Gilmour used the same 294ms delay from the Echorec plus the built in vibrato from an HH IC-100 amplifier, which was a very choppy tremolo effect. One of the ways to do that, is by using your effects creatively, just as he does. One of These Days - 294ms delay + vibratto. He became known for this effect as he used it for his guitar solo in practically every queen concert. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. Gilmour's Binson Echorec 2 model T7E from 1970-71. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. outro solo: 680ms -- feedback: 4-5 repeats. Run Like Hell with 380ms and 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. third solo (after dry solo): 380ms -- feedback: 2-3 repeats. 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. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. David Gilmour, as many guitarists will agree on, is an absolute legend. The first delay is 380ms, 10-12 repeats, delay voume 95%. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats There are times when I have both running at the same time for certain effects. Here is a clip of a single 330ms delay playing the Blue Light riff. 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. As technology was progressing, the use of rack effects units became more and more efficient. There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. 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. It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. Assume a 100% delay level means the delay repeat volume is exactly the same as the original signal volume, so the dry signal and the delay repeats will be exactly the same loudness. Andrew Bell has 42 posts and counting. second solo: 640ms -- feedback: 6-7 repeats 530ms -- feedback: 4-5 repeats, Coming Back To Life: The simplest option is to use an online Beats Per Minute caculator, like this one. The first delay is definitely set to 470ms, which is the 4/4 time. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. Place the volume pedal before the delay in the signal chain so when you drop the volume to zero the delay repeats still decay naturally. You can change the feel of the delay repeats by cutting the 600ms delay time in half to 300ms, 1/4 time to 150ms, or double it to 1200ms, et cetera. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. He used three delays there, but again, I can only distinctly hear two. Those are not the type of parallel setup we are talking about here. Sort of a triplet on top of a triplet time delay. second solo: 430ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): 2nd delay 94ms. This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. 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. 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. solos: 540ms, What Do you Want From Me? 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). The delays are set in series like this: For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. And lastly, youll want to mix it surprisingly quietly. An examination of the individual tracks from some of the 5.1 surround sound studio album releases reveals both were used. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. 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 . Head 2 = 2/4 Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. 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. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). David Gilmour is famous for his unique use of delay and echo. 3. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. A 300ms and 380ms delay had the heads repeating in these specific delay times. 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. verse, solos: 450ms, Learning To Fly - Pulse version: Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. As the chord rang on, David could then play the melody lines through his main Hiwatt. So why don't you hear the repeats most of the time? The tremolo is from an HH IC-100 amp was used for the studio recording. Some duplicate the studio album delay times and some duplicate the live delay times. There is a also bit of light overdrive in the tone. Too much can severely alter your guitar tone before it hits the amp, washing out the definition and clarity. intro: 650ms, Coming Back To Life - 2015/16 live version: 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. Feedback: This is the number of audible repeats. - David has used numerous types of delays in his carreer, both analog and digital. The reason David used multiple delays was to set each for a different delay time setting for specific songs and to adjust delay time on-the-fly during shows. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. 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): Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. It is meant to simulate the sound of old analog tape delays as they aged. He set the time to 310ms for most everything. 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. Brian May (of Queen) did the same effect a few years later on, - 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. Below is an example using two digital delays in series. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. Copyright 2023 Killer Guitar Rigs. The first send went to a volume pedal. This is a big part of Pink Floyd's sound. 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. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. Volume 65% 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. Two guitars were multi tracked in the left and right channels. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: Solo: 430ms, Fat Old Sun- 1971/72 live versions: I use the MXR with the read-out on it, so I instantly have the right tempo. David could play a chord while the delay rhythm repeated, and jump back to the delay rhythm before the repeats stopped, almost as if there were two guitars playing. I was able to dismantle them, put them back together, and change the head positioning. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. - 2016/15 live version: It only added a very slight gain boost to his clean amp tone, but . *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! 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. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. In a new tutorial, musician Tracy Evans demonstrates how to achieve David's "sound on sound" infinite sustain effect in Live, using the Filter Delay effect. He always kept the Echorec in tip top shape, and after the MXR Delay System used a variety of digital delays, including the DD2 and later the TC 2290. When I'm recording I'll often set them in tempo to the track, so although they are just acting as an echo, the echo is rhythmic in away and has a triplet and the 4/4 beat in it. Volume 65% He came up with that basic riff that we all worked on and turned into One of these Days. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. delay 1 time: 90ms 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. 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. 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. David probably just uses the term triplet because what he does has a similar feel. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. One of these Days evolved from some of my experiments with the Binson, as did Echoes - David Gilmour, Guitar World February 1993, there are some things that only a Binson will do. Sort of a triplet on top of a triplet time delay. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. The fact that these two delays were studio effects may explain why David never played the slide parts live in the original Dark Side of the Moon concerts. He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. Members; porsch8. 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. 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. - 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. Below is a song-by-song list of delay times with some settings. 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: The Echorec 2 had six knobs - INPUT CONTROL (volume), LENGTH OF SWELL (number of repeats), VOLUME OF SWELL (volume of repeats), BASS/TREBLE (tone knob for the repeats), a three position SELECTOR knob, and a SWITCH knob that selected various combinations of the four playback heads. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, The Echorec was an old school mechanical delay that utilized a spinning drum disk wrapped in magnetic recording wire rather than magnetic tape. Gear used: Telecaster into a fender twin Reverb and Reeves Custom 50, Boss CS-2 Compressor, Tube Driver set for light overdrive, Electro-Harmonix Electric Mistress, TC Nova delay. - Be sure to read the section above. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. His final delay was the TC Electronic 2290. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. If you break the beat into a four count, that second repeat would be on 4. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. Often during the live songs that do have very loud delays, you do hear the repeats clearly. Solo: 440ms ? I change my echo settings fairly often in concert. 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. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): As the chord rang on, David could then play the melody lines through his main Hiwatt. Great Gig Slide Guitar Breakdown. The notes fade in and out, like a pedal steel guitar. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. David Gilmour Lead Guitar Tone PDF Download Some of the other Program Select positions work for the Time intro too, like position 12. second solo before verse: 350ms -- feedback: 3-4 repeats How to you get the proper 3/4 delay time from that 4/4 time? Just get any old delay pedal, analog or digital, and set the time slow. 2nd delay 165ms. I use one of their old ones most of the time because the width is narrower. Delay volume 90%. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. 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. His tone is instantly recognizable and unique. Below is an example of replicating the Syd's Theme delays from 1994. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. David has used many different types of compressors throughout his career, but a few common ones are the MXR Dynacomp, Boss CS-2, and Demeter Compulator. Reaction score. 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. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: 1. 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. volume swells in lords prayer section: 340ms -- feedback: 8-9 repeats Often what I hear in the recordings is just natural room or hall reverb. Tim Renwick solo: 520ms, Louder Than Words: One of These Days - gated tremolo section isolated. Some duplicate the studio album delay times and some duplicate the live delay times. 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! 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. analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. 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 turn each effect on one at a time so you can hear how they add to the tone. The tape splices were then camouflaged with cymbal crashes. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: Time intro - Torino, Italy, Sept 13, 1994. The delay time must also be precisely in time with the song tempo. This is a big part of Pink Floyds sound. 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. - In general, no - but sometimes, yes. NOTE: This website is frequently updated. Also, two delays in line, while useful for some double tap delay effects, means that the repeats from the first delay are then repeated again by the second when both are used at the same time, which can sometimes create a mushy mess of repeats. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. intro: The second is around 94ms, which is 1/5 of 470 (470/5=94). Volume 85% You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. 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. Gilmour used the TC Electronic 2290, but any digital delay will do. 500ms -- feedback: 5-6 repeats. The second delay David used was the MXR Digital M-113 Delay. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. 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. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. All of the settings for this tone can be found in this PDF download below. The volume swells can be easily created today with a delay and a volume pedal. Its more compact, more reliable, and just easier to use. Posted December 21, 2005. porsch8. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. The Effect Level (volume) and Feedback (number of repeats) will vary. In the studio recording the 4/4 delay is not very obvious, so it was low in the mix, possibly only in one channel, or both. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: Below is a breakdown of how to play this effect. NOTE: This website is frequently updated. Money solos - live 1977 version (MXR Digital Delay System I): 1st delay 428ms. For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. Here is a breakdown from the Great Gig multi tracks. volume swells: 1100ms -- feedback: 4-5 repeats. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. Shown below are some typical Gilmour DD-2 delay times. His talent doesnt just limit to his skill, but also to his creativity. 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). Later versions of the DD-3 have different circuits. The second delay should just be accenting the first, filling the space between the 3/4 repeats. Some duplicate the studio album delay times and some duplicate the live delay times. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. But which delay pedal(s) does/did he use? To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. 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 solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): My sound has everything to do with what sounds good to me. Comfortably Numb: It's just like the old Echoplex unit - David Gilmour from Guitar for the Practicing Musician, 1985, The Binson was an Italian made delay unit. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. intro: 630ms -- feedback: 4-5 repeats -- delay level: 17% -- delay type: analog solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 440ms -- feedback: 4-5 repeats, No More Lonely Nights: By porsch8 December 21, 2005 in Effects and Processors. 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. www.gilmourish.com this website has info on Gilmours tone and gear used. 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. Mids: 6-7. It's a beautiful sound, but David did not use tape delays like this. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Find the song tempo delay time as described above, so your delay is making one repeat per song beat, exactly in time with the beat. 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. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. 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. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. The slide parts actually were played on a pedal steel, a Fender 1000, but David just used it as a slide guitar and removed the foot pedals. 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%. Multiply that number by 75% to get the triplet time delay. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. In the studio recording I hear one guitar playing the single note triplet time rhythm, a second guitar playing the fills, and a third guitar playing occasional accents on top of the fills. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. 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. Time intro test with backing track - 470ms and 94ms. David Gilmour was the guitarist for English rock band Pink Floyd. delay 1: 250ms 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. However, it is possible to play this one one guitar. 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. SHINE ON YOU CRAZY DIAMOND 1-5 settings. Note the controls show playback mode switch is in position 4, which is single playback Head 4, Gilmour's Binson Echorec 2 model T7E from 1970-71 with the playback mode switch in position 4, Gilmour's Binson Echorec 2 model T7E from 1972 and 1977 with the playback mode switch in position 1, which is singe playback Head 1, Various Echorec 2 settings seen in David's Medina studio from 2013, 2014, and 2017, The Echorec 2 in David's Medina studio from 2017. The MXR Digital Delay System II was an upgraded version of the 113 that showed the delay time in milliseconds on the front panel and featured additional fine tuning controls. Multiply 600 x 75% to get the triplet time delay of 450ms (or divide 600 by 4 to get the quarter note time of 150ms, multiply that X3 for a triplet time, which equals 450ms). Shown below are my Boss delay time settings to replicate the Run Like Hell band demo recording sound. Below is my best guess at the delay times David used there. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. David was very much in control of his sound system We rarely added effects to his guitar in the control room. Time intro - Isolated guitar from studio mix. 4. Once you have that, turn the feedback down so there are only about 3-6 repeats, adjust the delay volume to suit the song, and you are ready to go. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. 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): Kits Secret Guitar, Gear, and Music Page The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage.