• David Gilmour’s Run Like Hell and Binson delay/echo settings

    In this video I’m adressing some of the comments you posted on my last clip where we discussed David Gilmour’s four signature delay settings.

    To set time settings on pedals without a display – open a delay plug-in in Logic, Garageband or your preferred DAW and match the settings with your pedal by hitting the strings. Make markings on your pedal for each time setting, when these match.

    The TC Flashback can be set up with the Tone Print editor, which you can download here. Set up your preferred delay settings and beam that into your pedal.

    For Run Like Hell, David’s using what he refers to as “triplets”. Set up one, your main, delay for 380ms, with 7-8 repeats and unity level with the guitar. Set up a second unit, placed after the first, with 507ms, 7-8 repeats and low mix/level.

    The effect is similar to what you’d get from those old tape machies, with multiple playback heads. You can very well just use the single 380ms delay but adding the second 507ms, adds emphasis on the first beat and a more reverb-like character to the delays.

    David would often set the ouput level on his Binson Echorec quite high back in the early 70s. This created that classic etheral, reverb-like early Floyd sound heard on several albums and not least concert recordings.

    He would also raise the pre-amp or input level, which created a fatter and slightly compressed tone. You want an almost exaggerated echo, that pops out on fret and skin buzz on the neck as shown in this clip.

    Please leave your comments below or on the YouTube page. Feel free to suggest topics for future videos as well!

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18 Responsesso far.

  1. Walter H. says:

    Hello again Bjorn, hope you are well.
    I thought your last post was inspired from the thought of seeing the boys in the 70’s I sent you.LOL…
    To the Marcelo post about the getting the Echorec and dumping the Carbon Copy. I have them both And a Wampler Ethereal too! The Carbon Copy is voiced completely Different than the Echorec and your Modulation is a simple button to push on the face. The Echorec, if you want to change them, has two Pots Inside for gain and modulation and a switch for Trails mode(buffered) or True Bypass. Granted, the Echorec has 12 different modes for the selection of the playback heads and a 1000ms vs 600 ms, but I would keep them both to try. I can set one at 300ms and the other at 600 and get some great sounds. Marcelo go to the Catlinbread web site and read their 16 page manual. It will help you with the decision. They are a different animal!
    BTW I’d add the Dawner Prince in a Heart Beat…It is the next level of effects pedals for me.

  2. Marcelo says:

    Great article,I actually use a Bd2 and sometimes a Sd1 in front of it as boost with cero gain and all level up.it gives a great sustain.one question:I have a MXR carbon copy delay and I just want to replace it with an Echorec by Catalinbread.did you try the Echorec??what do you think of it???thanks for all your amazing articles,reviews and info you gave us!!!👏👏👏

  3. Gary says:

    Very nice effort Bjorn! You certainly have David’s delay down. I have several delay units but the most authentic sounding for Run Like Hell”, I’ve made a patch on the Timeline named “Run” and it’s basically what you have done. My second delay in series is set at 480 instead of 507 so it was close but it sounds really good. I’ll edit it to match yours. As always great post! Cheers

  4. I intend using a TC G-Force to do the RLH delay times. I was wondering if the double tap delay is the same as having 2 seperate delay pedals…. Setting one tap to 380ms, and the tap to 507ms….. Would that give me an approximation??

    • Bjorn says:

      I’ve never tried the G-Force so I can’t really tell but I would assue so. You would need to set the 507ms after the 380ms and much lower in the mix.

  5. Silvio says:

    Hi Bjorn, a couple of years ago I asked if you can explain your home-recording setup.
    Any time I listen to your reviews, I realize your tone is awesome. This is obviously due to your gear (guitars, pickups, amps, pedals, not least cables and power supply), but your recording technique is awesome also. It’s not easy to record a nice tone from an amp/cabinet…

    I’d like to know what mic, at what distance from the speaker, what audio interface, what DAW, how you mix your guitar track(s), if you add a reverb or a delay in the mix, and so on…

    If you came back from your vacation in Croatia, can you write a new post about this topic? :)
    I think I’m not the only one who’d like to catch your home-recording secrets and techiniques…. ;-))

    Thanks a lot

    • Bjorn says:

      Hi Silivo! Thanks for reminding me! I have a couple of things on my list that I want to do for these new videos. Recording is definitely coming!

  6. Brad Roller says:

    Awesome article my man. My boonar is my all time favorite delay for many reasons, but the main being that it adds a reverb like effect to the sound, which other delays don’t really. Or not to the extent I like it to. My setup is so simple these days, my custom fuzz face, volume, maybe a modulation, and my delay. But you and I know, with that set up, (if you know how to control everything) it can be a VERY versatile setup even in today’s music. It’s funny, as a kid I fell in love with Davids spacey sounds from live in Pompeii (had on VHS) and as I researched his tones and fell in love with others, I finally found myself falling in love with the simplicity of his earliest tones. It most definitely is the biggest influence on my tones, 100% and the Binson is the biggest factor in that, IMO.

  7. Zane says:

    How would one set up an Echroec style multihead delay pedal for run like hell? What delay time and which heads would you use?


    • Bjorn says:

      I haven’t experimented with it but you would need the main delay to be 380ms with a single head. Whether combining a second head hits 507ms I’m not sure…

      • Andy says:

        The Catalinbread Echorec program 4 (heads 3 and 4) will (sort of) get you there if you can accurately set the delay time knob to 507 ms. Each head sub-divides the set delay time by 1/4, so heads 3 and 4 would give 380ms and 507 ms. Sounds good to me anyway.

  8. Ben says:

    Hi Bjorn. Great video, as always! Quick question: For Run Like Hell, is this two delay method “in-lieu of” using the “dotted 8th” method on a single delay (such as the Providence Chrono Delay or TC Electronic ND-1 NOVA Delay)? Or Could you set the first delay using a dotted 8th, then the second delay to a “whole note” / standard delay? Many thanks!

    • Bjorn says:

      Dotted 8s wouldn’t give you the proper ms based on the bpm of the song. The 380ms is 3/4 and the 507ms is 4/4 (beat on each quarter or first note).

    • Mike Brennan says:

      Hi Ben & Bjorn,
      . I have the TC Nova. I usually don’t use the beat subdivisions; I usually just set it by ear. I suppose David may refer to this delay setting as “triplets” – but – to my ear they are in fact dotted eighths. IF the 4/4 “beat” is 507ms, and we divide that number by 4 & multiply by 3, we do indeed get 380.25. So, when I get home, I will set my Nova to 507ms and the beat sub-division to dotted eighths; I predict that that will nail it. (About 20 years ago, I wrote a Floyd-ish dotted 8th track (like a slow, spacey, EDM-dance track, sorta..) using Ping-pong stereo dotted eighths. That was when I realized there is a HUGE difference between the “dotted eighth sound” and the “triplet sound”. In other words, if I set my delay to the “dotted eighth sound” and adjust my playing by just a few BPM, it suddenly sounds triplet-y..)
      . Also, a dotted eight, can be thought of as a “3/16″ note – I believe this is why David (and many others, I suppose..) refer to it as “triplets”. There are 16 16th notes in one measure of 4/4 time. If you set the repeats to “99%” and carefully play 3 different 16th notes (staccato) – like E, Eflat, D – AND to a metronome, you can actually perceive that after 5 repeats (which is 15 16th notes), the first note sounds on the “sixteenth” 16th-note of the first measure. Therefore, you have to hear the whole thing go round a full 4 measures, before the 1st note of this descending 3-note pattern will properly “land” on the 1st sixteenth note, of the next measure (measure 5, I think).
      . I realize my math might not be perfect, and music shouldn’t really be so complex – BUT – it is this mathematical “science” that gives the repeating dotted eighth-note pattern the awesome hypnotic/ trance-y quality, that is SO Gilmourish, and contributes SO greatly to why some Floyd’s music is SO rhythmically interesting.
      Hope this helps,

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