David Gilmour Lead Guitar Tone PDF Download 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. You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. 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. Below is my best guess at the delay times David used there. 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. With that said, the rest of the article is designed to . All those divisions and subdivisions will be in time with the song. Members; 529 Members; Share; Posted December 21, 2005. Here is a clip of a single 330ms delay playing the Blue Light riff. As the chord rang on, David could then play the melody lines through his main Hiwatt. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: The tape splices were then camouflaged with cymbal crashes. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: Dec 23, 2015. During the tour a T-Rex Replica was added specifically to use for "Echoes". 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. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. www.gilmourish.com this website has info on Gilmours tone and gear used. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 For example, 380ms is your triplet time. Feedback: This is the number of audible repeats. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. solo: 500ms, High Hopes - live versions - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. 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 turn each effect on one at a time so you can hear how they add to the tone. delay 1: 90ms I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. 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. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. The first send went to a volume pedal. Record yourself playing alone verses playing along with a backing track to see what I mean. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. You can also play in time with the delays in a kind of shuffle rhythm. David used various Echorec models but he was most known for using the Echorec 2 model T7E. HH IC-100 amplifier with built in tremolo. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. Multiply that number by 75% to get the triplet time delay. Time intro - Isolated guitar from studio mix. 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. Last update September 2022. This is similar to the sound David had for his 1984 live performances of Run Like Hell, as heard on the David Gilmour In Concert video released in 1984 by CBS, and the Westwood One Radio Network FM broadcast of the July 12th concert in Bethlehem Pennsylvania. 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. The delays are set in series like this: delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital Many of the sound effects youll hear on the earlier albums were created with this machine. *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! - 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. The first delay is 380ms, 10-12 repeats, delay voume 95%. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. The main rhythm guitar, chords, and fills are all double tracked. It has a digital readout, but it's really nowhere close to being accurate. middle section: 1500ms -- feedback: 10-12 repeats However, it is possible to play this one one guitar. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. This creates a different bouncy feel to the delay rhythm. Alt. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. This unit can also be heard on the The Wall album. For example, take 450ms divided by 3 = 150ms. Sometimes these are called "parallel mixers" or "looper" pedals. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) Its not a cheap pedal (around 250$ new), but its way cheaper than an original. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. It's all on a D pedal. Gilmour uses pristine delays. 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). There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. It is meant to simulate the sound of old analog tape delays as they aged. 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. By porsch8 December 21, 2005 in Effects and Processors. For the middle section another piece of technology came into play: an HH amp with vibrato. 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). He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. If the repeats are slower, reduce it. first solo and fills: 470ms WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? 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. 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. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): Shown below are some typical Gilmour DD-2 delay times. I'll keep this simple rather than going into an explanation of time signatures. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. This was most likely a reel-to reel recorder set up for a tape-loop delay. Getting an original Binson Echorec these days is nearly impossible. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): The first Money solo, for example, sounds like it is awash in spring reverb. 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. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: 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. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. Once you have that, turn the feedback down so there are only about 3-6 repeats, adjust the delay volume to suit the song, and you are ready to go. 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. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms Below are examples of a few ways to set up the type of parallel signal chain used in Gilmour's rigs. The last 8 minutes of the song is a rambling collage of echo repeats. #4. Why is that important? Members; porsch8. David also had an MXR 113 Digital Delay System that could do that delay time. I use chorus, little delay and some reverb on my amps clean setting. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. delay 2: 430ms, In Any Tongue - 2015/16 live version: solos: 375ms. volume swells: 1100ms -- feedback: 4-5 repeats. first solo: 310ms -- feedback: 2-3 repeats. All rights reserved. Some duplicate the studio album delay times and some duplicate the live delay times. 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. 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. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. 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. Note that setting. verse/chorus sections: 310ms -- feedback: 3-4 repeats Often what I hear in the recordings is just natural room or hall reverb. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. 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'. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. This is the primary delay time you hear in the song. alternate: 380ms, High Hopes - 2015/16 live version: Comfortably Numb: It is said that he switched from an Echorec to an MXR for ease of use. 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. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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. Delay and reverb should be the last effect in the chain. 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 To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. He is also known for using the legendary Proco Rat and MXR Phase 90. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. When you have a drum and bass note landing at the same time it somewhat masks the repeat. Shown below are some typical Gilmour DD-2 delay times. Run Like Hell with 380ms and 254ms delays in series. The Blue: Below is an isolated excerpt of this part. 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): Volume 65% I'll keep this simple rather than going into an explanation of time signatures. 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. For Run Like Hell, David's using what he refers to as "triplets".. To figure a 4/4 delay time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. second solo: 430ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Run Like Hell with 380ms and 507ms delay in series. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. One of These Days - 294ms delay + vibratto. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. - 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. 1 2. 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. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? The third delay is probably in 3/4 time, but I can barely hear it. David was very much in control of his sound system We rarely added effects to his guitar in the control room. When the notes pitch up or down the delay has 4-5 repeats. solo: 680ms, Another Brick in the Wall Part 1: You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. 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. 5 A.M. : It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for Electric Mistress V2, V3, or V4: 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. Here is a breakdown from the Great Gig multi tracks. His first was an MXR 113 Digital Delay System, one of MXR's first rack effects. Its more modern than the MXR, but it sounds just as good. - Be sure to read the section above. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Below is a breakdown of how to play this effect. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. middle section: 1000ms -- feedback: 4-5 repeats And lastly, youll want to mix it surprisingly quietly. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog How to you get the proper 3/4 delay time from that 4/4 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. 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. The TC Flashback can be set up with the Tone Print edito. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. second solo: 460ms -- feedback: 5-7 repeats, Dogs: Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: His delay times are slightly faster here. But delay is not the only effect that Gilmour tends to use. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. It's a beautiful sound, but David did not use tape delays like this. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. He began using digital delays in place of the Echorec around 1977. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes These are 5 note scales, pretty much the simplest scale a guitarist could use. 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. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. 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. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. 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. Those are not the type of parallel setup we are talking about here. 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. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Note or mark that time setting on your 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. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. As the chord rang on, David could then play the melody lines through his main Hiwatt. 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. It was set for a light overdrive setting and was most likely an always-on pedal. : 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. - In general, no - but sometimes, yes. That equates to 428ms, which we will call the 4/4 time. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: For his general ambient delays, choose the most tape flavored setting and use 50%-ish feedback (or 7-8ish repeats) and mix it fairly low so it sounds more like a subtle reverb. I started off with a Binson Echo unit, which is like a tape loop thing. It takes some practice, and you have to be very precise with your timing or you can easily get out of step with the song tempo. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: It was usually set for single head and a fixed time at about 310ms. And what I meant with using it as a reverb was that he tends to tune his delay to the rest of the band so that it creates a cohesive piece that captures their signature atmospheric sound.
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