When using both the mono and stereo outputs together (each running to a separate amp) the DD-2 produces a very defined stereo field, with one channel being the dry signal only, and one being the delayed signal only. 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. Great Gig Slide Guitar Breakdown. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. 1. delay 2: 430ms, In Any Tongue - 2015/16 live version: 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. When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for David Gilmour Delay Time Library - Kit Rae Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. second solo: 460ms -- feedback: 5-7 repeats, Dogs: The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. Gilmour delay: '60s-'70s: Binson Echorec II. 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. However, it is possible to play this one one guitar. 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 . Getting an original Binson Echorec these days is nearly impossible. Volume 65% 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. Gilmour's delay on Coming Back to Life | The Gear Page As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. 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. a`Its very reliable, just like the MXR, but its much more versatile and teachable. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: Some are actually too high quality for my personal taste. 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. 8-10 repeats on each. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. 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. Treble: 4-5. Then go to a website with a Delay Time Calculator, like the one on this page. 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. His delay times are slightly faster here. Give Blood 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. Coming Back to Life Intro Tone Build - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. I use 240ms. With that said, the rest of the article is designed to . RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. It is impossible to achieve the exact same tone as a player without using the same equipment. Dec 23, 2015. #4. If running both delays in series, set the repeats however long you can go before oscillation starts, which is 8-10 repeats on most delays. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. Generally speaking, the sound on the album is pretty much what came out of his amp. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital 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. Tutorial - Run Like Hell (David Gilmour) Delay Setting - YouTube Let's see some of the units he used over time. 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. There is a 440ms delay on the guitars in the studio recording. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Another Brick in the Wall Part II (live): Any Colour You Like - 1994 live versions: Astronomy Domine - Pulse version (MXR Digital Delay System II for solo). Below is an example of David using two digital delays (TC 2290 Digital Delay and the dual delays from a PCM 70 delay) for the intro to Time in 1994. When the notes pitch up or down the delay has 4-5 repeats. Last update July 2022. >> Click to read more <<. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. 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. Run Like Hell - Delay Rhythm Guitars Mixed Up Front - both channels, Run Like Hell - Sustained Chords Mixed Up Front, Run Like Hell - Verse Fills Mixed Up Front, Run Like Hell Live Excerpts - from Is There Anybody Out There - The Wall live 1980-81, David Gilmour live in 1984, the Delicate Sound of Thunder, and Pulse. David Gilmour Solo Tone Settings For "Time" . Another option is to run two delay pedals simultaneously. 2nd delay 375ms. That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Electric Mistress V2, V3, or V4: 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. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) 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. This is the primary delay time you hear in the song. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog Below is an example using two digital delays in series. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. 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. Echorec head 4 = 312ms / Echorec head 1 - 78ms A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. You can also get something similar with one 650ms delay set for 2 repeats. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. It is around 294ms on the studio recording. He usually had the time set to 440ms. Multiply that x3 to get the 3/4 time and you get 427.5. 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). Run Like Hell with 380ms and 254ms delays in series. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY - YouTube David would play a chord, raise the volume pedal to send the signal into the SDE 3000, then lower the volume back to to zero to kill the input signal. David would use the latter setting for most of the album. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. 530ms -- feedback: 4-5 repeats, Coming Back To Life: chords / arpeggios: 480ms There are times when I have both running at the same time for certain effects. It only added a very slight gain boost to his clean amp tone, but . It was usually set for single head and a fixed time at about 310ms. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. 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. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. You could get some wonderful delay effects that aren't attainable on anything that's been made since. volume swells: 1100ms -- feedback: 4-5 repeats. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: verse: 360ms The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. Fine tune it until you hear the repeats are exactly in sync with the song tempo. REVERB OR NO REVERB ? Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. If you want to use a noise gate put it right before the delay/reverb. Remember that these settings should just be used as a starting point. If the repeats are slower, reduce it. solo: 680ms, Another Brick in the Wall Part 1: 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. It helps to have a delay with a digital display to set the exact delay time. What delay pedal does David Gilmour? The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. which is what gives the verse section that floaty, ethereal feel. All those divisions and subdivisions will be in time with the song. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. The repeats had a warm high end roll off, similar to David's Binson Echorecs. Echorec 2 ..Echorec PE 603 second solo: 480ms -- feedback: 6-7 repeats Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) One of These Days - gated tremolo section isolated. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital.

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