Separate names with a comma.
Discussion in 'Effects [BG]' started by mobdirt, May 24, 2018.
There's so much wrong with this that I don't even know where to begin, but here's a few things.
Wrong bass- Roger played a Precision Bass
Not enough basses - One Of These days has two bass tracks. One is Roger Waters, and the other was David Gilmour.
Wrong Technique - The original is played with a pick. Both tracks of bass. (I'll give you the fact that Guy Pratt played it slap style in the 80's with Floyd)
The only effects used were analog delay, super exaggerated tremolo, and some distortion on that part.
The guy in the video isn't playing it right. There are no harmonics in the original. This video over-complicates how this was achieved in the studio and live.
What's the POG for? There's no octaves going on in that bass part. They also didn't tap in the tempo for the delay. The band had to play to the tempo of where the analog delay was set.
There's more, but I can safely say that this video has the wrong title. It should be "One Way To Play One Of These Days By Pink Floyd". It certainly isn't the way they did it.
The video shows how you can achieve the sound, though it is more like Guy Pratt's version than Roger Waters'.
On the original studio version, the delay was provided by a Binson Echorec echo unit. From memory you can't adjust the delay time on these, simply preset subdivisions, and poly-rhythmic permutations, of a non-adjustable delay time set by the speed of the echo 'platter' disk inside. Pink Floyd tended to favour a pretty straight delay pattern from these units (for a while they were using them on organ, guitar, bass and vocals). I would aim for 270 milliseconds or so. The way to dial in the delay time is to play along to the Pink Floyd track 'Heart Beat Pig Meat' as the rhythmic drumming on this is processed with the Binson at the right delay time:
A few pedal manufacturers make Binson emulations. Disk echoes have a somewhat unique tone, as they don't use either tape or a bucket brigade delay line. The signal is 'written' to a magnetic disk that is driven by an electric motor via a rubber jockey wheel. The preamp in the Binson units is, usually, tube as well. The unit could be made to self oscillate pretty freely, and overdrive as well. Hank Marvin used a lot of the poly-rhythmic settings for his delay tones, whereas Pink Floyd kept it simple. I have a couple of bootlegs where you can hear Rick Wright somehow slowing his Binson right down, giving him wild pitch bend effects. I guess if the tubes were hot enough you could turn these things off and they would still produce a signal!
The tremolo effect came from an HH IC100 amplifier. Again, hardly standard kit in anybody's rig. I've played through a few HH IC100 heads and amps as these still live on in rehearsal spaces and venues. Brutally loud, and brutally robust, but all the nuance of 100 watts of '70s solid state technology. From memory the tremolo on these had a speed and depth control, and it gets very stuttery at higher depth settings. I want to say it is a pure square-wave or, even, a negative-ramp sawtooth wave pattern from the tremolo in these amps. It is a searing sound, especially at volume. You can hear the stutter clearly on the studio cut of One Of These Days.
David Gilmour used the HH IC100 head as well. The only time I recall him using the tremolo is on the 1971 BBC recording of 'The Embryo' which is on that new 'Early Years' box set.
As for distortion, Waters did use a fuzz live for one section in Echoes. This is sometimes apparent on live versions, and can be heard on 'Echoes part 2' from Live at Pompeii. I think this was just a Fuzz Face, and you can hear it come in at 4:41:
thanks for your opinion
Thanks some great info there
i am trying my own way of achieving the end result makes me understand the gear i own better
also never heard the guy pratt version but will check it out thanks
Oh, and i did edit the title
i am very aware that there are "differences"
should have made it clearer in the title to begin with
Well, I thought that was pretty good.
As for the P, Jazz thing, you have the Black & Maple going on, so that's sorted.
its a standard jb i just changed the pickguard
this was the gig btw, we changed things because we like taking risks i guess, besides its fun to try something and see how the audience reacts (maybe it will make just a bit more sense with the rest of the instrumentation, apologise in advance for the mistakes)
Nice. Wish I'd been at the gig.
Cool stuff. Post more vids.
Thanks qlanq, will do
I think I came across a bit harsh with my post on what's wrong in the video. My apologies. Pink Floyd is one of my favorite bands, so I get a bit wound up when discussing them. However you can achieve the One Of These Days bass effects is good.
Na all good,
its one of my favourite bands too
Cool. I never come on here looking to offend anyone. Only to try and help if I can.
honestly i just need more gigs and i will stop subjecting us to these videos, maybe lolol
no offence taken whatsoever for real
Awesome! I hear ya on the gigs front!
I always just played it through a delay pedal...
Could you elaborate? interested to know how
What an influential track! (I was just thinking about that yesterday) Of course back then it was some sort of analog beast, but my modern (latest) version of the effect comes from a Malekko Charlie Foxtrot on stutter, one repeat.
Hopefully this toppic didn't end?
Here we are trying also to figure out what the effects are on 'One of these days'.
Ok, the effects are delay, later in the song a tremelo? And there are some different versions of the song.
There is the studio version like we all know that has 2 basstracks, you've got the live at pompei version and the version where Guy Pratt plays the bass on the PULSE version.
We also know that they made there delay with the BINSON echorec, I was searching the net and found that catalinbread echorec is a copy of the binson echorec. Any of you guys have experience with the catalinbread?
Mobdirt, nice sound man!!!! espacially the tremelo!!!