bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats 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. For the wet 1st and 3rd solos from Money I use basically the same settings, but I dial the mix knob up a bit for the third section after the dry solo. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. Syd's theme: 370ms and 480ms #4. Some duplicate the studio album delay times and some duplicate the live delay times. He did sometimes use the Swell mode. If you want to use a noise gate put it right before the delay/reverb. The Effect Level (volume) and Feedback (number of repeats) will vary. They averaged from 290-310ms. 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. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 There is a also bit of light overdrive in the tone. 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. intro: 640ms: feedback: 4-5 repeats - delay level: 25% -- delay type: clear digitalsolos: 540ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): 530ms -- feedback: 4-5 repeats, Coming Back To Life: David would use the latter setting for most of the album. It was my very first delay and one of my favorite pedals for Gilmour-ish delay. #4. The repeats had a warm high end roll off, similar to David's Binson Echorecs. The second delay David used was the MXR Digital M-113 Delay. 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. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. 8-10 repeats on the first delay and as many repeats as possible on the second, or as long as it can go without going into oscillation, which is around 3-4 seconds on most delays. Run Like Hell with 380ms and 507ms delay in series. The S-O-S rig allowed him to play sustained chords on the guitar which he could then play melody on top of. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. Some delays allow you to dial the volume level of the repeat louder than the signal level, which usually means 100% is when the knob is set to 12 o'clock. It is meant to simulate the sound of old analog tape delays as they aged. ANOTHER BRICK IN THE WALL PART I - This one is very similar to Run Like Hell, played in D, with a 450ms delay, around 7 repeats, with the repeat volume equal to the signal volume. NOTE: This website is frequently updated. 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): Volume 85% The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. intro slide guitar: 1023ms The clip below is played with those same 428ms and 570ms delay times. 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). For real room reverb, mics were placed in different parts of the recording studio to capture the room sound, not just the speaker cabinet from the amp. : Head 1 = 75ms .Head 1 = 95ms. This gives the impression of a 920-930ms delay. David Gilmour Sound Part 4/4: DELAY & SETUP HISTORY Musicoff - Where Music Matters 129K subscribers Subscribe 1.4K 243K views 11 years ago David Gilmour ed il suo suono al centro della. - In general, no - but sometimes, yes. I do hear what sounds like multi-head repeats in the chorus section of the first band demo however, so that could have been the Echorec. 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. Some of the other Program Select positions work for the Time intro too, like position 12. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. Bass: 5-6. I demonstrate many of the unique sounds that can be created but playing repeating patterns in and out-of-tempo with the delay repeats, letting the repeats get to the point of self oscillating, tapping the strings with a glass slide, tapping the strings with my fingers and pick to create percussive effects, and rubbing my fingers and pick up and down the strings. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. 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. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. It has a digital readout, but it's really nowhere close to being accurate. 1 2. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. intro: 425ms - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: chords / arpeggios: 480ms David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. moderate reverb, probably from the plate reverbs at Abbey Road studios. This is actually not quarter-note triplets. 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. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Some are actually too high quality for my personal taste. 5. 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. The delay time on head 4 was approximately 300ms, but it could vary depending on the mains voltage. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. solos: 430ms, Yet Another Movie: solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 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. The delay used must have a "kill dry" or "dry defeat" mode, which means ONLY the 100% wet delay signal is sent to the output of the delay, none of the dry signal. The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. Many of the sound effects youll hear on the earlier albums were created with this machine. So why don't you hear the repeats most of the time? 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. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. Time intro - Torino, Italy, Sept 13, 1994. 500ms -- feedback: 5-6 repeats. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. Heavy reverb. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for That equates to 250 - 240ms. The tape splices were then camouflaged with cymbal crashes. Basically anything prior to 1977 is 300-310ms, which is the best delay time for the Echorec IMO, and Program position 1 is the standard for most DG solos from the Echorec period, equivalent to Switch Position 4/Head 4 on a real Echorec. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. - David Gilmour, Guitar World magazine. 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. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. 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. For example, take 450ms divided by 3 = 150ms. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Sometimes these are called "parallel mixers" or "looper" 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%. 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. 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. 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. SOUND-ON-SOUND - David Gilmour had a special Sound-on-Sound (S-O-S) rig built for performing the intro to a new acoustic version of Shine On You Crazy Diamond for his 2001-2002 Meltdown concerts and he used this same rig for his 2006 tour. In live performances he usually used playback Head 4 for the maximum delay time of around 300ms. The TC Flashback can be set up with the Tone Print edito. Its more compact, more reliable, and just easier to use. You can use two delays in series (one after the other) or in parallel (each in a seprate signal path) to get David's multi-head Echorec style repeats. middle section: 1500ms -- feedback: 10-12 repeats Another option is to run two delay pedals simultaneously. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. One set for a slighly shorter delay time, and a lower echo repeat volume, running into a longer delay with a slightly louder echo repeat will give you a very smooth sound. Breathe Intro Using One Delay - One 440ms delay with 4-5 repeats also works well. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: Gilmour delay: '60s-'70s: Binson Echorec II. 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. A DD-2 was also seen in David's Medina studio around 2017. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. But delay is not the only effect that Gilmour tends to use. Volume 85% Delay time depends on the era. Let's do some "Echorec math." Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. 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. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. 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. His talent doesnt just limit to his skill, but also to his creativity. The tempo used in this demo is slightly too. Both types have been described as "warm" sounding, which can get confusing. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. Last update July 2022. 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. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. 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. 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! It's actually a metallic disc that spins around. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital Note or mark that time setting on your delay. 234ms and 150ms also works. First you hear a single muted note picked with a 294ms delay set for 7 repeats (played twice). 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. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. There is a 440ms delay on the guitars in the studio recording. Solo: 440ms ? Alternate (Pulse): Delay 1 = 430ms / Delay 2 = 1023ms, Hey You: 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: 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. Verse / Chorus : TC 2290 Digital Delay: 430ms Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. verse / chorus: 430ms, Us and Them - 2016/15 live version: David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. 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. The Echorec 2 had a 12 position switch to select among various combinations of heads. What delay pedal does David Gilmour? It's a beautiful sound, but David did not use tape delays like this. Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): David often uses long echo delays to help create a his big, smooth, and liquidy solo tones. intro: Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. Kits Secret Guitar, Gear, and Music Page David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. The sustained verse chords and chorus chords (the "run, run, run" part) were also double tracked with the same delay time, but slightly less repeats. 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 mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. 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. He used three delays there, but again, I can only distinctly hear two. Let's see some of the units he used over time. Alt. solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment. which is what gives the verse section that floaty, ethereal feel. It is around 294ms on the studio recording. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. He became known for this effect as he used it for his guitar solo in practically every queen concert. Blue Light Riff - with and without delay. A DD-2 was also seen in David's Medina studio around 2017. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. His most commonly used delay times were in the 294-310ms range and 430ms. It is impossible to achieve the exact same tone as a player without using the same equipment. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. 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). Why is that important? Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. 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. His delay times typically ranged from 300ms-550ms, with 5-8 repeats, but some songs required more specific delay times and settings, as detailed below. A 300ms and 380ms delay had the heads repeating in these specific delay times. In this clip I'm using Coming Back to Life as a reference with 700ms. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. 8-10 repeats on each. 1st delay 470ms. 2nd delay 94ms. Volume 65% There is also the "modulation" factor which is a common feaature on modern analog and digital type delays. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog Just get any old delay pedal, analog or digital, and set the time slow. 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. 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. One is added before the signal hits the amplifier and speakers, so the reverb itself is amplified and prcessed by the amplifier circuitry. It created a unique stuttered stacatto rhythm. - David has used numerous types of delays in his carreer, both analog and digital. He came up with that basic riff that we all worked on and turned into One of these Days. A little later he switched to the MXR Digital Delay. David Gilmour is famous for his unique use of delay and echo. All of the settings for this tone can be found in this PDF download below. Its also easier for live situations as changes can be made on the fly. Often what I hear in the recordings is just natural room or hall reverb. I am not talking about spring reverb from an amp. Fine tune it until you hear the repeats are exactly in sync with the song tempo. When he played Shine on You Crazy Diamond in his 2015 live performances he used three delays to replicate the old Echorec sound, two Flight Time delays and an MXR Delay. second solo: 490ms, What Do you Want From Me? The second delay should just be accenting the first, filling the space between the 3/4 repeats. Delay Time: Shown in milliseconds. All these effects can be heard in most of Pink Floyds discography. When you play across it, it helps you to double-track yourself. 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! extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: 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. delay 1: 90ms Both delays are in series with the delay volume around 75% and about 9 repeats. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. 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 . DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. delay 1 time: 430ms -- feedback: 5-7 repeats - delay level: 30% -- delay type: warm digital His tone is instantly recognizable and unique. first solo: 310ms -- feedback: 2-3 repeats. NOTE: This website is frequently updated. Then go to a website with a Delay Time Calculator, like the one on this page. 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 Gilmour Lead Guitar Tone PDF Download Gilmour's guitar playing is an integral part of this sound. It helps to have a delay with a digital display to set the exact delay time. Members; 529 Members; Share; Posted December 21, 2005. 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. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. 8-10 repeats on each delay. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. The first Money solo, for example, sounds like it is awash in spring reverb. Sometimes he even uses two delays at once to create certain double tapped echo effects or to make a solo sound bigger. 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. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. 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. - Be sure to read the section above. Other common delay times were 380, 440-450, 480, and 540ms. 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, . 430ms, Faces of Stone - 2015/16 live version: The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. You can also play in time with the delays in a kind of shuffle rhythm. Hes got the sort of guitar-god charisma that comes with his insane talent. I use 240ms. Members; porsch8. 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. He usually had the time set to 440ms. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. . There are several parallel looper pedals that can be used for the actual "looping" part of the setup. You can simulate the amp tremolo with just about any tremolo pedal or tremolo amp with a square wave shape. Multiply that x3 to get the 3/4 time and you get 427.5. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. Program Position 3 is equivalent to Switch Position 6 on the real Echorec, which is Head 3 + Head 2. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. 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. How to you get the proper 3/4 delay time from that 4/4 time? 5 Pedals or Less: How to Sound Like Dave Gilmour Back at it again, the hunt for tone never ends. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Give Blood 310ms -- feedback: 3-4 repeats 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. So why don't you hear the repeats most of the time? Volume 65% As the chord rang on, David could then play the melody lines through his main Hiwatt. I also use it to add some of the bigger room and concert hall sounds. Syd's theme: 375ms and 500ms ..delay #2 MXR Digital Delay System II (switched on at start of unison bends when mirror ball opens): 720ms Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. Echorec 2 ..Echorec PE 603 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. I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. This obviously means that a lot of guitarists want to be like him. solo: 680ms, Another Brick in the Wall Part 1: Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Sort of a triplet on top of a triplet time delay.
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