The Mode switch is in position 7, which is Head 3 + Head 4. Members; porsch8. Andrew Bell has 42 posts and counting. If you break the beat into a four count, that second repeat would be on 4. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. All those divisions and subdivisions will be in time with the song. delay 2: 430ms, In Any Tongue - 2015/16 live version: 2nd delay 375ms. I used to be expert with Binsons. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Echorec 2 ..Echorec PE 603 Volume 65% I was able to dismantle them, put them back together, and change the head positioning. It's all on a D pedal. Kits Secret Guitar, Gear, and Music Page. solo: 500ms, High Hopes - live versions volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. This creates a different bouncy feel to the delay rhythm. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. 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. Some duplicate the studio album delay times and some duplicate the live delay times. 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. There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). I change my echo settings fairly often in concert. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. Dec 23, 2015. - Phil Taylor, David's backline tech. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: How to you get the proper 3/4 delay time from that 4/4 time? The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): Why is that important? The delays are set in series like this: Note that setting. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). Kits Secret Guitar, Gear, and Music Page HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. "Square wave" means the sound wave looks square shaped, rather than wavy. Set up your preferred delay settings and beam that into your pedal. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats 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. 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). As the chord rang on, David could then play the melody lines through his main Hiwatt. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback 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 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! Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. 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. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. Just get any old delay pedal, analog or digital, and set the time slow. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. David was very much in control of his sound system We rarely added effects to his guitar in the control room. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. verse/chorus sections: 310ms -- feedback: 3-4 repeats He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. Free shipping for many products! 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. The delay time must also be precisely in time with the song tempo. 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. Then I play the bass rhythm clean, then with the effects on. Let's see some of the units he used over time. Fat Old Sun- 2015/16 live version: Last update July 2022. It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. solo: 560ms Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. Run Like Hell - Delay Rhythm Guitars Mixed Up Front - both channels, Run Like Hell - Sustained Chords Mixed Up Front, Run Like Hell - Verse Fills Mixed Up Front, Run Like Hell Live Excerpts - from Is There Anybody Out There - The Wall live 1980-81, David Gilmour live in 1984, the Delicate Sound of Thunder, and Pulse. 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. However, it is possible to play this one one guitar. All these effects can be heard in most of Pink Floyds discography. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats Echorec head 4 = 312ms / Echorec head 1 - 78ms 3. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: Below is a breakdown of how to play this effect. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. The clip below is played with those same 428ms and 570ms delay times. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. 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. Getting an original Binson Echorec these days is nearly impossible. 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. The delays are set in series like this: Read an explanation about how this is achieved here. The tape splices were then camouflaged with cymbal crashes. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. The last 8 minutes of the song is a rambling collage of echo repeats. slide solo: 550ms -- feedback: 4-5 repeats If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 outro solo: 430-450ms, One of These Days studio version (Binson Echorec): A little later he switched to the MXR Digital Delay. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. 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). It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. 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. 614ms -- feedback: 6-7 repeats, Rattle That Lock: outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: 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). Gilmour's guitar playing is an integral part of this sound. www.gilmourish.com this website has info on Gilmours tone and gear used. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: Note or mark that time setting on your delay. Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. He then upgraded to an MXR Digital Delay System II. 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. 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. 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. 525ms, Sorrow Solo - 2016/15 live version: His tone is instantly recognizable and unique. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. 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. Gilmour delay: '60s-'70s: Binson Echorec II. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. intro: 650ms, Coming Back To Life - 2015/16 live version: Find the proper delay time for the song as described above, then let's do some "Echorec math". 2nd delay 165ms. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. Treble: 4-5. Head 2 = 2/4 Its more modern than the MXR, but it sounds just as good. 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. Multiply that number by 75% to get the triplet time delay. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. 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. Then go to a website with a Delay Time Calculator, like the one on this page. If you want to use a noise gate put it right before the delay/reverb. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. 540ms, Take A Breath: 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. HOW TO FIND THE PROPER DELAY TIMES - You can go here 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. When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. Verse / Chorus : TC 2290 Digital Delay: 430ms Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. The tone is broken down to illustrate what each effect adds to the sound, in this order: Boss CS-2 compressor, Boss CE-2 chorus, Boss RT-20 Rotary Ensemble, FTT Future Factory stereo delay, BKB/Chandler Tube Driver. I'll keep this simple rather than going into an explanation of time signatures. For the middle section another piece of technology came into play: an HH amp with vibrato. solo: 440ms. But delay is not the only effect that Gilmour tends to use. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. 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. Parallel is better than in series because the one delay does not repeat the other, and the repeats can run longer without going into oscillation. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. This is actually not quarter-note triplets.