Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. This was most likely a reel-to reel recorder set up for a tape-loop delay. The Blue - 2016/15 live version: 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. The second delay should just be accenting the first, filling the space between the 3/4 repeats. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. 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. NOTE: This website is frequently updated. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog Using Program position 3 for that part also works. Delay volume 50%. Andrew Bell has 42 posts and counting. 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. So why don't you hear the repeats most of the time? A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. 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. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. The second delay David used was the MXR Digital M-113 Delay. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. 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. Bass: 5-6. This creates a different bouncy feel to the delay rhythm. - 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 some typical Gilmour DD-2 delay times. first solo: 507ms -- feedback: 2-3 repeats DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: This is something us Gilmour fans have sought to recreate in our own playing. Gilmour's delay on Coming Back to Life | The Gear Page 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. solos: 375ms. The fill patterns played in the verse section sound dry, with almost no delay. Last update September 2022. Adjust the tone to suit your amp/speaker tone. Echorec 2 ..Echorec PE 603 The Tone From Heaven: SETTINGS first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog For Run Like Hell, David's using what he refers to as "triplets".. I demonstrate many of the unique sounds that can be created but playing repeating patterns in and out-of-tempo with the delay repeats, letting the repeats get to the point of self oscillating, tapping the strings with a glass slide, tapping the strings with my fingers and pick to create percussive effects, and rubbing my fingers and pick up and down the strings. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? 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. Electric Mistress - How to use it - Settings Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : THE BOSS DD-2 DELAY - The 1983 Boss DD-2 was one of the first, and best sounding digital delays to come out of the early days of digital effects pedals. Both delays are in series with the delay volume around 75% and about 9 repeats. If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. Gilmour delay: '60s-'70s: Binson Echorec II. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. Two guitars were multi tracked in the left and right channels. 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. All those divisions and subdivisions will be in time with the song. Hes got the sort of guitar-god charisma that comes with his insane talent. David probably just uses the term triplet because what he does has a similar feel. It had a maximum 16kHz bandwidth up to 800ms, with a maximum delay time of 1600ms, expandable to 3200ms. The reverb could have been added in the mixing stage, or it could be natural room reverb from mics positioned in the recording studio to capture the natural room sound. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. 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). You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. Time intro - Torino, Italy, Sept 13, 1994. 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. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. Volume 85% I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. It's actually a metallic disc that spins around. It was usually set for single head and a fixed time at about 310ms. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. Just get any old delay pedal, analog or digital, and set the time slow. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. He then upgraded to an MXR Digital Delay System II. It only added a very slight gain boost to his clean amp tone, but . The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. intro slide guitar: 1023ms Some duplicate the studio album delay times and some duplicate the live delay times. But which delay pedal (s) does/did he use? outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse a`Its very reliable, just like the MXR, but its much more versatile and teachable. I use the MXR with the read-out on it, so I instantly have the right tempo. How to Nail Gilmour's "Comfortably Numb" Solo | Reverb News 520ms -- feedback: 4-5 repeats, Obscured by Clouds: If you want to somewhat recreate his delay youre in luck, as its pretty simple. verse/chorus sections: 310ms -- feedback: 3-4 repeats If you want this sound and have a delay that shows the time in milliseconds, follow these steps. There are times when I have both running at the same time for certain effects. solos: 540ms, What Do you Want From Me? Gilmour's Binson Echorec 2 model T7E from 1970-71. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. 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. 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. 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. That may be just my fantasy; I don't know. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: 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. Generally speaking, the sound on the album is pretty much what came out of his amp. - David Gilmour, Guitar World magazine. 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. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats 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. It's a sort of melodic delay to use. Some duplicate the studio album delay times and some duplicate the live delay times. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. His delay times are slightly faster here. If you set it too high it will self oscillate into a whining feedback. Gilmour used the TC Electronic 2290, but any digital delay will do. 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. verse, solos: 450ms, Learning To Fly - Pulse version: It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. - David Gilmour, Guitar World magazine. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. I have managed to nearly replicate what a Binson will do using a combination of modern digital unitsthe multi-head sounds, as well as the Swell settingwhich is what I use on the beginning of Time, for example - David Gilmour, Guitar World March 2015. David would play a two note chord, then fade the volume in as he slides to the next position. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. 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. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. A DD-2 was also seen in David's Medina studio around 2017. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. Note that setting. 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. MXR DIGITAL DELAYS - David began using digital delays in 1977. You must remember this, Those settings are used for a stadium show, set to produce for a huge arena, not your 8 x 10 bedroom, and not your 100 x 100 bar. You can also get something similar with one 650ms delay set for 2 repeats. outro solo: 680ms -- feedback: 4-5 repeats. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. Its also easier for live situations as changes can be made on the fly. David usually used positions 1-4, for single playback repeats of heads 1-4. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): alternate 2nd Solo: 540ms The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. Below is my best guess at the delay times David used there. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. He used three delays there, but again, I can only distinctly hear two. 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. David Gilmour Tone Building - Kit Rae Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. That equates to 428ms, which we will call the 4/4 time. - Pulse version (TC 2290 Digital Delay): Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. 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. Here are what the settings mean -. #4. 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. Many of the sound effects youll hear on the earlier albums were created with this machine. 1st delay 470ms. 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! 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. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. This warble is similar to a light chorus sound, with high end roll-off. Heavy reverb. Below is an example of replicating the Syd's Theme delays from 1994. Check here for more Big Muffs to achieve the Gilmour tone. Often during the live songs that do have very loud delays, you do hear the repeats clearly. As the song plays on I dial the delay volume and number of repeats higher and higher. David Gilmour Delay / Echo - Kit Rae From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. Divide 240 by 3 and you get 80. What delay pedal does David Gilmour? - Guitar Reviewed Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. - David Gilmour. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. For example, take 450ms divided by 3 = 150ms. 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. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. Flashback/David Gilmour | The Gear Page 1st solo: 310ms To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): Shown below are some typical Gilmour DD-2 delay times. This is actually not quarter-note triplets. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. David Gilmour Delay Time Library - Kit Rae - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. Delay volume 90%. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Let's do some "Echorec math." His talent doesnt just limit to his skill, but also to his creativity. solo: 560ms It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. - Phil Taylor, David's backline tech. middle section: 1500ms -- feedback: 10-12 repeats I use a compressor or a Tube Driver for this. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. 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. For real room reverb, mics were placed in different parts of the recording studio to capture the room sound, not just the speaker cabinet from the amp. Sort of a triplet on top of a triplet time delay. As technology was progressing, the use of rack effects units became more and more efficient. 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. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: By porsch8 December 21, 2005 in Effects and Processors. 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. 8-10 repeats on each delay. solos: 430ms, Yet Another Movie: The Binson Echorec is an analogue echo unit made by Binson in Italy. slide solo: He usually had the time set to 440ms. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. first solo: 340ms -- feedback: 3-4 repeats It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. 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. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. Kits Secret Guitar, Gear, and Music Page. I'll keep this simple rather than going into an explanation of time signatures. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): solo: 680ms, Another Brick in the Wall Part 1: David Gilmour's delay sounds (part 2) - YouTube There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. The simplest option is to use an online Beats Per Minute caculator, like, - 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.