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. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): There are several modern Echorec style pedals, including a few with more accurate playback head controls than the Catalinbread, but the Cat Echorec is a fairly no nonsense, simple to use version that sounds great. Below is a medley of David using the Echorec from 1969-1977. 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. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. David probably just uses the term triplet because what he does has a similar feel. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. This creates a different bouncy feel to the delay rhythm. first solo and fills: 470ms David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: 570 x 75% = 427.5. Run Like Hell with 380ms and 254ms delays in series. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. Set one delay for 440ms, 2 repeats, 30-35% volume. Solo: 430ms, Fat Old Sun- 1971/72 live versions: studio . This is a big part of Pink Floyds sound. 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. a`Its very reliable, just like the MXR, but its much more versatile and teachable. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. 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. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. #4. intro: 440ms Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. You simply have to practice your timing so you can play the fills and get back to the D rhythm note exactly in time with the delay repeats. David also had an MXR 113 Digital Delay System that could do that delay time. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Set up your preferred delay settings and beam that into your pedal. Below are settings to get that sound. 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). With that said, the rest of the article is designed to . David would play a two note chord, then fade the volume in as he slides to the next position. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. delay time for both solos: 465ms or 480ms - feedback: 15-20% -- delay level: 20% (30-35% for waving part) -- delay type: digital, Comfortably Numb - Pulse version and most Division Bell tour performances: Some of the other Program Select positions work for the Time intro too, like position 12. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog 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. I started off with a Binson Echo unit, which is like a tape loop thing. I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. You can simulate the verse delay with two delays in-line going to one amp. Its a famous echo unit used by many artists, and useful for varying instruments. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: Why is that important? It's actually a metallic disc that spins around. 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. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Mar 8, 2013. When you play across it, it helps you to double-track yourself. 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. His final delay was the TC Electronic 2290. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): It can be simulated with a short 40-50ms digital delay with one repeat, like this: PARALLEL MIXING DELAYS - Stacking one delay after another in your signal chain can degrade your tone because your original signal travels through, and is altered by, two delay circuits before coming out the other end. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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 is the primary delay time you hear in the song. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. 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. 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. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. Members; porsch8. 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. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. - Pulse version (TC 2290 Digital Delay): 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. 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. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. He used three delays there, but again, I can only distinctly hear two. David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. This is a big part of Pink Floyd's sound. I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for The tremolo is from an HH IC-100 amp was used for the studio recording. It is meant to simulate the sound of old analog tape delays as they aged. Multiply that number by 75% to get the triplet time delay. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. This warble is similar to a light chorus sound, with high end roll-off. Below is my best guess at the delay times David used there. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. This obviously means that a lot of guitarists want to be like him. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog Andrew Bell has 42 posts and counting. NOTE: This website is frequently updated. That may be just my fantasy; I don't know. I am not talking about spring reverb from an amp. He set the time to 310ms for most everything. Its more modern than the MXR, but it sounds just as good. It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. 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. 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. It covers all of the various ways he used echo - standard 3-4 repeat echo to make the guitar sound like it is in a large hall, using a slide like a violin with long delay repeats, slapback echo, swell mode, long repeats almost to the point of self oscillation, and what David calls "triplet" time, where he plays in time with the dotted eighth repeats. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. - 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. 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. 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. Fat Old Sun- 2015/16 live version: Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. solos: 540ms, What Do you Want From Me? As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. This gives the impression of a 920-930ms delay. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: The clip below is played with those same 428ms and 570ms delay times. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. Bass: 12 o'clock Mid: 1 o'clock Treble: 11 o'clock Delay: Time: 484 ms Mix: 40% Level: 75% Feedback: 50% Only about one audible repeat fading very quickly after that Reverb: Medium Room Time: 2.20 sec EQ: High Cut 4000Hz Level: 75% Mix: 50% Input Gain: 100%. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. The Effect Level (volume) and Feedback (number of repeats) will vary. *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! 3. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. 5 A.M. : With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Volume 65% Starting with the finer details of the setup's tone like amp EQ and drive pedal levels and EQ will help you hear everything much more clearly before adding all the delay and reverb. - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. Last update September 2022. 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.

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