david gilmour delay settings

solo: 500ms, High Hopes - live versions - 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. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. Hes got the sort of guitar-god charisma that comes with his insane talent. For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. David Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an 'echo'. 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. One of These Days - 294ms delay + vibratto. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. . By the way, you might also want to check out our top picks for the best delay pedals, our guides to the delay pedals used bySlashandEddie Van Halen, as well as our tips for where to place your delay in the chain withreverbandchoruspedals. I use the MXR with the read-out on it, so I instantly have the right tempo. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 3. 1 2. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. *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! 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. 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. Gilmour's guitar playing is an integral part of this sound. 5,744. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: second solo: 480ms -- feedback: 6-7 repeats 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. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog A DD-2 was also seen in David's Medina studio around 2017. As the chord rang on, David could then play the melody lines through his main Hiwatt. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. The tremolo is from an HH IC-100 amp was used for the studio recording. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. 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. Run Like Hell with 380ms and 507ms delay in series. 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. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for Shown below are some typical Gilmour DD-2 delay times. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. 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. For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. slide solo: He would do this for each chord change in the intro to, 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. 614ms -- feedback: 6-7 repeats, Rattle That Lock: 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. Bass: 5-6. As technology was progressing, the use of rack effects units became more and more efficient. - Phil Taylor, David's backline tech. Here is a breakdown from the Great Gig multi tracks. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. But delay is not the only effect that Gilmour tends to use. 500ms -- feedback: 5-6 repeats. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. - David Gilmour from Guitar for the Practicing Musician, 1985. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. If you don't have a delay with a millisecond display, it is still possible to find the proper 3/4 delay time in a 4/4 time signature. 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%. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. Then I play the bass rhythm clean, then with the effects on. 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. Some duplicate the studio album delay times and some duplicate the live delay times. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Too much volume from the first delay will make a mess of double tapped delay sounds on the second, so be careful not to over do it. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats - David has used numerous types of delays in his carreer, both analog and digital. 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 third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. Another option is to run two delay pedals simultaneously. I am not talking about spring reverb from an amp. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. solo: 560ms But which delay pedal (s) does/did he use? It is impossible to achieve the exact same tone as a player without using the same equipment. To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. The first Money solo, for example, sounds like it is awash in spring reverb. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. 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. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): This unit is an incredibly versatile digital delay that many artists use. a`Its very reliable, just like the MXR, but its much more versatile and teachable. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. The Echorec 2 had a 12 position switch to select among various combinations of heads. Volume 85% 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. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. I don't think I'll ever stick to one instrument - but the great thing about life is you don't have to. chords / arpeggios: 480ms The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. solo: 540ms, Poles Apart - Pulse version (TC 2290 Digital Delay): Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. 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. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. Below is a song-by-song list of delay times with some settings. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. Electric Mistress V2, V3, or V4: outro: 340ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V (Binson Echorec): R channel -- 1400ms with two repeats. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 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. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: It was set for a light overdrive setting and was most likely an always-on pedal. verse / chorus: 430ms, Us and Them - 2016/15 live version: - David Gilmour. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. Solo: 440ms ? Last update July 2022. Gilmour's Binson Echorec 2 model T7E from 1970-71. David probably just uses the term triplet because what he does has a similar feel. 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. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. 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. 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. Although he often blends different types of delays, creating rich textures and layers, I'm going to break it down into four signature setups covering each era. David Gilmour is famous for his unique use of delay and echo. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats 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). 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 also had an MXR 113 Digital Delay System that could do that delay 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. 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. His talent doesnt just limit to his skill, but also to his creativity. 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. Below is an isolated excerpt of this part. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. This was most likely a reel-to reel recorder set up for a tape-loop delay. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: A little later he switched to the MXR Digital Delay. Both in the studio and live their musicality seeps from every note, every rest, and every beat. 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 The effect actually works fine with only two delays. 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. solo: 400ms, Raise My Rent: The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. - Be sure to read the section above. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. Fat Old Sun- 2015/16 live version: That keeps you from getting a loud, double-tappy mess. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? second solo delay #1 TC2290 Digital Delay (whole solo): 480ms 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. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. Time intro - Isolated guitar from studio mix. Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse Getting an original Binson Echorec these days is nearly impossible. The simplest option is to use an online Beats Per Minute caculator, like this one. 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): 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. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. Delay Time: Shown in milliseconds. 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. David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. The main rhythm guitar, chords, and fills are all double tracked. There is a 440ms delay on the guitars in the studio recording. Dec 23, 2015. The first delay is definitely set to 470ms, which is the 4/4 time. I'll keep this simple rather than going into an explanation of time signatures. Set up your preferred delay settings and beam that into your pedal. 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 . There are several reasons. A single delay set at 1400ms with 3 repeats has a similar feel as well. 1st delay 470ms. 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. 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. Mids: 6-7. Alt. David usually used positions 1-4, for single playback repeats of heads 1-4. 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. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Delay volume 50%. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. If you want to somewhat recreate his delay youre in luck, as its pretty simple. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. second solo: 750ms -- feedback: 4-5 repeats, Comfortably Numb - MLOR tour: ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: This is a big part of Pink Floyds sound. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms This is a big part of Pink Floyd's sound. I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats As the chord rang on, David could then play the melody lines through his main Hiwatt. Scales David Gilmour is a big proponent of the minor and major pentatonic scales. The Blue - 2016/15 live version: Solo: 430ms, Fat Old Sun- 1971/72 live versions: As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. intro and verse volume swells, first solo: 620ms -- feedback: 6-7 repeats The early Boss DD-3 pedal had exactly the same circuit as the DD-2. It was strange because it didn't utilize tape loops. The Blue: 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. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. One of These Days - gated tremolo section isolated. 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 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: 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. The third delay is probably in 3/4 time, but I can barely hear it. 525ms, Sorrow Solo - 2016/15 live version: I use 240ms. It created a unique stuttered stacatto rhythm. 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The delay time must also be precisely in time with the song tempo. 2nd delay 94ms. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. Listen to some of the 5.1 live tracks separately and you can clearly hear this. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. - Pulse version (TC 2290 Digital Delay): rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): slide guitar solos: 300ms, One Of These Days - 2015/16 live version: 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. 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. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. 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. 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. delay 1 time: 90ms David used the DD-2 extensively in the mid to late 1980s, as well as using a Pete Cornish Tape Echo Simulator (TES) in 2006, which was a Boss DD-2 circuit with a selectable roll-off filter added to simulate the worn tape head sound of old tape delays like the Binson Echorec. Here is a clip of a single 330ms delay playing the Blue Light riff. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. Syd's theme: 370ms and 480ms USING TWO DELAYS AT ONCE - David has sometimes simultaneously used two separate delays with different delay times to create a larger sound, similar to what can be accomplished with the multi heads on an Binson Echorec. Then go to a website with a Delay Time Calculator, like the one on this page. SHINE ON YOU CRAZY DIAMOND 1-5 settings. There are times when I have both running at the same time for certain effects. second solo before verse: 350ms -- feedback: 3-4 repeats 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): On the left is my standard setting range for the early 1970s Gilmour Echorec sound. Listening to this track helped me realize how delay and reverb trails interact with what I'm playing in a way that makes unintended diads that could . David usually sets his delays in time with the song tempo, which helps hide the echo repeats. Listening to the trails specifically, something a little darker like a DM-2 would do it. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) For example, 380ms is your triplet time. Let's see some of the units he used over time. The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. 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. If the repeats are faster than the tempo, increase the delay time. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital This warble is similar to a light chorus sound, with high end roll-off. Multiply that number by 75% to get the triplet time delay. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog I have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use. 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. 1978 and on: digital delay, several stompboxes and rack units used (Boss, TC, MXR, Lexicon) The 2006 all tube Cornish board has a Cornish TES delay. - 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. His tone is instantly recognizable and unique. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) 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 repeats are bright and shimmery but not brighter than the original signal. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. intro: 425ms

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