analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. Head 2 = 2/4 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. Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. David also had an MXR 113 Digital Delay System that could do that delay time. David Gilmour is famous for his unique use of delay and echo. HH IC-100 amplifier with built in tremolo. Below is a song-by-song list of delay times with some settings. All of the settings for this tone can be found in this PDF download below. 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. 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). David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. It is not known exactly which delay David used for the sudio recording of Run Like Hell, but I do not think he used his Binson Echorec for the main delay. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. This obviously means that a lot of guitarists want to be like him. Delay volume 90%. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. 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. 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. I use the MXR Digital Delay. I use two delay pedals for Run Like Hell. 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. I'll keep this simple rather than going into an explanation of time signatures. Listening to the trails specifically, something a little darker like a DM-2 would do it. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. 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. Multiply that number by 75% to get the triplet time delay. Run Like Hell with 380ms and 507ms delay in series. His most commonly used delay times were in the 294-310ms range and 430ms. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. If you want to somewhat recreate his delay youre in luck, as its pretty simple. DELAY SETTINGS - Most of the delay times David Gilmour used in the early 1970s with Pink Floyd were around 300ms long, since that was the approximate delay time of head 4 on the Binson Echorecs he was using at the time. verse: 360ms 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. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. But which delay pedal(s) does/did he use? 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. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. This is the primary delay time you hear in the song. 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. Let's see some of the units he used over time. 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. 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): The type of multi-head repeats varied depending on which of the four playback heads were selected. solos: 540ms, What Do you Want From Me? bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats Money solos - live 1977 version (MXR Digital Delay System I): 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. This setup can also be used for songs like On the Turning Away and Sorrow.--------------------------Signal chain:Guitar - Fender Stratocaster, with D Allen Voodoo 69 neck and middle pickups and Seymour Duncan SSL5 bridge pickupAmp - Reeves Custom 50, Laney LT212 cabinet with Celestion V30 speakersMic - Sennheiser e906Follow Gilmourish.Com here:http://www.gilmourish.comhttps://www.facebook.com/pages/Gilmouhttp://www.bjornriis.com 3. middle section: 1000ms -- feedback: 4-5 repeats A large part of that comes from Davids use of delay. Again, I'll simulate that with only two dominant delays. 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. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. 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). This creates a different bouncy feel to the delay rhythm. 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. - Phil Taylor, David's backline tech. Getting an original Binson Echorec these days is nearly impossible. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): DELAY SETTINGS - Most of the delay times David Gilmour used in the early 1970s with Pink Floyd were around 300ms long, since that was the approximate delay time of head 4 on the Binson Echorecs he was using at the time. 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. delay 1: 90ms On Reverb, the average Echorec sells for between 3500$ to 5000$. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. 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. The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. - David Gilmour. If you set it too high it will self oscillate into a whining feedback. By porsch8 December 21, 2005 in Effects and Processors. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. delay 1: 250ms David probably just uses the term triplet because what he does has a similar feel. - David Gilmour, Guitar World magazine. 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. The simplest option is to use an online Beats Per Minute caculator, like this one. The effect actually works fine with only two delays. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. - Pulse version (TC 2290 Digital Delay): Shorter delay times are more obvious because the repeats are heard in between notes and phrases. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. 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. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: He came up with that basic riff that we all worked on and turned into One of these Days. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): David probably just uses the term triplet because what he does has a similar feel. Members; porsch8. Sometimes these are called "parallel mixers" or "looper" pedals. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Below is an isolated excerpt of this part. It was set for a light overdrive setting and was most likely an always-on pedal. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. But delay is not the only effect that Gilmour tends to use. If you don't have a delay with a millisecond display, it is still possible to find the proper 3/4 delay time in a 4/4 time signature. The 450ms delay should come before the 600ms delay in your signal chain. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. If you break the beat into a four count, that second repeat would be on 4. 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. When you play across it, it helps you to double-track yourself. Set one delay for 440ms, 2 repeats, 30-35% volume. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. What delay pedal does David Gilmour? Syd's theme: 375ms and 500ms I set the vibrato to more or less the same tempo as the delay. This unit is an incredibly versatile digital delay that many artists use. #4. 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. I use the MXR with the read-out on it, so I instantly have the right tempo. >> Click to read more <<. 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. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. . The first delay is definitely set to 470ms, which is the 4/4 time. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. 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. Ex-DragonForce Bassist Reveals Why He Really Left the Band, Claims He Was Unhappy and Arguing All the Time With Them, Nuno Bettencourt Recalls How Eddie Van Halen Reacted to His Tapping Technique, Names Favorite Van Halen Album. This was most likely a reel-to reel recorder set up for a tape-loop delay. Bass: 5-6. 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. Tim Renwick solo: 520ms, Louder Than Words: solo: 500ms, High Hopes - live versions R channel -- 1400ms with two repeats. This is because the orchestra in Castellorizon is not loud enough to mask the repeats, but the band playing under the solo in On an Island certainly is. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. If the repeats are slower, reduce it. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. 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. Below is a breakdown of how to play this effect. intro slide guitar: 1023ms 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. 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. I used a Free the Tone Future Factory delay set for 300ms and long repeats. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. If you put it in a 3/4 time it has an interesting bounce to it. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. The Free the Tone Ambi Space pedal is my favorite device for this. 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 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. Here is a clip of a single 330ms delay playing the Blue Light riff. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. Many of the sound effects youll hear on the earlier albums were created with this machine. I am talking about the natural reverb sound of the room or hall the amplifier or speaker cabinet was recorded in, or studio reverb added to simulate it. The delay time must also be precisely in time with the song tempo. Make David Gilmour's Shimmering Sustained Delay in Live. 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. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. Head 3 = 3/4 His final delay was the TC Electronic 2290. 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. This is probably spring reverb from David's Twin Reverb. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. 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. I change my echo settings fairly often in concert. 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 . You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. Syd's theme: 370ms and 480ms 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. outro solo: 680ms -- feedback: 4-5 repeats. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well.