One of These Days - gated tremolo section isolated. He began using digital delays in place of the Echorec around 1977. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. For Run Like Hell, David's using what he refers to as "triplets".. 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. Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. It was usually set for single head and a fixed time at about 310ms. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. This is also one of the few Gilmour solos that features a heavy reverb effect, so it does not sound the same with delay only. solo: 430ms -- feedback: 7-8 repeats - delay level: 20% -- delay type: digital, Time - 2016/15 live version: Give Blood But delay is not the only effect that Gilmour tends to use. David would use a Binson Echorec in the early days between 1968-1978. Below is an isolated excerpt of this part. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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. David Gilmour Lead Guitar Tone PDF Download The tempo used in this demo is slightly too. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. David would play a two note chord, then fade the volume in as he slides to the next position. Fine tune it until you hear the repeats are exactly in sync with the song tempo. That keeps you from getting a loud, double-tappy mess. From long sustained notes that seem to go on forever, to the most tasty of blues licks, his sound is instantly recognizable. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. 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. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. . Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. delay 1: 250ms Its more compact, more reliable, and just easier to use. alternate 2nd Solo: 540ms 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. This is a big part of Pink Floyd's sound. But fear not, if you want a semi-authentic Echorec experience, Catalinbread makes an Echorec pedal that sounds very close to the original. delay 2 time: 360ms, Us and Them - Pulse version (TC 2290 Digital Delay): Andrew Bell has 42 posts and counting. - Phil Taylor, David's backline tech. The second delay should just be accenting the first, filling the space between the 3/4 repeats. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. 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. Note that David Gilmour varied his settings. Multiply that x3 to get the 3/4 time and you get 427.5. One of the ways to do that, is by using your effects creatively, just as he does. 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). Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). This unit is an incredibly versatile digital delay that many artists use. These effects combined with Gilmours guitars, amps, and more importantly, his fingers, all add up to the legendary sound we love, and the signature sound that will send any 40+ year old into a state of ecstasy if it comes on the radio. 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. There is a also bit of light overdrive in the tone. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: 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. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. 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 Mids: 6-7. 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. second solo: 490ms, What Do you Want From Me? 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: 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): 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. He usually had the time set to 440ms. Solo: TC 2290 Digital Delay: 430ms, Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Let's see some of the units he used over time. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. 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. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog The repeats are bright and shimmery but not brighter than the original signal. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: The third solo also sounds like it has reverb, but that sounds more like room reverb or plate reverb added in the studio. #4. The notes fade in and out, like a pedal steel guitar. Below is an example using two digital delays in series. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. 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. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. 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 Kits Secret Guitar, Gear, and Music Page. Both types have been described as "warm" sounding, which can get confusing. a`Its very reliable, just like the MXR, but its much more versatile and teachable. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. As an Amazon Associate, we earn from qualifying purchases. The trick is not to overdo it. As technology was progressing, the use of rack effects units became more and more efficient. Many of the sound effects youll hear on the earlier albums were created with this machine. Both in the studio and live their musicality seeps from every note, every rest, and every beat. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. It's actually a metallic disc that spins around. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. 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. All rights reserved. A little later he switched to the MXR Digital Delay. 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. The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. David Gilmour is famous for his unique use of delay and echo. 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. HH IC-100 amplifier with built in tremolo. However, it is possible to play this one one guitar. Great, lets get started. 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. Listening to the trails specifically, something a little darker like a DM-2 would do it. The first delay is definitely set to 470ms, which is the 4/4 time. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. 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. 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. 1. R channel -- 1400ms with two repeats. Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. What delay pedal does David Gilmour? I change my echo settings fairly often in concert. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. - 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. And what I meant with using it as a reverb was that he tends to tune his delay to the rest of the band so that it creates a cohesive piece that captures their signature atmospheric sound. first solo: 507ms -- feedback: 2-3 repeats Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. A DD-2 was also seen in David's Medina studio around 2017. The third and final (that we know of) delay he usd was the TC Electronic 2290 rack unit. Posted December 21, 2005. porsch8. It was compiled by measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of David's digital delays. Other than a few instances like that, reverb from David rig was not used and I do not recommend it. 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. second solo: 500ms - feedback: 3-4 repeats -- delay level: 15% -- delay type: analog, Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Often during the live songs that do have very loud delays, you do hear the repeats clearly. A DD-2 was also seen in David's Medina studio around 2017. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Below are some specific Gilmour settings I use. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Two guitars were multi tracked in the left and right channels. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. David Gilmour, as many guitarists will agree on, is an absolute legend. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. All those divisions and subdivisions will be in time with the song. Gilmour's Binson Echorec 2 model T7E from 1970-71. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. 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 used positions 1-4, for single playback repeats of heads 1-4. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. 500ms -- feedback: 5-6 repeats. 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. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. The Mooer Elec Lady is a good, inexpensive clone of the Electric Mistress that sounds much closer to the original large box Mistress. Let's do some "Echorec math." 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, . 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. Set one delay for 440ms, 2 repeats, 30-35% volume. Brian May (of Queen) did the same effect a few years later on Brighton Rock and Son and Daughter using his modified Echoplexes. - 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. That ADT slapback sound can also be heard on other Run Like Hell concert recordings, like Delicate Sound of Thunder, Pulse, and David Gilmour Live at Pompeii, but to a lesser effect. 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 best way I have found to create the smoothest delay is to simply set it in time with the song tempo. 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. But which delay pedal(s) does/did he use? 2nd delay 165ms. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. Run Like Hell Demo Instrumental - excerpt from The Wall demos, Run Like Hell - extended intro from the long version of the original studio recording - one guitar in L channel and one in the R. Run Like Hell R channel - same as above, but just the R channel so you can hear just a single guitar playing the riff. For his general ambient delays, choose the most tape flavored setting and use 50%-ish feedback (or 7-8ish repeats) and mix it fairly low so it sounds more like a subtle reverb. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. 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. With that said, the rest of the article is designed to . I'll keep this simple rather than going into an explanation of time signatures. When you have a drum and bass note landing at the same time it somewhat masks the repeat. Only the 100% wet delayed signal was returned from those two delays, into a mixer where the two were blended back with the dry signal before going to the amps. There were varispeed modifications that could be made to the Echorec to give it longer delay times, but it does not appear that David ever had this modification done. 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 setting. 3. 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. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. Shorter delay times are more obvious because the repeats are heard in between notes and phrases. 4. Dec 23, 2015. If you set it too high it will self oscillate into a whining feedback. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Here is a breakdown from the Great Gig multi tracks. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: solos: 660ms -- feedback: 6-7 repeats, Time: 2nd delay 375ms. Echorec Style Delay Jamming - 428ms and 570ms. 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. For the studio albums however, there is definitely reverb in many of the recordings, and in some cases much more so than delay. There are several reasons. I use the MXR with the read-out on it, so I instantly have the right tempo. David probably just uses the term triplet because what he does has a similar feel. The Effect Level (volume) and Feedback (number of repeats) will vary. 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. *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! The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. I used a Free the Tone Future Factory delay set for 300ms and long repeats. Ex-DragonForce Bassist Reveals Why He Really Left the Band, Claims He Was Unhappy and Arguing All the Time With Them, Nuno Bettencourt Recalls How Eddie Van Halen Reacted to His Tapping Technique, Names Favorite Van Halen Album. This is actually not quarter-note triplets. My sound has everything to do with what sounds good to me. I use a compressor or a Tube Driver for this. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): I use one of their old ones most of the time because the width is narrower. In this example I am showing how just using a single triplet 330ms delay is sufficient for this effect, but a second 4/4 feeling delay of 440ms or even a double triplet delay time to 660ms, could be added to enhance the space. intro slide guitar: 1023ms 20K views 9 years ago My Delay settings for Run Like Hell as played by David Gilmour, Pink Floyd. 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. His most commonly used delay times were in the 294-310ms range and 430ms. 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. second solo: 660ms -- feedback: 5 repeats, Comfortably Numb - 2015/16 RTL Tour: David would use the latter setting for most of the album. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. This is something us Gilmour fans have sought to recreate in our own playing. If you have a good sound in the room or hall you are playing in, there is no need to add reverb, but in small or dead sounding rooms, adding a small amount of reverb in your effects rig can really enhance the sound. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. solo: 440ms. 147ms (2X the delay repeats), or 2 pulses for every delay repeat. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. Solo: 440ms ? I have a slight roll off of the high frequencies on the repeats to mimic the Echorec sound. Both types have been described as "warm" sounding, which can get confusing. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in, Kits Secret Guitar, Gear, and Music Page. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. Head 2 = 2/4 The SELECTOR knob had three positions: ECHO = one repeat, REPEAT = more than one repeat, and SWELL = outputs of the playback heads were fed back to themselves to create a spacey type of reverb effect. 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. 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). During the tour a T-Rex Replica was added specifically to use for "Echoes". On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. 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. The first send went to a volume pedal. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. Listen to some of the 5.1 live tracks separately and you can clearly hear this. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: How to you get the proper 3/4 delay time from that 4/4 time? . - David has used numerous types of delays in his carreer, both analog and digital. Some duplicate the studio album delay times and some duplicate the live delay times. : 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. Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. 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 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. Gilmour used the TC Electronic 2290, but any digital delay will do. A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Another Brick in the Wall Part II (live): Any Colour You Like - 1994 live versions: Astronomy Domine - Pulse version (MXR Digital Delay System II for solo). 380 divided by 3 = 126.7ms. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. 1st delay 240ms. Syd's theme: 375ms and 500ms VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net. 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. Alt. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats Volume 65% 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. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: solos: 430ms, Yet Another Movie: 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. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. Divide 240 by 3 and you get 80. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). His delay times are slightly faster here. slide solo: 550ms -- feedback: 7-8 repeats delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital Coming Back to Life Intro Tone Build - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. It helps to have a delay with a digital display to set the exact delay time. Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. Blue Light Riff - with and without delay. 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. - Delay Rhythm Guitars Mixed Up Front - both channels. verse, solos: 450ms, Learning To Fly - Pulse version: 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. 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. It is around 294ms on the studio recording. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016.