One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. It's actually a metallic disc that spins around. 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. : I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. solos: 375ms. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats 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. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. For the wet 1st and 3rd solos from Money I use basically the same settings, but I dial the mix knob up a bit for the third section after the dry solo. Here are what the settings mean -. It's a sort of melodic delay to use. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. Shown below are some typical Gilmour DD-2 delay times.
David Gilmour's delay sounds (part 2) - YouTube solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. 530ms -- feedback: 4-5 repeats, Coming Back To Life: 4. The Binson Echorec is an analogue echo unit made by Binson in Italy. verse / chorus: 430ms, Us and Them - 2016/15 live version: The Echorec 2 had six knobs - INPUT CONTROL (volume), LENGTH OF SWELL (number of repeats), VOLUME OF SWELL (volume of repeats), BASS/TREBLE (tone knob for the repeats), a three position SELECTOR knob, and a SWITCH knob that selected various combinations of the four playback heads. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. Note or mark that time setting on your delay. As the song plays on I dial the delay volume and number of repeats higher and higher. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Solo: 430ms, Fat Old Sun- 1971/72 live versions: The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. The first delay is definitely set to 470ms, which is the 4/4 time. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. intro: 425ms The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. The second is around 94ms, which is 1/5 of 470 (470/5=94). David probably just uses the term triplet because what he does has a similar feel. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. This is actually not quarter-note triplets. Getting an original Binson Echorec these days is nearly impossible. Let's see some of the units he used over time. Delay and reverb should be the last effect in the chain. 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. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. 8-10 repeats on each delay. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. Time intro test with backing track - 470ms and 94ms. David Gilmour is famous for his unique use of delay and echo. David has used many different types of compressors throughout his career, but a few common ones are the MXR Dynacomp, Boss CS-2, and Demeter Compulator. studio . 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. If you want to use a noise gate put it right before the delay/reverb. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. Mar 8, 2013. You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. The delays are set in series like this: I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. 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. David would use a Binson Echorec in the early days between 1968-1978. First is the delay, then the square wave tremolo, then both together. The tremolo is from an HH IC-100 amp was used for the studio recording. - David Gilmour from Guitar for the Practicing Musician, 1985, We also have an old MXR DDL (MXR Digital Delay System II) digital delay unit built into a rack unit. Free shipping for many products! The first send went to a volume pedal. The notes fade in and out, like a pedal steel guitar. 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. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. 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. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. David almost always uses delays in his live rigs, not reverbs. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. 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. If the repeats are slower, reduce it. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. David Gilmour Solo Tone Settings For "Time" . Then I play the bass rhythm clean, then with the effects on. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): It is impossible to achieve the exact same tone as a player without using the same equipment. 2nd delay 570ms. Note the controls show playback mode switch is in position 4, which is single playback Head 4, Gilmour's Binson Echorec 2 model T7E from 1970-71 with the playback mode switch in position 4, Gilmour's Binson Echorec 2 model T7E from 1972 and 1977 with the playback mode switch in position 1, which is singe playback Head 1, Various Echorec 2 settings seen in David's Medina studio from 2013, 2014, and 2017, The Echorec 2 in David's Medina studio from 2017. 1. 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. I set the vibrato to more or less the same tempo as the delay. 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. www.gilmourish.com this website has info on Gilmours tone and gear used. But delay is not the only effect that Gilmour tends to use. 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. And lastly, youll want to mix it surprisingly quietly. Plate reverb is far more accurate. 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. 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. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. which is what gives the verse section that floaty, ethereal feel. solos: 540ms, What Do you Want From Me? - Delay Rhythm Guitars Mixed Up Front - both channels. 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. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. The first Money solo, for example, sounds like it is awash in spring reverb. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. Copyright Kit Rae. 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. 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. So why don't you hear the repeats most of the time? All these effects can be heard in most of Pink Floyds discography. 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. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: I used to be expert with Binsons. During the tour a T-Rex Replica was added specifically to use for "Echoes". Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. solo: 560ms 310ms -- feedback: 3-4 repeats slide solo: 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. A 300ms and 380ms delay had the heads repeating in these specific delay times. delay 1: 90ms SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. Heavy reverb. Head 1 = 75ms .Head 1 = 95ms. *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! That equates to 428ms, which we will call the 4/4 time. The Effect Level (volume) and Feedback (number of repeats) will vary. 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 : 550ms -- feedback: 3-4 repeats, Take It Back: There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Solo: 440ms ? (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: 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 obviously means that a lot of guitarists want to be like him. ECHOREC DELAY - David was a heavy user of the Binson Echorec from his early days with Pink Floyd in 1969 until the late 1970s. As technology was progressing, the use of rack effects units became more and more efficient. He used three delays there, but again, I can only distinctly hear two. Let's do some "Echorec math." For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. Let's see some of the units he used over time. volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): 500ms -- feedback: 5-6 repeats.
Electric Mistress - How to use it - Settings The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. 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. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. On the one hand, finally cracking one of my favourite guitar player's [] In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. solos: 660ms -- feedback: 6-7 repeats, Time: 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. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. In fact, Dark Side engineer Alan Parsons said plate reverb was virtually the only reverb used for those recordings, although he has said they also used as many as five or six tape machines to create various reverb delays. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. 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. Copyright 2023 Killer Guitar Rigs. He began using digital delays in place of the Echorec around 1977. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. 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. These effects combined with Gilmours guitars, amps, and more importantly, his fingers, all add up to the legendary sound we love, and the signature sound that will send any 40+ year old into a state of ecstasy if it comes on the radio. 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). Shorter delay times are more obvious because the repeats are heard in between notes and phrases. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. first solo and fills: 470ms Below is an example using two digital delays in series. Another option is to run two delay pedals simultaneously. 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. 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats Then go to a website with a Delay Time Calculator, like the one on this page. This is a big part of Pink Floyd's sound. Those are not the type of parallel setup we are talking about here. slide solo: 550ms -- feedback: 7-8 repeats I use a compressor or a Tube Driver for this. The type of multi-head repeats varied depending on which of the four playback heads were selected. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): middle section: 1500ms -- feedback: 10-12 repeats R channel -- 1400ms with two repeats. There are times when I have both running at the same time for certain effects. It helps to have a delay with a digital display to set the exact delay time. A little later he switched to the MXR Digital Delay. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. Again, I'll simulate that with only two dominant delays. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. Instead, it used a metal recording wheel. For the middle section another piece of technology came into play: an HH amp with vibrato. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Both types have been described as "warm" sounding, which can get confusing. 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.
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