david gilmour delay settings

solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. If you put it in a 3/4 time it has an interesting bounce to it. This creates a different bouncy feel to the delay rhythm. To add space to your tone, add a clean digital delay at the end of your signal chain. My sound has everything to do with what sounds good to me. 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. verse: 360ms 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. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. During the tour a T-Rex Replica was added specifically to use for "Echoes". David also had an MXR 113 Digital Delay System that could do that delay time. The Effect Level (volume) and Feedback (number of repeats) will vary. solos: 660ms -- feedback: 6-7 repeats, Time: Unless otherwise noted, all delay times are shown in quarter notes 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. He did sometimes use the Swell mode. Note that David Gilmour varied his settings. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: You can hear this in songs like One of These Days, Short and Sweet, Another Brick in the Wall Parts I and III, Run Like Hell, Blue Light, Give Blood, One Slip, Keep Talking, Take it Back, and Allons-Y. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. Below is a song-by-song list of delay times with some settings. 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. A single delay set at 1400ms with 3 repeats has a similar feel as well. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. Pink Floyd recording engineer Andy Jackson has said he usually uses a couple of EMT plate reverbs in the studio for David's voice and guitar, and sometimes a Lexicon Hall reverb. Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. The simplest option is to use an online Beats Per Minute caculator, like this one. Based on what I hear the guitar delay levels are not much different in either song, but I noticed the delay repeats are very clear in Castellorizon, but I barely hear them in OAI . This warble is similar to a light chorus sound, with high end roll-off. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. You can also get something similar with one 650ms delay set for 2 repeats. The main rhythm guitar, chords, and fills are all double tracked. Delay volume 90%. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. 80x2 = 160. David Gilmour Solo Tone Settings For "Time" . second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: It was my very first delay and one of my favorite pedals for Gilmour-ish delay. This effect seems like reverb, but it is much different and less tone-robbing than reverb (reverb was almost never used in a Gilmour rig). Alternately, you can use 380ms as the long delay and 285ms as the short time delay, equivalent to Head 3 and Head 4 on the PE 603 Echorec, but that creates a slightly different delay rhythm than the album sound. - 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. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: 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. solos: 540ms, What Do you Want From Me? third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. intro: 440ms Comfortably Numb: 234ms and 150ms also works. Its a famous echo unit used by many artists, and useful for varying instruments. 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. 530ms -- feedback: 4-5 repeats, Coming Back To Life: I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. 3rd solo: 430ms, Money solos - 2015/16 live version: Below is a breakdown switching between the various tracks of all three solos. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, verse / chorus: 435ms, Wearing the Inside Out: Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. 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. Heavy reverb. As an Amazon Associate, we earn from qualifying purchases. Below is a medley of David using the Echorec from 1969-1977. Sort of a triplet on top of a triplet time delay. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. Delay volume 65% Andrew Bell has 42 posts and counting. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. But which delay pedal(s) does/did he use? Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. A DD-2 was also seen in David's Medina studio around 2017. In this clip I'm using Coming Back to Life as a reference with 700ms. 500ms -- feedback: 5-6 repeats. 8-10 repeats on each delay. solo: 560ms As the chord rang on, David could then play the melody lines through his main Hiwatt. His most commonly used delay times were in the 294-310ms range and 430ms. A little later he switched to the MXR Digital Delay. 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. It only added a very slight gain boost to his clean amp tone, but . delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): The first send went to a volume pedal. 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. It's actually a metallic disc that spins around. His talent doesnt just limit to his skill, but also to his creativity. 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. For the multi-head Echorec sound needed when performing the intro to Time and the four-note Syd's theme section of Shine on You Crazy Diamond he used two delays, and sometimes three! Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. 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. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): intro: 650ms, Coming Back To Life - 2015/16 live version: I have two units, and I have different echo settings on both. Treble: 4-5. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. 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. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). It's all on a D pedal. ONE OF THESE DAYS - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song One of These Days from Pink Floyd's Meddle album in 1971. 1st solo: 435ms That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. delay 1: 250ms The fill patterns played in the verse section sound dry, with almost no delay. Some duplicate the studio album delay times and some duplicate the live delay times. There is a 440ms delay on the guitars in the studio recording. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. Its more modern than the MXR, but it sounds just as good. 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. Some of the other Program Select positions work for the Time intro too, like position 12. Here are what the settings mean -. alternate 2nd Solo: (start of unison bends after ball opens) Delay 1 = 540ms / Delay 2 = 730ms, Comfortably Numb - 2006 OAI Tour: Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. You can simulate the verse delay with two delays in-line going to one amp. - 2016/15 live version: . 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. Fine tune it until you hear the repeats are exactly in sync with the song tempo. delay 2: 275-290ms -- feedback: 5-7 repeats - delay level: 25% -- delay type: analog, Short and Sweet - David Gilmour live 1984 version (Boss DD-2): For the middle section another piece of technology came into play: an HH amp with vibrato. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats So why don't you hear the repeats most of the time? NOTE: This website is frequently updated. Find many great new & used options and get the best deals for THE RULING CASTE: IMPERIAL LIVES IN THE VICTORIAN RAJ By David Gilmour **Mint** at the best online prices at eBay! solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): 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. 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. solo: 400ms, Raise My Rent: 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. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: Here is my example of this sound. I also use it to add some of the bigger room and concert hall sounds. 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. Free shipping for many products! It's fun to just jam around using the unique delay rhythm it creates. second solo: 500ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Gilmour's Binson Echorec 2 model T7E from 1970-71. middle section: 1000ms -- feedback: 4-5 repeats 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. Make David Gilmour's Shimmering Sustained Delay in Live. - 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. 430ms, Faces of Stone - 2015/16 live version: 147ms (2X the delay repeats), or 2 pulses for every delay repeat. 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. It was strange because it didn't utilize tape loops. When you play across it, it helps you to double-track yourself. It created a unique stuttered stacatto rhythm. When the notes pitch up or down the delay has 4-5 repeats. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. 525ms, Sorrow Solo - 2016/15 live version: Echorec head 4 = 312ms / Echorec head 1 - 78ms 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. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. 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. 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's a beautiful sound, but David did not use tape delays like this. 2. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. 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. Questa guida al setup di David Gilmour vuole essere d'aiuto per tutti coloro che volendo ricreare il sound che David ha utilizzato in un'album, in un tour o in una specifica canzone, sono alla ricerca dei setting precisi di ogni effetto usato da Gilmour. #4. Below is an isolated excerpt of this part. The first is set in 3/4 time (dotted eighth notes) for about 8 echo repeats at exactly 380ms, or three repeats for every song beat. www.gilmourish.com this website has info on Gilmours tone and gear used. 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. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. The repeats are bright and shimmery but not brighter than the original signal. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. delay time to simulate offset multi track recordings: 930ms -- feedback: 4-5 repeats -- delay level: 30-35% -- delay type: analog, Breathe - Pulse version (TC2290 Digital Delay): It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. I set the vibrato to more or less the same tempo as the delay. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. I used to be expert with Binsons. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. 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. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. solo: 680ms, Another Brick in the Wall Part 1: I use the MXR with the read-out on it, so I instantly have the right tempo. 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. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. I use chorus, little delay and some reverb on my amps clean setting. 5 A.M. : Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. 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. Below is an example of replicating the Syd's Theme delays from 1994. We are a participant in several affiliate programs including but not limited to the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. David has often usied very long delay times, so the repeats are not as obvious because he is playing the next bit of a solo phrase right when the repeats from the previous notes start. If you set it too high it will self oscillate into a whining feedback. This is probably spring reverb from David's Twin Reverb. 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. Below is my best guess at the delay times David used there. Below is a breakdown of how to play this effect. Echorec Style Delay Jamming - 428ms and 570ms. Delay time depends on the era. - Pulse version (TC 2290 Digital Delay): Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. I often hear a guitar recorded dry, a reverb only track, and a delay only track. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. Mar 8, 2013. 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 . David usually used positions 1-4, for single playback repeats of heads 1-4. How to you get the proper 3/4 delay time from that 4/4 time? It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. 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. Reaction score. Parallel is better than in series because the one delay does not repeat the other, and the repeats can run longer without going into oscillation. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: 2nd delay 570ms. I started off with a Binson Echo unit, which is like a tape loop thing. The tremolo is from an HH IC-100 amp was used for the studio recording. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. 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. The reverb could have been added in the mixing stage, or it could be natural room reverb from mics positioned in the recording studio to capture the natural room sound. This is actually not quarter-note triplets. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) With that said, the rest of the article is designed to . It is around 294ms on the studio recording. This is also one of the few Gilmour solos that features a heavy reverb effect, so it does not sound the same with delay only. He then upgraded to an MXR Digital Delay System II. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. - David often has a big, watery delay tone, as if he were playing in a large hall, but the actual audible echo repeats in his solos are almost absent in many cases. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. Another option is to run two delay pedals simultaneously. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. David would play a two note chord, then fade the volume in as he slides to the next position. - David Gilmour from Guitar for the Practicing Musician, 1985. If running the delays parallel, set for about 12 repeats on each. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: 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. 1st delay 500ms. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms 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. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: 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. Then I have two regular Boss units (DD2) which I set so one works in a triplet and the other in a 4/4 time - they're actually set in time with each other, so they combine and make a nice sound. BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. Its hard to give an estimate as every pedal will respond differently. Copyright 2023 Killer Guitar Rigs. This gives the impression of a 920-930ms delay. The first delay is 380ms, 10-12 repeats, delay voume 95%. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. A 300ms and 380ms delay had the heads repeating in these specific delay times. David also used the triplet delay setup on many other songs such as One of These Days from Pink Floyd's Meddle, Give Blood from Pete Townshend's White City, Blue Light from David's second solo album, About Face, The Hero's Return from Pink Floyd's The Final Cut, among others. He set the time to 310ms for most everything. All those divisions and subdivisions will be in time with the song. 2,434. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. A large part of that comes from Davids use of delay. Head 3 = 3/4 Solo: 430ms, Fat Old Sun- 1971/72 live versions: It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): All rights reserved. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. If the repeats are slower, reduce it. 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. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). Last update September 2022. first solo: 340ms -- feedback: 3-4 repeats delay 1 time: 90ms He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. studio . 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). The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. Gilmour's guitar playing is an integral part of this sound. The studio recording was likely duplicated and played back 440ms behind the original guitar recording to create the effect, or the mixing board was outfitted with a longer delay to create the effect in the mix. The first Money solo, for example, sounds like it is awash in spring reverb. This was most likely a reel-to reel recorder set up for a tape-loop delay. Copyright Kit Rae. That equates to 428ms, which we will call the 4/4 time. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. 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. The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. Run Like Hell Intro Runs - Examples of the left hand muted runs up and down the neck to create some of the intro delay sounds similar to what David Gilmour has dome when playing this song live. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. That may be just my fantasy; I don't know. David Gilmour is famous for his unique use of delay and echo. The second is around 94ms, which is 1/5 of 470 (470/5=94). I change my echo settings fairly often in concert. 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, . The Blue: I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. David almost always uses delays in his live rigs, not reverbs. 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.

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