Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. The Effect Level (volume) and Feedback (number of repeats) will vary. moderate reverb, probably from the plate reverbs at Abbey Road studios. My sound has everything to do with what sounds good to me. Those are not the type of parallel setup we are talking about here. 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. 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. Let's see some of the units he used over time. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. It was set for a light overdrive setting and was most likely an always-on pedal. Set up your preferred delay settings and beam that into your pedal. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. Mids: 6-7. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. 234ms and 150ms also works. There are several reasons. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. Alan Parsons has said David was generating all the effects himself for the first solo, so this was probably spring reverb from the Twin Reverb David had in the studio. This the dominant delay, but there is also a 300ms delay low in the mix Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. I have two units, and I have different echo settings on both. Below is an example using two digital delays in series. 2nd delay 94ms. 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. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. 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. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital Echorec head 4 = 312ms / Echorec head 1 - 78ms 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. For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). Delay volume 90%. Then go to a website with a Delay Time Calculator, like the one on this page. 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: 370ms -- feedback: 7-8 repeats -- delay level: 20% -- delay type: analogSyd's theme: 290ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: analog 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). Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. The first Money solo, for example, sounds like it is awash in spring reverb. 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. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. 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'. 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. The tempo used in this demo is slightly too. When the notes pitch up or down the delay has 4-5 repeats. For example, take 450ms divided by 3 = 150ms. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. 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 is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. - David Gilmour, Guitar World magazine. You can also play in time with the delays in a kind of shuffle rhythm. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. Tim Renwick solo: 520ms, Louder Than Words: It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. #4. He became known for this effect as he used it for his guitar solo in practically every queen concert. In this example I am showing how just using a single triplet 330ms delay is sufficient for this effect, but a second 4/4 feeling delay of 440ms or even a double triplet delay time to 660ms, could be added to enhance the space. There are times when I have both running at the same time for certain effects. The SELECTOR knob had three positions: ECHO = one repeat, REPEAT = more than one repeat, and SWELL = outputs of the playback heads were fed back to themselves to create a spacey type of reverb effect. They want to play and sound just like the man himself. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: To get the Pink Floyd sound, you'll need to use some specific equipment and settings. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Free shipping for many products! R channel -- 1400ms with two repeats. You can also hear multi heads in a few early live Pink Floyd performances of Time and the four-note Syd's theme section from some performances of Shine on You Crazy Diamond. second solo: 460ms -- feedback: 5-7 repeats, Dogs: volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats One of These Days - 294ms delay + vibratto. Many of the sound effects youll hear on the earlier albums were created with this machine. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 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. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. His talent doesnt just limit to his skill, but also to his creativity. 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. Reverb was also added at the mixing desk when recording or mixing. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. I don't care how I get it. David was very much in control of his sound system We rarely added effects to his guitar in the control room. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): 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. 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. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Let's do some "Echorec math." I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. But delay is not the only effect that Gilmour tends to use. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. The Blue: Heavy reverb. Instead, it used a metal recording wheel. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. Blue Light Riff - with and without delay. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. I started off with a Binson Echo unit, which is like a tape loop thing. In this clip I'm using Coming Back to Life as a reference with 700ms. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Time intro - Isolated guitar from studio mix. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog He set the time to 310ms for most everything. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): 380 divided by 3 = 126.7ms. There are numerous modern delays that try to replicate this multi-head delay sound, like the Catalinbread Echorec, Strymon Volante, and Boonar Multi-Head Drum Echo from Dawner Prince Electronics, which David himself has used. 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. One of the ways to do that, is by using your effects creatively, just as he does. 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. It's a sort of melodic delay to use. The effect actually works fine with only two delays. first solo and fills: 470ms 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. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. BREATHE and GREAT GIG IN THE SKY SLIDE GUITAR VOLUME SWELLS - Breathe from Dark Side of the Moon features some beautiful David Gilmour slide guitar work. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: 614ms -- feedback: 6-7 repeats, Rattle That Lock: 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. He used three delays there, but again, I can only distinctly hear two. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): 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. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Often what I hear in the recordings is just natural room or hall reverb. Syd's theme: 370ms and 480ms 1978 and on: digital delay, several stompboxes and rack units used (Boss, TC, MXR, Lexicon) The 2006 all tube Cornish board has a Cornish TES delay. 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. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. 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. intro: 650ms, Coming Back To Life - 2015/16 live version: - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse
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