic - Sennheiser e906Follow Gilmourish.Com here:http://www.gilmourish.comhttps://www.facebook.com/pages/Gilmouhttp://www.bjornriis.com Mar 8, 2013. - 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. He would do this for each chord change in the intro to Shine On You Crazy Diamond, effectively doing both the keyboard and guitar parts all by himself. Echorec Style Delay Jamming - 428ms and 570ms. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. The Echorec 2 had six knobs - INPUT CONTROL (volume), LENGTH OF SWELL (number of repeats), VOLUME OF SWELL (volume of repeats), BASS/TREBLE (tone knob for the repeats), a three position SELECTOR knob, and a SWITCH knob that selected various combinations of the four playback heads. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. It is impossible to achieve the exact same tone as a player without using the same equipment. - In general, no - but sometimes, yes. #4. The first send went to a volume pedal. 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. If the repeats are faster than the tempo, increase the delay time. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? David would play a two note chord, then fade the volume in as he slides to the next position. By porsch8 December 21, 2005 in Effects and Processors. The effect actually works fine with only two delays. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. middle keyboard section: 340ms -- feedback: 8-9 repeats David Gilmour is famous for his unique use of delay and echo. Fine tune it until you hear the repeats are exactly in sync with the song tempo. When the notes pitch up or down the delay has 4-5 repeats. verse: 360ms Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. delay 1: 250ms You can also play in time with the delays in a kind of shuffle rhythm. . solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. alternate: 380ms, High Hopes - 2015/16 live version: delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital Later versions of the DD-3 have different circuits. middle section: 1000ms -- feedback: 4-5 repeats 570 divided by four (4/4) is 142.5. 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. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. Last update September 2022. 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, I started off with a Binson Echo unit, which is like a tape loop thing. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Sometimes these are called "parallel mixers" or "looper" pedals. Below is an isolated excerpt of this part. Below is an example using two digital delays in series. As the chord rang on, David could then play the melody lines through his main Hiwatt. Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made. The second is around 94ms, which is 1/5 of 470 (470/5=94). 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. Delay volume 85% He is also known for using the legendary Proco Rat and MXR Phase 90. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. David Gilmour Delay / Echo - Kit Rae It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. intro: 440ms middle section: 1500ms -- feedback: 10-12 repeats I used to be expert with Binsons. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. He usually had the time set to 440ms. I use the MXR with the read-out on it, so I instantly have the right tempo. 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. This unit is an incredibly versatile digital delay that many artists use. 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. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. 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. Let's see some of the units he used over time. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. The tape splices were then camouflaged with cymbal crashes. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. It's fun to just jam around using the unique delay rhythm it creates. slide solo: 550ms -- feedback: 4-5 repeats David Gilmour Tone Building - Kit Rae HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Use the feedback option to set it right where you think it sounds closest. 1st solo: 310ms David's pedal board had two Boss digital delays, but he also had an MXR 113 Digital Delay System and MXR Digital Delay System II in his rack. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital 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. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. It created a unique stuttered stacatto rhythm. A DD-2 was also seen in David's Medina studio around 2017. 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 outro solo: 430-450ms, One of These Days studio version (Binson Echorec): www.gilmourish.com this website has info on Gilmours tone and gear used. 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.
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