The 450ms delay should come before the 600ms delay in your signal chain. This obviously means that a lot of guitarists want to be like him. 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. 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. intro: 780ms, Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): 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. Kits Secret Guitar, Gear, and Music Page solo: 400ms, Raise My Rent: slide solo: 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. The Free the Tone Ambi Space pedal is my favorite device for this. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? Hes got the sort of guitar-god charisma that comes with his insane talent. rhythm and solo: 460ms, Brain Damage - Pulse version (TC2290 Digital Delay): You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. 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%. It created a unique stuttered stacatto rhythm. 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). He used analog delays like the Binson Echorec throughout the 1970s and one has been seen in his Medina studio from 2013-2017. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. 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. I use several of the Program Select positions for various other things, but for Gilmour it's usually just position 1, 4, and 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. MXR DIGITAL DELAYS - David began using digital delays in 1977. The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. I have two units, and I have different echo settings on both. second solo: 480ms -- feedback: 6-7 repeats 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. verse, solos: 450ms, Learning To Fly - Pulse version: 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. 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): Dec 23, 2015. delay 1 time (main delay): 380ms -- feedback 8-10 repeats - delay level: 95% -- delay type: digital He began using digital delays in place of the Echorec around 1977. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. 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). Gilmour's guitar playing is an integral part of this sound. Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. The first is set in 3/4 time (dotted eighth notes) for about 8 echo repeats at exactly 380ms, or three repeats for every song beat. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. 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. These are 5 note scales, pretty much the simplest scale a guitarist could use. This website is frequently updated. Head 2 = 150ms (or 75ms x 2)..Head 2 = 190ms (or 95ms x 2) SLAPBACK / ADT DELAY - It is not often, but ocassionally there is what sounds like a short slapback delay in Gilmour's guitar recordings, like the "dry" solo in Dogs from the Animals album. Delay time depends on the era. As the chord rang on, David could then play the melody lines through his main Hiwatt. Heavy reverb. 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! The official live recordings often have an even larger delay sound than the studio versions. - David Gilmour from Guitar for the Practicing Musician, 1985. 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). alternate 2nd Solo: 540ms This is because the orchestra in Castellorizon is not loud enough to mask the repeats, but the band playing under the solo in On an Island certainly is. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): It also had delay width and frequency knobs in the Sweep section to add some chorus, vibratto, and flange effects, but I think David rarely used those, if ever. Alt. The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. This is something us Gilmour fans have sought to recreate in our own playing. DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. Verse / Chorus : TC 2290 Digital Delay: 430ms I turn each effect on one at a time so you can hear how they add to the tone. They want to play and sound just like the man himself. You can also set the second delay to 254ms, which gives three repeats for every beat and adds a shorter, thick ADT slapback sound to the main 380ms delay. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. 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. David would play a two note chord, then fade the volume in as he slides to the next position. - Delay Rhythm Guitars Mixed Up Front - both channels. Shown below are some typical Gilmour DD-2 delay times. 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. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes Members; porsch8. The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: 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. 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. The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. R channel -- 1400ms with two repeats. That second delay should just barely be audible, as too much volume can make a double tapped mess of the main delay. If you get too high a quality bandwidth on a DDL you hear too much pinging and lose the sort of echo effect I use it for. 530ms -- feedback: 4-5 repeats, Coming Back To Life: Then go to a website with a Delay Time Calculator, like the one on this page. studio album solo: 275ms That equates to 250 - 240ms. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. Below is an example of replicating the Syd's Theme delays from 1994. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. Remember that these settings should just be used as a starting point. I use a compressor or a Tube Driver for this. Its a core part of Pink Floyds earlier sound, and not just for Davids guitar. Generally speaking, the sound on the album is pretty much what came out of his amp. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital I change my echo settings fairly often in concert. When playing alone, I find I often turn the delay volume down, but with a band or backing track I turn it up. - 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. He would do this for each chord change in the intro to Shine On You Crazy Diamond, effectively doing both the keyboard and guitar parts all by himself. The first delay is 380ms, 10-12 repeats, delay voume 95%. 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. Then I play the bass rhythm clean, then with the effects on. Tweaking the delay time was simply more tweakable on the MXR Digital Delay. His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): I use the Tremotron from Stone Deaf Effects for this. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. . rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. Plate reverb is far more accurate. 440ms -- feedback: 4-5 repeats, No More Lonely Nights: 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version 614ms -- feedback: 6-7 repeats, Rattle That Lock: 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. Below is an isolated excerpt of this part. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. The second delay should just be accenting the first, filling the space between the 3/4 repeats. Set one delay for 440ms, 2 repeats, 30-35% volume. To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. Bass: 5-6. 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. If you want to use a noise gate put it right before the delay/reverb. - 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 Effect Level (volume) and Feedback (number of repeats) will vary. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for 1st delay 470ms. You just tap along to the song tempo with your keyboard and it calculates the BPM tempo for you. intro and verse volume swells, first solo: 480ms -- feedback: 6-7 repeats 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. His tone is instantly recognizable and unique. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Here is my example of this sound. 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. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. 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 have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use. Note or mark that time setting on your delay. I was able to dismantle them, put them back together, and change the head positioning. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. Those are not the type of parallel setup we are talking about here. bass guitar rhythm delay (two bass guitars): 294ms, 7-8 repeats 430ms, Faces of Stone - 2015/16 live version: 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. Set the 600ms dealy to half the repeats of the main delay, with a MUCH lower delay volume. Great Gig Slide Guitar Breakdown. - 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. delay 2: 254ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital delay 2 alternate: 90ms -- feedback 1-2 repeats - delay level: 55% -- delay type: digital, Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): 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. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). 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. - David Gilmour interview by Bob Hewitt from Guitarist, June 1986. Kits Secret Guitar, Gear, and Music Page Many of the sound effects youll hear on the earlier albums were created with this machine. Delay volume 65% Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) The delay time and your playing must be precisely in time with the song tempo, so it takes some practice to perfect this style of playing. Gilmour uses pristine delays. Pink Floyd is known for their use of soundscapes and textures that would later characterize genres such as progressive rock and psychedelic rock. I often hear a guitar recorded dry, a reverb only track, and a delay only track. A) All those pictures out there of David Gilmour's tours have the settings knobs shown, but you can not go by that and insist it is bible. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. I used a Free the Tone Future Factory delay set for 300ms and long repeats. Delay volume 50%. This is something us Gilmour fans have sought to recreate in our own playing. So why don't you hear the repeats most of the time? 380 divided by 3 = 126.7ms. It was usually set for single head and a fixed time at about 310ms. 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. A second and third guitar repeat similar slide phrases, playing slightly behind the first guitar. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. Delay volume 90%. The 3/4 "triplet" time will be inbetween in between these 4/4 and 2/4 settings on your delay. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. alternate: 380ms, High Hopes - 2015/16 live version: Speaking from personal experience, furthering my understanding of tone has simultaneously been one of the most rewarding and frustrating experiences of my life. The Blue - 2016/15 live version: The Binson Echorec is an analogue echo unit made by Binson in Italy. 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): solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: First is the delay, then the square wave tremolo, then both together. Multiply that x3 to get the 3/4 time and you get 427.5. intro slide guitar: 1023ms The S-O-S unit was basically a buffered interface with two send/returns. Money solos - live 1977 version (MXR Digital Delay System I): 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). This was most likely a reel-to reel recorder set up for a tape-loop delay. Give Blood 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. The second send went to a Roland SDE 3000 digital delay in his rack, with individual level controls for both the send and return, along with a mute switch. 1 2. By porsch8 December 21, 2005 in Effects and Processors. buildup and arpeggio delay time: 300-310ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog/digital, Eclipse 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. Getting an original Binson Echorec these days is nearly impossible. VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. The delay was such an integral part of their sound, then almost any Pink Floyd song wouldnt sound complete without Davids signature delay sounds. The level or volume knob would be set to maximum on most delays for this. 4. solos: 375ms. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. Fat Old Sun- 2015/16 live version: Sort of a triplet on top of a triplet time delay. Let's see some of the units he used over time. Warm for an anlog delay usually refers to the high end roll-off decay, and warm for a digital delay usually means the repeats are not brighter or harsher than the original guitar signal, but are the same or have slightly less high end. verse: 360ms 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. The original band demo, heard in The Wall Immersion Set, has a much bouncier, more disco-like feel, so I think the 4/4 delay is much more prominent in that mix. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. Listening to the trails specifically, something a little darker like a DM-2 would do it. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. I use the MXR Digital Delay. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. Time intro - Torino, Italy, Sept 13, 1994. Note that some people confuse mixing delays in parallel with "stacking" multiple delays or running a stereo setup with one delay going to one amp and another delay going to different amp. 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. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Head 3 = 225ms (or 75ms x3) ..Head 3 = 285ms (or 95ms x 3) The second delay David used was the MXR Digital M-113 Delay. first solo: 340ms -- feedback: 3-4 repeats To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. 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. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Syd's theme: 370ms and 480ms 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. The delays are set in series like this: If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. 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. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog delay 1: 250ms - In general, no - but sometimes, yes. Head 3 = 3/4 5. 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. 2,434. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. Using Program position 3 for that part also works. - David Gilmour, Guitar World magazine. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. 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). When you play across it, it helps you to double-track yourself. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog Kits Secret Guitar, Gear, and Music Page. All of the settings for this tone can be found in this PDF download below. Or you can simply multiply the 4/4 time x75% and get the same 3/4 time. 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. If the repeats are faster than the tempo, increase the delay time. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. If the repeats are slower, reduce it. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. See all posts by Andrew Bell. 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 There are several parallel looper pedals that can be used for the actual "looping" part of the setup. volume swells: 1100ms -- feedback: 4-5 repeats. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. intro: 440ms BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. I don't care how I get it. David was very much in control of his sound system We rarely added effects to his guitar in the control room. 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. To do this manually, turn the feedback on your delay up to around 80% or so, so the repeats are almost infinite. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. During the tour a T-Rex Replica was added specifically to use for "Echoes". The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. 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. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Volume 65% second solo: 490ms, What Do you Want From Me? It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. 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. 3rd solo: 430ms, Money solos - 2015/16 live version: Below is a link to a song-by-song list of Gilmour's delay settings, compiled from measuring the echo repeats in official releases and bootlegs of live recordings, and from delay times visible on the LCDs of his digital delays. There are many effect pedals that simulate those sounds, and those types of simulated reverbs are also usually called plate, room, or hall reverb. His delay times are slightly faster here. David used various Echorec models but he was most known for using the Echorec 2 model T7E. 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. 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. 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. Below is a medley of David using the Echorec from 1969-1977. 520ms -- feedback: 5-6 repeats - delay level: 20% -- delay type: analog, Money solos- Pulse version (TC2290 Digital Delay): 1978 and on: digital delay, several stompboxes and rack units used (Boss, TC, MXR, Lexicon) The 2006 all tube Cornish board has a Cornish TES delay. Treble: 4-5. For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel. I'll keep this simple rather than going into an explanation of time signatures. solo: 440ms. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. 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. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. - Phil Taylor, David's backline tech.
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