Remember that these settings should just be used as a starting point. I use two delay pedals for Run Like Hell. 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. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: Great Gig Slide Guitar Breakdown. 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. In this example I am showing how just using a single triplet 330ms delay is sufficient for this effect, but a second 4/4 feeling delay of 440ms or even a double triplet delay time to 660ms, could be added to enhance the space. Great Gig Slide Guitar Breakdown, Here's another, starting with the dry guitar in the left channel, then the right channel with the 440ms delay. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. With that said, the rest of the article is designed to . The settings Gilmour uses usually create a minimal effect, but his sompressors really helps to smooth out the tone and playing. Delay Time: Shown in milliseconds. As an Amazon Associate, we earn from qualifying purchases. The effect actually works fine with only two delays. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. This is similar to the sound David had for his 1984 live performances of Run Like Hell, as heard on the David Gilmour In Concert video released in 1984 by CBS, and the Westwood One Radio Network FM broadcast of the July 12th concert in Bethlehem Pennsylvania. intro: 425ms delay 1: 250ms 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. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 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%. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms Solo: 430ms, Fat Old Sun- 1971/72 live versions: Then go to a website with a Delay Time Calculator, like the one on this page. If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): 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. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. I set the vibrato to more or less the same tempo as the delay. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: Using Program position 3 for that part also works. David probably just uses the term triplet because what he does has a similar feel. Generally speaking, the sound on the album is pretty much what came out of his amp. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. Members; 529 Members; Share; Posted December 21, 2005. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. Solo: 440ms ? Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. 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. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. Often what I hear in the recordings is just natural room or hall reverb. 8-10 repeats on each. 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. Both types have been described as "warm" sounding, which can get confusing. R channel -- 1400ms with two repeats. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. second solo delay #1 TC2290 Digital Delay (whole solo): 480ms Some of the other Program Select positions work for the Time intro too, like position 12. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital 1 2. That may be just my fantasy; I don't know. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. 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. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital intro: 440ms Its also easier for live situations as changes can be made on the fly. The first delay is 380ms, 10-12 repeats, delay voume 95%. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: Shown below are some typical Gilmour DD-2 delay times. To truly delve into David Gilmour's sound, you'd need to do a lot of research and buy a lot of vintage gear. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. These are 5 note scales, pretty much the simplest scale a guitarist could use. 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, . For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: The most recognisable and somewhat stereotypical sound that Pink Floyd uses is their ambience. 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. The SELECTOR knob had three positions: ECHO = one repeat, REPEAT = more than one repeat, and SWELL = outputs of the playback heads were fed back to themselves to create a spacey type of reverb effect. Fine tune it until you hear the repeats are exactly in sync with the song tempo. However, it is possible to play this one one guitar. Let's see some of the units he used over time. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. The delay time and your playing must be precisely in time with the song tempo, so it takes some practice to perfect this style of playing. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *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. The simplest option is to use an online Beats Per Minute caculator, like this one. 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. Note or mark that time setting on your delay. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. He did sometimes use the Swell mode. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. Kits Secret Guitar, Gear, and Music Page. It was strange because it didn't utilize tape loops. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. Head 1 = 1/4. 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: first solo: 310ms -- feedback: 2-3 repeats. 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, I started off with a Binson Echo unit, which is like a tape loop thing. 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. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. - David Gilmour, Guitar World magazine. 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. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. 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 . It created a unique stuttered stacatto rhythm. verse/chorus sections: 310ms -- feedback: 3-4 repeats The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? Note that reverb from a pedal in a guitar signal chain before the amp can never sound exactly the same as reverb added to recording at the mixing desk, or mixed in later after the recording has been made. For example, take 450ms divided by 3 = 150ms. Below are settings to get that sound. NOTE: This website is frequently updated. David almost always uses delays in his live rigs, not reverbs. Delay volume 65% CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. The tape splices were then camouflaged with cymbal crashes. Below is a breakdown of how to play this effect. 1st delay 500ms. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. 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 Effect Level (volume) and Feedback (number of repeats) will vary. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. His talent doesnt just limit to his skill, but also to his creativity. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. This was most likely a reel-to reel recorder set up for a tape-loop delay. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. 1st delay 428ms. 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). I started off with a Binson Echo unit, which is like a tape loop thing. Bass: 5-6. There is a also bit of light overdrive in the tone. 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. It's fun to just jam around using the unique delay rhythm it creates. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): But the delay was in 3/4 increments of the beat and the vibrato went with the beat. As I said before, he often doesnt just use the delay to make his solos fit in the particular vibe of the song, but also the help build the rest of the soundscape. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. Run Like Hell with 380ms and 254ms delays in series. Two guitars were multi tracked in the left and right channels. Let's do some "Echorec math." Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. I used to be expert with Binsons. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. 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. This is something us Gilmour fans have sought to recreate in our own playing. 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). verse: 360ms - Phil Taylor, David's backline tech. outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. 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. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. It only added a very slight gain boost to his clean amp tone, but . . For example, 380ms is your triplet time. These three separate channels are blended back together with the original dry signal at the end of the signal chain. Delay time depends on the era. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. Both in the studio and live their musicality seeps from every note, every rest, and every beat. 2nd delay 375ms. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. 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): As the chord rang on, David could then play the melody lines through his main Hiwatt. 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. #4. solos: 375ms. 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! What is interesting about this performance is that it is probably the only time David is known to have used a tape 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). solos: 440ms -- feedback: 7-8 repeats - delay level: 15% -- delay type: analog 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. 650-680ms were occasionally used for long delays. The Mode switch is in position 7, which is Head 3 + Head 4. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. Those are not the type of parallel setup we are talking about here. Set up your preferred delay settings and beam that into your pedal. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) 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. This is the primary delay time you hear in the song. His most commonly used delay times were in the 294-310ms range and 430ms. Listening to the trails specifically, something a little darker like a DM-2 would do it. A DD-2 was also seen in David's Medina studio around 2017. Delay volume 50%. alternate 2nd Solo: 540ms 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 . 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. 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. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital 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. 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. For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital - David Gilmour, Guitar World magazine. I use the MXR with the read-out on it, so I instantly have the right tempo. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. first solo and fills: 470ms 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 Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. 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. middle section: 1000ms -- feedback: 4-5 repeats In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. Echorec Style Delay Jamming - 428ms and 570ms. All those divisions and subdivisions will be in time with the song. 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. There is a 440ms delay on the guitars in the studio recording. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. slide solo: 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. 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. solo: 680ms, Another Brick in the Wall Part 1: To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. It is impossible to achieve the exact same tone as a player without using the same equipment. 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. Head 1 = 75ms .Head 1 = 95ms. 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. solo: 400ms, Raise My Rent: Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. The delay time must also be precisely in time with the song tempo. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): It's a beautiful sound, but David did not use tape delays like this. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Delay Level: This is the volume level of the delay repeat compared to the original signal. 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. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. 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). I am not talking about spring reverb from an amp. 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. Echorec 2 ..Echorec PE 603 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. David Gilmour Lead Guitar Tone PDF Download A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable.
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