- David has used numerous types of delays in his carreer, both analog and digital. 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. His final delay was the TC Electronic 2290. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms David could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. Gilmour's Binson Echorec 2 model T7E from 1970-71. Record yourself playing alone verses playing along with a backing track to see what I mean. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: slide solo: The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. Posted December 21, 2005. porsch8. This is a big part of Pink Floyd's sound. It is meant to simulate the sound of old analog tape delays as they aged. Free shipping for many products! David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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 type of multi-head repeats varied depending on which of the four playback heads were selected. You should keep in mind that these official recordings have been sweetened to sound as good as possible. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel. 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. He usually had the time set to 440ms. Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. 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. It's all on a D pedal. This is a big part of Pink Floyds sound. Some duplicate the studio album delay times and some duplicate the live delay times. It was set for a light overdrive setting and was most likely an always-on pedal. By the way, you might also want to check out our top picks for the best delay pedals, our guides to the delay pedals used bySlashandEddie Van Halen, as well as our tips for where to place your delay in the chain withreverbandchoruspedals. 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. 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. 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. 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). solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): 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. The clip below is played with those same 428ms and 570ms delay times. Sort of a triplet on top of a triplet time delay. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. You could get some wonderful delay effects that aren't attainable on anything that's been made since. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. This warble is similar to a light chorus sound, with high end roll-off. studio album solo: 275ms 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. This is actually not quarter-note triplets. Using Program position 3 for that part also works. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog The Free the Tone Ambi Space pedal is my favorite device for this. 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. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. second solo: 370ms -- feedback: 7-8 repeats -- delay level: 20% -- delay type: analogSyd's theme: 290ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: analog You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. For example, 380ms is your triplet time. The first delay is 380ms, 10-12 repeats, delay voume 95%. One of These Days - gated tremolo section isolated. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. The third delay is probably in 3/4 time, but I can barely hear it. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. Dec 23, 2015. third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat Bass: 5-6. 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. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): volume swells: 1100ms -- feedback: 4-5 repeats. 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. Those are not the type of parallel setup we are talking about here. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. As the chord rang on, David could then play the melody lines through his main Hiwatt. There is a 440ms delay on the guitars in the studio recording. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. David would use a Binson Echorec in the early days between 1968-1978. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. Members; porsch8. 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. 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. I was able to dismantle them, put them back together, and change the head positioning. 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): volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats 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. Solo: 440ms ? 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. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. Echorec Style Delay Jamming - 428ms and 570ms. It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. Gilmour delay: '60s-'70s: Binson Echorec II. middle section: 1000ms -- feedback: 4-5 repeats David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. They averaged from 290-310ms. Another option is to run two delay pedals simultaneously. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog Delay time depends on the era. Last update September 2022. David Gilmour is famous for his unique use of delay and echo. slide solo: 550ms -- feedback: 4-5 repeats 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: 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. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. The main rhythm guitar, chords, and fills are all double tracked. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. Below is an example of me using an Echorec style delay in a cover of Pink Floyd's 1969 song Dramatic Theme form the More album. The trick is not to overdo it. Find the proper delay time for the song as described above, then let's do some "Echorec math". One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. 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. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 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. The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. Fat Old Sun- 2015/16 live version: David used various Echorec models but he was most known for using the Echorec 2 model T7E. 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. Mar 8, 2013. David probably just uses the term triplet because what he does has a similar feel. The studio recording was likely duplicated and played back 440ms behind the original guitar recording to create the effect, or the mixing board was outfitted with a longer delay to create the effect in the mix. 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. 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. 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. Generally speaking, the sound on the album is pretty much what came out of his amp. Syd's theme - Hollywood Bowl March 2016. One of These Days - 294ms delay + vibratto. 540ms, Take A Breath: 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. Here is a clip of a single 330ms delay playing the Blue Light riff. He used three delays there, but again, I can only distinctly hear two. Getting an original Binson Echorec these days is nearly impossible. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. solos: 660ms -- feedback: 6-7 repeats, Time: 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. 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. Multiply 600 x 75% to get the triplet time delay of 450ms (or divide 600 by 4 to get the quarter note time of 150ms, multiply that X3 for a triplet time, which equals 450ms). 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): 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. 2,434. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. Use the feedback option to set it right where you think it sounds closest. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog David Gilmour, as many guitarists will agree on, is an absolute legend. There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. 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. Both in the studio and live their musicality seeps from every note, every rest, and every beat. Solo: 430ms, Fat Old Sun- 1971/72 live versions: But which delay pedal(s) does/did he use? The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. 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. "Square wave" means the sound wave looks square shaped, rather than wavy. For the middle section another piece of technology came into play: an HH amp with vibrato. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. second solo: 490ms, What Do you Want From Me? Tim Renwick solo: 520ms, Louder Than Words: 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). If you want this sound and have a delay that shows the time in milliseconds, follow these steps. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): Members; 529 Members; Share; Posted December 21, 2005. 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. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. You can also get something similar with one 650ms delay set for 2 repeats. delay 1: 90ms 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! solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: Its hard to give an estimate as every pedal will respond differently. 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). As the chord rang on, David could then play the melody lines through his main Hiwatt. David Gilmour is famous for his unique use of delay and echo. Last update July 2022. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms).

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