David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Run Like Hell with 380ms and 254ms delays in series. The delays are set in series like this: Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. I am not talking about spring reverb from an amp. Run Like Hell with 380ms and 507ms delay in series - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. It was used for the early live version of, 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. Even though the DD-2 delay chip only produced a 12 bit sample, the circuit blended part of the clean signal back in, producing a crisp, accurate digital repeat. second solo: 370ms -- feedback: 7-8 repeats -- delay level: 20% -- delay type: analogSyd's theme: 290ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: analog 8-10 repeats on each. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 1st solo: 310ms He began using digital delays in place of the Echorec around 1977. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: 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. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. This gives the impression of a 920-930ms delay. Below are examples from 2016 of David using three digital delays in series for Syd's theme from performances of Shine of You Crazy Diamond. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. It is a great example of what David calls "triplet time" delay playing, which is actually dotted eighth notes. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. He used three delays there, but again, I can only distinctly hear two. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. You should keep in mind that these official recordings have been sweetened to sound as good as possible. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. This way the echo repeat from one delay is not repeating the echo repeat of the other, and the original guitar signal is kept pristine rather than altered by going through two different delays. It also stems from the fact that people tend to look at things with their wallets, and analog gear is often much more expensive than its digital counterpart. Below is a breakdown switching between the various tracks of all three solos. Last update September 2022. Instead, it used a metal recording wheel. 500ms -- feedback: 5-6 repeats. Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. 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. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. All of the settings for this tone can be found in this PDF download below. intro slide guitar: 1023ms What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: 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. >> Click to read more <<. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: Example: You determine the 4/4 beat/song tempo is 600ms. The Blue - 2016/15 live version: The 4/4 delay thickens space between the main delay repeats by double tapping your 3/4 repeat with a 4/4, creating a more bouncy rhythm. The last 8 minutes of the song is a rambling collage of echo 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. 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. David's pedal board had two Boss digital delays, but he also had an MXR 113 Digital Delay System and MXR Digital Delay System II in his rack. Syd's theme: 375ms and 500ms delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats 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! 1. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. The delay time must also be precisely in time with the song tempo. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: My sound has everything to do with what sounds good to me. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. On Reverb, the average Echorec sells for between 3500$ to 5000$. 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. 4. 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. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. David used various Echorec models but he was most known for using the Echorec 2 model T7E. It is impossible to achieve the exact same tone as a player without using the same equipment. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Treble: 4-5. That may be just my fantasy; I don't know. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. 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. In this clip I have one set for 380ms for Run Like Hell and one for 440ms for Another Brick in the Wall (part 1). *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! If you listen to some of the better bootleg recordings and compare them to the official live releases, you will find David's real live sound is typically drier, with less delay. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog 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. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. Andrew Bell has 42 posts and counting. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: alternate: 380ms, High Hopes - 2015/16 live version: 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. 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). Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. David Gilmour is famous for his unique use of delay and echo. Some of the most used digital delays in his live rigs were the MXR 113 Digital Delay (1977-1986), the MXR 151 Digital Delay System II (1983-2016), the Boss DD-2 (1983-1986, 2006), the TC2290 Dynamic Digital Delay (1987-1994), and the Free The Tone Flight Time FT-1Y Digital Delay (2015-2017). David Gilmour was the guitarist for English rock band Pink Floyd. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). The second delay should just be accenting the first, filling the space between the 3/4 repeats. Its a famous echo unit used by many artists, and useful for varying instruments. First is the delay, then the square wave tremolo, then both together. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. 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. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. 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. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. Here is a clip of a single 330ms delay playing the Blue Light riff. Tim Renwick solo: 520ms, Louder Than Words: 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. first solo: 340ms -- feedback: 3-4 repeats MXR DIGITAL DELAYS - David began using digital delays in 1977. Below is an excerpt of David's bass guitar part, extracted from the 5.1 surround mix of Meddle. And lastly, youll want to mix it surprisingly quietly. 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. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. David also had an MXR 113 Digital Delay System that could do that delay time. Volume 65% Mids: 6-7. I used to be expert with Binsons. Gilmour used the TC Electronic 2290, but any digital delay will do. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. Heavy reverb. It's all on a D pedal. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. If you want to use a noise gate put it right before the delay/reverb. It was used for the early live version of On the Run in 1972, the third Money solo, and used on Pink Floyd tours until 1975. Alt. 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. Members; 529 Members; Share; Posted December 21, 2005. 430ms, Faces of Stone - 2015/16 live version: 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. He became known for this effect as he used it for his guitar solo in practically every queen concert. When you play across it, it helps you to double-track yourself. 8-10 repeats on each delay. His delay times are slightly faster here. On the one hand, finally cracking one of my favourite guitar player's [] The main rhythm guitar, chords, and fills are all double tracked. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. Because the DDL keeps running along, you've got time to leave the pedal playing and play a couple of chords while the effects carry on - David Gilmour from Guitar for the Practicing Musician, January 1995. 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. 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. outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: 2,434. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. 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 amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. #4. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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! Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. Shown below are some typical Gilmour DD-2 delay times. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Copyright 2023 Killer Guitar Rigs. It plays through first with the guitar and delay, then plays through again with just the left channel dry guitar, then again with the right channel, which is a multi tracked guitar, but delayed behind the left channel guitar. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. I use the MXR with the read-out on it, so I instantly have the right tempo. This creates a different bouncy feel to the delay rhythm. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats Another option is to run two delay pedals simultaneously. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Its more modern than the MXR, but it sounds just as good. - In general, no - but sometimes, yes. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): Head 1 = 75ms .Head 1 = 95ms. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats David would use a Binson Echorec in the early days between 1968-1978. This is actually not quarter-note triplets. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: Money solos - live 1977 version (MXR Digital Delay System I): 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. The Mode switch is in position 7, which is Head 3 + Head 4. Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog Reaction score. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. If you adjust the delay time in that in-between zone while listening to the song, you will hear when it is right in 3/4 time. Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. 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: 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. 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. Solo: 440ms ? 530ms -- feedback: 4-5 repeats, Coming Back To Life: - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, 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. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 The PE 603 Echorec had similar controls, but rather than having a switch to select different combinations of the four playback heads, it had individual switches for each head. Then I play the bass rhythm clean, then with the effects on. If you get too high a quality bandwidth on a DDL you hear too much pinging and lose the sort of echo effect I use it for. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. Some duplicate the studio album delay times and some duplicate the live delay times. - 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. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. Below is a link to a song-by-song list of Gilmour's delay settings, compiled from measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of his digital delays. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital A key to the way David has done this is to run each delay in its own separate channel, parallel and separate from the line signal. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. Delay volume 90%. The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. It was strange because it didn't utilize tape loops. There are several reasons. I use chorus, little delay and some reverb on my amps clean setting. The S-O-S unit was basically a buffered interface with two send/returns. 614ms -- feedback: 6-7 repeats, Rattle That Lock: If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. Volume 85% Some are actually too high quality for my personal taste. You could get some wonderful delay effects that aren't attainable on anything that's been made since. - engineer Alan Parsons, on the 1973 Dark Side of the Moon sessions, (left to right) Gilmour's Binson Echorec 2 and Echorec PE 603 stacked on top of his Hiwatts from 1973, and an Echorec 2 from 1974, Binson Echorec PE 603 like the one Gilmour used from 1971-74 in his live rigs. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. 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. There are also instances where he has had a long delay time, but only one or two repeats, which gives the big sound, but makes the repeats almost inaudible in the band mix. It is said that he switched from an Echorec to an MXR for ease of use. The tempo used in this demo is slightly too. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. 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 website is frequently updated. MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for Gilmour's guitar playing is an integral part of this sound. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. verse, solos: 450ms, Learning To Fly - Pulse version: 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. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: 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. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? I use a compressor or a Tube Driver for this. Every aspect of his tone can change on different albums, even on different tracks of the same album! David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. I change my echo settings fairly often in concert. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: 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: To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. 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, . Adjust the tone to suit your amp/speaker tone. It created a unique stuttered stacatto rhythm. If running the delays parallel, set for about 12 repeats on each. R channel -- 1400ms with two repeats. Then I play just the muted note rhythm so you can hear what it sounds without the delay, then I turn the delay on while playing. Below is my replication of that 1984 ADT sound using two delays in series to two different amplifiers, in stereo. The repeats are bright and shimmery but not brighter than the original signal. 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): 1st delay 470ms. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. 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. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. 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). solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): 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. His main analog delays were nearly always the drum type, like the Echorec, which only had high end-roll off as the magnetic drum and record/playback heads aged. This is the primary delay time you hear in the song. Delay volume 50%. For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. If you put it in a 3/4 time it has an interesting bounce to it. 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. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. 570 divided by four (4/4) is 142.5. intro: 425ms NOTE: This website is frequently updated. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. SHINE ON YOU CRAZY DIAMOND 1-5 settings. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. When the IC chips became less expensive to manufacture Boss simply rebranded it as a new, lower priced version rather than lowering the price of the DD-2. - Pulse version (TC 2290 Digital Delay): intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats The Blue: 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).

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