david gilmour delay settingsdr liu's medical acupuncture clinic
But delay is not the only effect that Gilmour tends to use. 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. A little later he switched to the MXR Digital Delay. David Gilmour Lead Guitar Tone PDF Download Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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. The tempo used in this demo is slightly too. second solo before verse: 350ms -- feedback: 3-4 repeats The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. 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. A little later he switched to the MXR Digital Delay. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). This gives the impression of a 920-930ms delay. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. The main rhythm guitar, chords, and fills are all double tracked. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 2. Blue Light Riff - with and without delay. Just get any old delay pedal, analog or digital, and set the time slow. Delay volume 85% A 300ms and 380ms delay had the heads repeating in these specific delay times. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. He notoriously used a Binson Echorec for his delays, and many other vintage pedals and studio outboard gear to achieve his tone. In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. 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. 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. Some are actually too high quality for my personal taste. Generally speaking, the sound on the album is pretty much what came out of his amp. 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. Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. This is a big part of Pink Floyd's 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. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. Kits Secret Guitar, Gear, and Music Page Mids: 6-7. 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. 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. second solo: (early in song) 580ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. Members; 529 Members; Share; Posted December 21, 2005. 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. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. On Reverb, the average Echorec sells for between 3500$ to 5000$. Because later in his carreer David often used both a 3/4 delay, or what he calls a "triplet", and a 4/4 delay simultaneously, mimicking the sound of Heads 3 + 4 on the Echorec. 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. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. Reverb was also added at the mixing desk when recording or mixing. I was able to dismantle them, put them back together, and change the head positioning. A few of David Gilmour's vintage Binson Echorec 2 model T7E delays. 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 is a also bit of light overdrive in the tone. Copyright Kit Rae. Fat Old Sun- 2015/16 live version: The S-O-S unit was basically a buffered interface with two send/returns. 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. 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. 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: solos: 540ms, What Do you Want From Me? Other common delay times were 380, 440-450, 480, and 540ms. first solo: 340ms -- feedback: 3-4 repeats delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital 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. The first delay is set to 570ms, which is the 4/4 time, and the second is set to 428ms, which is the 3/4 time. Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): I also use it to add some of the bigger room and concert hall sounds. Hes got the sort of guitar-god charisma that comes with his insane talent. Solo: 430ms, Fat Old Sun- 1971/72 live versions: Two delays running at different times fill in gaps between delay repeats, making the delay sound smoother with less obvious repeats. It had a maximum delay time of 320ms, but could be expanded to 1280ms by adding additional memory chips. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. It is meant to simulate the sound of old analog tape delays as they aged. 380ms -- feedback 7-8 repeats - delay level: 90% -- delay type: digital, Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Why is that important? The slide parts were made up of several multi tracked recordings, each playing slightly different, but similar phrases. David has used many different types of compressors throughout his career, but a few common ones are the MXR Dynacomp, Boss CS-2, and Demeter Compulator. 2nd delay 375ms. Program Position 5 is equivalent to Switch Position 7 on the real Echorec, which is Head 4 + Head 3. 240ms and 165ms actually sound more like David's delay times, but there are other times that have the same feel. I'll keep this simple rather than going into an explanation of time signatures. 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. 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. Shown below are some typical Gilmour DD-2 delay times. The first delay is definitely set to 470ms, which is the 4/4 time. 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. David and Roger Waters each had one of these amps but I think the only other recorded example of it being used was for the BBC performance of Embryo in 1968. SHINE ON YOU CRAZY DIAMOND 1-5 settings. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. As the magnetic tape began to wear out and stretch over time, the repeats would start to degrade and sound dirty and warbly. I set the vibrato to more or less the same tempo as the delay. The repeats had a warm high end roll off, similar to David's Binson Echorecs. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. David usually used positions 1-4, for single playback repeats of heads 1-4. 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. David probably just uses the term triplet because what he does has a similar feel. slide solo: 550ms -- feedback: 7-8 repeats Dave likes it because even though it's a digital unit, it still sounds a little dirty, like a tape unit. Its not a cheap pedal (around 250$ new), but its way cheaper than an original. 430ms, Faces of Stone - 2015/16 live version: Many of the sound effects youll hear on the earlier albums were created with this machine. 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). 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. 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. This creates a different bouncy feel to the delay rhythm. Great, lets get started. The Free the Tone Ambi Space pedal is my favorite device for this. volume swells in verse section after second solo: 540ms and 620ms -- feedback: 4-5 repeats 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'. It also stems from the fact that analog equipment is frequently much more expensive than it is worth. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. The exact delay times would be 450ms for the 3/4 time and 600ms for the 4/4 time. It makes for a sound that really adds depth to the guitar tone in the mix, but is not cluttered by delay repeats. See all posts by Andrew Bell. It features two separate bass guitar tracks played in time with a single head delay (head 4) from the Echorec. Members; porsch8. Below are settings to get that sound. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. 1st solo: 310ms 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: analog gear was not as good as digital at the time, so the belief that analog is always better than digital arose. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. The second delay should just be accenting the first, filling the space between the 3/4 repeats. This is actually not quarter-note triplets. That equates to 428ms, which we will call the 4/4 time. You can replicate the tremolo effect with any tremolo pedal, but it is best to use one the that has a square wave setting. 5 A.M. : DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. outro solo: 430-450ms, One of These Days studio version (Binson Echorec): outro solo : 550ms -- feedback: 3-4 repeats, Take It Back: On the one hand, finally cracking one of my favourite guitar player's [] If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. 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. If the repeats are faster than the tempo, increase the delay time. 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. 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. If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. The tone is broken down to illustrate what each effect adds to the sound, in this order: Boss CS-2 compressor, Boss CE-2 chorus, Boss RT-20 Rotary Ensemble, FTT Future Factory stereo delay, BKB/Chandler Tube Driver. verse: 360ms David Gilmour is famous for his unique use of delay and echo. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. Electro-Harmonx has made a few small boxed versions of the Electric Mistress, but these have different circuits and sounds as the originals. I list a number when I can clearly hear them, otherwise 4-5 repeats is usually close. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. I am not talking about spring reverb from an amp. Multiply that x3 to get the 3/4 time and you get 427.5. With regards to the actual sound of the echo repeats, there are essentially two types of delays - analog and digital. Two guitars were multi tracked in the left and right channels. Below is a song-by-song list of delay times with some settings. On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. : Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. It's a beautiful sound, but David did not use tape delays like this. Last update July 2022. studio . For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. The last 8 minutes of the song is a rambling collage of echo repeats. That equates to 250 - 240ms. 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). The simplest option is to use an online Beats Per Minute caculator, like this one. 360ms -- feedback: 8 repeats -- delay level 100% -- delay type: digital, Great Gig in the Sky - live version Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. For example, when he played Time for Pink Floyd's 1994 tour he used a TC 2290 Digital Delay and the dual delays from a PCM 70 delay. 234ms and 150ms also works. There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. 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. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. 1st delay 428ms. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. I have two units, and I have different echo settings on both. Volume 65% It's actually a metallic disc that spins around. 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 . Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. He came up with that basic riff that we all worked on and turned into One of these Days. Based on what I hear the guitar delay levels are not much different in either song, but I noticed the delay repeats are very clear in Castellorizon, but I barely hear them in OAI . second solo: 480ms -- feedback: 6-7 repeats 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. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. To figure a 4/4 delay time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. - Pulse version (TC 2290 Digital Delay): a`Its very reliable, just like the MXR, but its much more versatile and teachable. The main delay rhythm that runs throughout the song is two guitars, one in the left channel and one in the right. David used his Workmate Esquire guitar for the studio recording, and usually used a Telecaster when playing it live. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog Its hard to give an estimate as every pedal will respond differently. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. I change my echo settings fairly often in concert. This creates a different bouncy feel to the delay rhythm. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats The MXR 113 was released in 1976 and David first used it for Pink Floyd's Animals tour in 1977. 630ms: feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital, Sorrow Solo - Pulse version (TC 2290 Digital Delay): Anyone got some David Gilmour delay settings Anyone got some David Gilmour delay settings. DELAY TYPES - ANALOG AND DIGITAL - David has used numerous types of delays in his carreer, both analog and digital. Mar 8, 2013. 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. 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. Occasionally David may be using a long repeat time on one delay, and a shorter repeat time on another delay simultaneously. 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. Delay times vary by song but anything between 300mms and 600 makes a decent one size fits all. Delay Type: Analog delays are warm sounding, with repeats that are softer sounding than the original note due to a high end roll-off. The Effect Level (volume) and Feedback (number of repeats) will vary. 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. By porsch8 December 21, 2005 in Effects and Processors. Echorec Style Delay Jamming - 428ms and 570ms. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. 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. If you have different subdivision settings on your delay, you can then try some of those as they will also be in time with the song tempo. I'm not saying David sounds nothing like this live, but you are hearing the natural hall or stadium reverb of the venue in these recordings and in many cases, studio reverb added in the mixing stage. Verse / Chorus : TC 2290 Digital Delay: 430ms first solo and fills: 470ms 1. David's Echoes delay time of 300ms, one for the delay in Time, and 423ms in the display. Last update July 2022. 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. studio album solo: 275ms 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. 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. - In general, no - but sometimes, yes. One of These Days - gated tremolo section isolated. I'll keep this simple rather than going into an explanation of time signatures. Play the note, let it repeat, then play the note a second time where the 1400ms repeat would be. Feedback: This is the number of audible repeats. This warble is similar to a light chorus sound, with high end roll-off. delay 2 time (second delay ADT effect): 80ms -- feedback 2-3 repeats - delay level: 30% -- delay type: digital, Sheep - 1977 live version: volume swells in verse section after second solo: 680ms -- feedback: 4-5 repeats For his 2015 tour he used a Providence Chrono Delay and two Flight Time delays. The Boss LS-2 Line Selector, Xotic Effects X-Blender, Lehle Parallel, and Badger Schism are a few that do the job. It is said that he switched from an Echorec to an MXR for ease of use. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. For Run Like Hell, David's using what he refers to as "triplets".. - 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. - 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. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: First is the delay, then the square wave tremolo, then both together. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. Note that setting. 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). Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. volume swells: 1100ms -- feedback: 4-5 repeats. 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. David was very much in control of his sound system We rarely added effects to his guitar in the control room. 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, . These three separate channels are blended back together with the original dry signal at the end of the signal chain. Brain Damage - Pulse version (TC2290 Digital Delay): Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): Breathe - Pulse version (TC2290 Digital Delay): Coming Back To Life - Pulse version (MXR Digital Delay II and TC 2290 Digital Delay): Coming Back To Life - 2015/16 live version: Comfortably Numb - 1986 live version / Columbian Volcano Appeal Concert: Comfortably Numb - Pulse version and most Division Bell tour performances: Eclipse Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Depending on your second delay EQ, you may need to experiment with the number of repeats and repeat volume. I often hear a guitar recorded dry, a reverb only track, and a delay only track. Using Program position 3 for that part also works. POWER BOOST PLACEMENT - The Colorsound Power Boost was an overdrive that David used throughout the 1970s. Below is a clip illustrating plate reverb from a Free The Tone Ambi Space stereo reverb pedal. Each was set to 380ms, 7-8 repeats, with the delay volume almost equal to the signal volume. These were state of the art delays at the time, but were rather noisy effects compared to modern digital delays. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. The Blue - 2016/15 live version: Head 4 = 300ms (or 75ms x 4) .Head 4 = 380ms (or 95ms x 4) solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. You can hear this in songs like One of These Days, Short and Sweet, Another Brick in the Wall Parts I and III, Run Like Hell, Blue Light, Give Blood, One Slip, Keep Talking, Take it Back, and Allons-Y. *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! 570 x 75% = 427.5. David almost always uses delays in his live rigs, not reverbs. 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. 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. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. To add space to your tone, add a clean digital delay at the end of your signal chain. Pink Floyd is deemed as one the all-time best bands to ever exist on this planet. 5. I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. You can simulate the verse delay with two delays in-line going to one amp. Let's see some of the units he used over time. 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.
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