As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. The Binson Echorec is an analogue echo unit made by Binson in Italy. 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. 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. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. This was most likely a reel-to reel recorder set up for a tape-loop delay. slide solo: Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): All those divisions and subdivisions will be in time with the song. Read an explanation about how this is achieved here. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. 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 IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. Listen to some of the 5.1 live tracks separately and you can clearly hear this. Treble: 4-5. 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). The trick is not to overdo it. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. "Square wave" means the sound wave looks square shaped, rather than wavy. 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. Time intro test with backing track - 470ms and 94ms. A DD-2 was also seen in David's Medina studio around 2017. 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. A large part of that comes from Davids use of delay. 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. If you set it too high it will self oscillate into a whining feedback. The tremolo is from an HH IC-100 amp was used for the studio recording. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. I think the 2290 mode on the Flashback does very well for playing anything Gilmour, and if you check out some of Bjorn Riis's Floyd jams on . solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): 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. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). 2. Another option is to run two delay pedals simultaneously. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. It's all on a D pedal. It was strange because it didn't utilize tape loops. Check here for more Big Muffs to achieve the Gilmour tone. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. I turn each effect on one at a time so you can hear how they add to the tone. Money solos - live 1977 version (MXR Digital Delay System I): 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. Listening to this track helped me realize how delay and reverb trails interact with what I'm playing in a way that makes unintended diads that could . solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog The second is around 94ms, which is 1/5 of 470 (470/5=94). He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 310ms -- feedback: 3-4 repeats There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. This is something us Gilmour fans have sought to recreate in our own playing. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. - 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 Effect Level (volume) and Feedback (number of repeats) will vary. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes Let's see some of the units he used over time. slide solo: 550ms -- feedback: 7-8 repeats Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) These three separate channels are blended back together with the original dry signal at the end of the signal chain. These are 5 note scales, pretty much the simplest scale a guitarist could use. 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. middle keyboard section: 340ms -- feedback: 8-9 repeats To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: Below is a breakdown of how to play this effect. It was used for the early live version of, There is a misconception that David always used the Echorec for its multi-head function, but in reality he primarily used it in single playback head mode, just like any other typical delay. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. Members; porsch8. Time intro - Torino, Italy, Sept 13, 1994. The effect actually works fine with only two delays. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. 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. Often during the live songs that do have very loud delays, you do hear the repeats clearly. David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. My sound has everything to do with what sounds good to me. 380ms -- feedback 7-8 repeats - delay level: 90% -- delay type: digital, Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Delay volume 65% 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. It still retained the warmth of the original signal rather well, but there is no high end roll-off in the repeats, so it is not "warm" analog delay in that regard. This gives the impression of a 920-930ms delay. David probably just uses the term triplet because what he does has a similar feel. For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. Volume 85% He began using digital delays in place of the Echorec around 1977. Start new topic; Recommended Posts. 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. 530ms -- feedback: 4-5 repeats, Coming Back To Life: He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The Blue - 2016/15 live version: One of These Days - 294ms delay + vibratto. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. Alt. He came up with that basic riff that we all worked on and turned into One of these Days. David used a Binson Echorec for his delay at the time DSOTM was recorded, but the Binson cannot create a delay as long as 440ms. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. April 9, 2022. by Joe Nevin. As technology was progressing, the use of rack effects units became more and more efficient. - David Gilmour. The delay time must also be precisely in time with the song tempo. Copyright Kit Rae. 3. He usually had the time set to 440ms. Other common delay times were 380, 440-450, 480, and 540ms. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. 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. As the recording drum and playback heads aged there was a slight loss of high end that added a unique high end roll-off as the echoes decayed, . 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. 2,434. There are also instances where he has had a long delay time, but only one or two repeats, which gives the big sound, but makes the repeats almost inaudible in the band mix. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): On the one hand, finally cracking one of my favourite guitar player's [] Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. It has a digital readout, but it's really nowhere close to being accurate. studio album solo: 275ms If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 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. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. 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. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. Below is an example using two digital delays in series. This creates a different bouncy feel to the delay rhythm. The volume swells can be easily created today with a delay and a volume pedal. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. If you adjust the delay time in that in-between zone while listening to the song, you will hear when it is right in 3/4 time. David almost always uses delays in his live rigs, not reverbs. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. I have two units, and I have different echo settings on both. This is the primary delay time you hear in the song. Use the feedback option to set it right where you think it sounds closest. middle section: 1000ms -- feedback: 4-5 repeats ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. 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. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. - In general, no - but sometimes, yes. 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 are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. outro solo: 680ms -- feedback: 4-5 repeats. 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. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog 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 long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. 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. 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. 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. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. David would play a two note chord, then fade the volume in as he slides to the next position. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. The tape splices were then camouflaged with cymbal crashes. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. first solo: 340ms -- feedback: 3-4 repeats If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. I started off with a Binson Echo unit, which is like a tape loop thing. 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. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. Head 1 = 1/4. - Phil Taylor, David's backline tech. 3rd solo: 430ms, Money solos - 2015/16 live version: 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. 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. 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. solo: 560ms - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. The Effect Level (volume) and Feedback (number of repeats) will vary. In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. Example: You determine the 4/4 beat/song tempo is 600ms. 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. Time intro - Isolated guitar from studio mix. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. He is also known for using the legendary Proco Rat and MXR Phase 90. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. If you want to somewhat recreate his delay youre in luck, as its pretty simple. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats Gilmour delay: '60s-'70s: Binson Echorec II. He set the time to 310ms for most everything. solos: 540ms, What Do you Want From Me? 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.