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Mids: 6-7. Run Like Hell with 380ms and 507ms delay in series. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. 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). The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. There are several parallel looper pedals that can be used for the actual "looping" part of the setup. David usually used positions 1-4, for single playback repeats of heads 1-4. Solo: 430ms, Fat Old Sun- 1971/72 live versions: second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) 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. 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). delay 2 time: 1100ms -- feedback: 1 repeat - delay level: 10% -- delay type: warm digital, Today - 2016/15 live version: The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. 540ms, Take A Breath: 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). Heavy reverb. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. SHINE ON YOU CRAZY DIAMOND 1-5 settings. Alan Parsons has said David was generating all the effects himself for the first solo, so this was probably spring reverb from the Twin Reverb David had in the studio. 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. It is impossible to achieve the exact same tone as a player without using the same equipment. Alt. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? 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. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. 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 Gilmour is known for using his delay creatively, mostly by sort of using it as a reverb instead of it being purely an echo. See all posts by Andrew Bell. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. 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. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. 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. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse 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. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. 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): 530ms -- feedback: 4-5 repeats, Coming Back To Life: The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. Reverb was also added at the mixing desk when recording or mixing. 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. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. This is a big part of Pink Floyds sound. R channel -- 1400ms with two repeats. This is probably spring reverb from David's Twin Reverb. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. outro solo: 680ms -- feedback: 4-5 repeats. The motor had a fixed speed so one turn of the drum equated to approximately a 300ms delay, but that could vary slightly depending on mains voltage, and volatage fluctuations. Its a famous echo unit used by many artists, and useful for varying instruments. 650ms delay first, with 2 repeats, and 1400ms delay second with 1 repeat. This is the primary delay time you hear in the song. >> Click to read more <<. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *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. Run Like Hell with 380ms and 254ms delays in series. 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. 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. A DD-2 was also seen in David's Medina studio around 2017. He has a 2.2 second delay on the guitar so he can play over his repeats, building up layer upon layer of guitar repeats. I use one of their old ones most of the time because the width is narrower. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. volume swells: 1100ms -- feedback: 4-5 repeats. slide guitar solos: 400ms, On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Head 3 = 3/4 You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). solos: 430ms, Yet Another Movie: intro: 650ms, Coming Back To Life - 2015/16 live version: Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. 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. 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. One of the ways to do that, is by using your effects creatively, just as he does. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. 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. To get the second delay in 4/4 time, multiply 150 x 4 = 600ms. 650-680ms were occasionally used for long delays. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: 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. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. alternate 2nd Solo: 540ms Shown below are some typical Gilmour DD-2 delay times. This is a big part of Pink Floyd's sound. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. This setup can also be used for songs like On the Turning Away and Sorrow.--------------------------Signal chain:Guitar - Fender Stratocaster, with D Allen Voodoo 69 neck and middle pickups and Seymour Duncan SSL5 bridge pickupAmp - Reeves Custom 50, Laney LT212 cabinet with Celestion V30 speakersMic - Sennheiser e906Follow Gilmourish.Com here:http://www.gilmourish.comhttps://www.facebook.com/pages/Gilmouhttp://www.bjornriis.com The Echorec 2 had a 12 position switch to select among various combinations of heads. In 2006 the dry signal split off at the end of his pedal board signal chain into two separate loops, each going to a separate delay. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. Delay settings - Tony Samperi intro slide guitar: 1023ms I use 240ms. Below are some specific Gilmour settings I use. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. This obviously means that a lot of guitarists want to be like him. 2nd delay 165ms. You must remember this, Those settings are used for a stadium show, set to produce for a huge arena, not your 8 x 10 bedroom, and not your 100 x 100 bar. Killer Guitar Rigs Magazine is an online resource for everything guitar, from music news to gear reviews to interviews with your favorite artists we have something for every genre and skill level. He set the time to 310ms for most everything. Here is my example of this sound. There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital A 300ms and 380ms delay had the heads repeating in these specific delay times. You should keep in mind that these official recordings have been sweetened to sound as good as possible. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. David Gilmour Tone Building - Kit Rae 520ms -- feedback: 4-5 repeats, Obscured by Clouds: Set one delay for 440ms, 2 repeats, 30-35% volume. Fat Old Sun- 2015/16 live version: Theyre so famous they sell for a very high price and are deemed a collectable for many. www.gilmourish.com this website has info on Gilmours tone and gear used. a`Its very reliable, just like the MXR, but its much more versatile and teachable. intro: TC 2290 Digital Delay and PCM 70 Delay: Delay 1= 470ms / Delay 2 = 94ms All of the settings for this tone can be found in this PDF download below. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 380 divided by 3 = 126.7ms. Flashback/David Gilmour | The Gear Page Free shipping for many products! David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. To get the Pink Floyd sound, you'll need to use some specific equipment and settings. This pedal was a little easier to use than the Binson, and it's the exact delay you can hear in 'The Wall'. 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. 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. 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. I used to be expert with Binsons. 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. 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%. If you want to try the two-delay effect on one amp, it is best to place the second delay after the main 380ms delay in your signal chain, and set the second delay repeat volume MUCH lower, with roughly 1/3 the repeats of the main delay. verse / chorus: 430ms, Us and Them - 2016/15 live version: There is a also bit of light overdrive in the tone. 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). Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. His delay times are slightly faster here. 3. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. First is the delay, then the square wave tremolo, then both together. 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! 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. Note that setting. - Pulse version (TC 2290 Digital Delay): tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for 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. Let's see some of the units he used over time. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : 570 divided by four (4/4) is 142.5. I am talking about the natural reverb sound of the room or hall the amplifier or speaker cabinet was recorded in, or studio reverb added to simulate it. La guida un lavoro in continua evoluzione ed in continuo aggiornamento. Electric Mistress V2, V3, or V4: If you set it too high it will self oscillate into a whining feedback. David almost always uses delays in his live rigs, not reverbs. 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. 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. verse / chorus: 435ms, Wearing the Inside Out: Below is a medley of David using the Echorec from 1969-1977. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. It's a beautiful sound, but David did not use tape delays like this. Adjust the tone to suit your amp/speaker tone. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. If you put it in a 3/4 time it has an interesting bounce to it. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. Delay time depends on the era. 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. The main rhythm guitar, chords, and fills are all double tracked. 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. slide guitar solos: 300ms, One Of These Days - 2015/16 live version: Both types have been described as "warm" sounding, which can get confusing. The Different Effects Used By David Gilmour Throughout His Career The fill patterns played in the verse section sound dry, with almost no delay. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Read an explanation about how this is achieved here. I started off with a Binson Echo unit, which is like a tape loop thing. 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. Make David Gilmour's Shimmering Sustained Delay in Live. 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. All these effects can be heard in most of Pink Floyds discography. David probably just uses the term triplet because what he does has a similar feel. Kits Secret Guitar, Gear, and Music Page I the clips below I play the 470ms delay first, then the 94ms delay, then both in series together. 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. 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. This the dominant delay, but there is also a 300ms delay low in the mix 650ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): I use a compressor or a Tube Driver for this. The official live recordings often have an even larger delay sound than the studio versions. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. 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. How to Sound Like Pink Floyd: Amp Settings Guide 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. 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. 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 You can simulate the verse delay with two delays in-line going to one amp. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): Then I play the bass rhythm clean, then with the effects on. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: When you have a drum and bass note landing at the same time it somewhat masks the repeat. which is what gives the verse section that floaty, ethereal feel. Give Blood third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat Digital Delays tend to be avoided by many guitarists, but the belief that analog is always better than digital stems from when digital gear wasnt very good. - 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. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. Gilmour used a similar gated tremolo effect for the sustained chords in the verse sections of Money, using the noise gate from an Allison Research Kepex (Keyable Program Expander) studio module, modulated with an external sine wave generator (according to engineer Alan Parsons). delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, The Effect Level (volume) and Feedback (number of repeats) will vary. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. Note that David Gilmour varied his settings. Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats It was my very first delay and one of my favorite pedals for Gilmour-ish delay. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. David used various Echorec models but he was most known for using the Echorec 2 model T7E. Andrew Bell has 42 posts and counting. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: Delay Time: Shown in milliseconds. It is around 294ms on the studio recording. 1st delay 428ms. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. - 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. If you want to use a noise gate put it right before the delay/reverb. If running both delays in series, set the repeats however long you can go before oscillation starts, which is 8-10 repeats on most delays. second solo before verse: 350ms -- feedback: 3-4 repeats Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. David Gilmour is famous for his unique use of delay and echo. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. Fine tune it until you hear the repeats are exactly in sync with the song tempo. middle section: 1500ms -- feedback: 10-12 repeats Two guitars were multi tracked in the left and right channels. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. As technology was progressing, the use of rack effects units became more and more efficient. The TC Flashback can be set up with the Tone Print edito. second solo: 380ms -- feedback: 6-7 repeats, Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Its more compact, more reliable, and just easier to use. 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. 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. solo: 500ms, High Hopes - live versions For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. The Binson Echorec is an analogue echo unit made by Binson in Italy. 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. 5. Another option is to run two delay pedals simultaneously. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. 2nd delay 375ms. For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. It created a unique stuttered stacatto rhythm. HOW TO FIND THE PROPER DELAY TIMES - You can go here 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. slide solo: What delay pedal does David Gilmour? The Mode switch is in position 7, which is Head 3 + Head 4. When you play across it, it helps you to double-track yourself. When he began using digital delays in 1977 he started to use longer delay times and specific times to rhythmically work with the song tempos. 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. This was most likely a reel-to reel recorder set up for a tape-loop delay.