When the notes pitch up or down the delay has 4-5 repeats. - Boss CS-2 and Dyncomp compressors first, then CE-2B chorus in left channel added, the delay added, then plate reverb added. For the middle section another piece of technology came into play: an HH amp with vibrato. tremolo effect for middle section: 294ms delay, 7-8 repeats / tremolo with gated square wave, depth set to maximum, and speed set for In this clip I have one set for 380ms for Run Like Hell and one for 440ms for Another Brick in the Wall (part 1). verse/chorus sections: 310ms -- feedback: 3-4 repeats 3rd solo: delay 1 = 240ms / delay 2 = 435ms, Mother solo - 1980-81 live version: REVERB OR NO REVERB ? For the modulation, I use an old green 18v Electric Mistress or a 1980s era Deluxe Electric Mistress in the big box. He used both in his 1980s live rigs, and continued to use the MXR System II up until 2016. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. The Tone From Heaven: SETTINGS Set it to about 370 milliseconds, mix it low, and set the repeats to about 3-4 times. 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. And lastly, youll want to mix it surprisingly quietly. It is not known exactly which delay David used for the sudio recording of Run Like Hell, but I do not think he used his Binson Echorec for the main delay. In four beats you will hear 5 repeats (including the pick), and and that fifth repeat will time right on the fourth beat. David used various Echorec models but he was most known for using the Echorec 2 model T7E. 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. It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. Why is that important? 410ms: feedback: 7-8 repeats - delay level: 90% -- delay type: warm digital, Terminal Frost - 1987-89 live version: VISIT MY SWORDS, KNIVES and FANTASY ART WEBSITE www.kitrae.net, This website is frequently updated. SHINE ON YOU CRAZY DIAMOND 1-5 settings. The delay and reverb are usually not mixed particularly loud, but the overall combined wet delay/reverb mix is very effective. 80x2 = 160. During the tour a T-Rex Replica was added specifically to use for "Echoes". verse / chorus: 435ms, Wearing the Inside Out: The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. 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. Gilmour's delay on Coming Back to Life | The Gear Page Below is a breakdown switching between the various tracks of all three solos. This is the primary delay time you hear in the song. Bass: 5-6. 5. Read an explanation about how this is achieved here. Here is my example of this sound. He began using digital delays in place of the Echorec around 1977. NOTE: This website is frequently updated. There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. 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. Solo (several multi-tracked guitars): main delay 312ms / second delay to simulate offset multi-tracked guitars: 440ms, Time - Pulse version (TC 2290 Digital Delay): Often during the live songs that do have very loud delays, you do hear the repeats clearly. Another option is to run two delay pedals simultaneously. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): Below are some specific Gilmour settings I use. "Square wave" means the sound wave looks square shaped, rather than wavy. Multiply that number by 75% to get the triplet time delay. 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. 1st solo: 435ms On the extremely rare occasions that David did use mulitple heads it was usually position 7, which was Head 3 + Head 4, 225ms + 300ms. The delay time must also be precisely in time with the song tempo. I have split the 5.1 stem channels apart from the surround sound mixes of all of the Pink Floyd and Gilmour's solo albums to hear the individual elements. Below is a song-by-song list of delay times with some settings. solo: 530ms -- feedback: 5-6 repeats, 5 A.M. 2015/2016 live version: Alt. Copyright Kit Rae. 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 is actually not quarter-note triplets. 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. David Gilmour is famous for his unique use of delay and echo. 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. Both types have been described as "warm" sounding, which can get confusing. 350ms, Breathe - studio version (several duplicated multi track recordings offset to create the long delay repeats): But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. 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! 2nd delay 570ms. solos: 660ms -- feedback: 6-7 repeats, Time: I often hear a guitar recorded dry, a reverb only track, and a delay only track. A good chorus like the Boss CE-2 or CE-5 can also be used in place of the flanger. 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. They want to play and sound just like the man himself. buildup and arpeggio delay time: 300ms -- feedback: 7-8 repeats - delay level: 40% -- delay type: analog, Echoes - live Gdansk Version: Treble: 4-5. The delays are set in series like this: BKB Tube Driver, Electro-Harmonix Electric Mistress, TC Nova delay. solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. delay time for intro and verse slide guitar: There are three different delay times on the repeats and they are slightly offset, Electric Mistress V2, V3, or V4: 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. For The Wall he switched to the MXR Digital Delay for those accurate and pristine time setups. 480ms: feedback: 7-8 repeats - delay level: 75% -- delay type: clear digital, Sorrow: Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. David Gilmour Lead Guitar Tone PDF Download If you listen to a song where the band is not playing at all, like intro to Pink Floyd's Coming Back to Life, the delay repeats are very clear. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. Record yourself playing alone verses playing along with a backing track to see what I mean. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. L channel -- 650ms with a single repeat, then another single repeat at 1850ms. From the 1972-74 period he used the PB first in line in the signal chain for his live rigs. 2nd delay 165ms. Adjust the tone to suit your amp/speaker tone. rhythm/verse/chorus sections: 340ms -- feedback: 3-4 repeats 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. Alternately, you can use 380ms as the long delay and 285ms as the short time delay, equivalent to Head 3 and Head 4 on the PE 603 Echorec, but that creates a slightly different delay rhythm than the album sound. 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. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. All these effects can be heard in most of Pink Floyds discography. - Phil Taylor, David's backline tech. Its not rare to see Pink Floyd play 10-minute long solos over what can only be described as atmospheric playing from the band. David Gilmour Delay / Echo - Kit Rae Its more compact, more reliable, and just easier to use. 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. 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. I used a Free the Tone Future Factory delay set for 300ms and long repeats. All those divisions and subdivisions will be in time with the song. second solo: 560ms -- feedback: 3-4 repeats, On An Island - 2006 live versions: The primary delay sounds best when in time with the heartbeat tempo in Time, usually somewhere around 240 - 250BPM (beats per minute). That equates to 428ms, which we will call the 4/4 time. 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. The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. 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. Sound like David Gilmour (Pink Floyd) By Busting The Bank! Other common delay times were 380, 440-450, 480, and 540ms. extended version solo: 430ms, Rattle That Lock - 2016/15 Live version: He set the time to 310ms for most everything. What delay pedal does David Gilmour? (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: 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. So why don't you hear the repeats most of the time? There is a misconception that David always used the Echorec for its multi-head function, but in reality he primarily used it in single playback head mode, just like any other typical delay. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Then go to a website with a Delay Time Calculator, like the one on this page. outro arpeggio riff: 310ms, Shine On You Crazy Diamond VI-IX (Binson Echorec): The simplest option is to use an online Beats Per Minute caculator, like this one. Pink Floyd recording engineer Andy Jackson has said he usually uses a couple of EMT plate reverbs in the studio for David's voice and guitar, and sometimes a Lexicon Hall reverb. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. Both types have been described as "warm" sounding, which can get confusing. - David Gilmour, Guitar World magazine. 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. In order to use exact delay times it helps to have a delay with a digital display showing the time in miliseconds. 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. Great, lets get started. Playing the RLH Rhythm Fills - with and without the delay, Playing the RLH Verse Chords - with and without delay. 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. 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. Even better is to run the delays parallel so one delay does not repeat the other, which sometimes sound messy. solo (Pulse): 490ms, Astronomy Domine - Pulse version (MXR Digital Delay System II for solo) 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: It created a unique stuttered stacatto rhythm. slide solo: 550ms -- feedback: 4-5 repeats #4. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. 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. Shown below are some typical Gilmour DD-2 delay times. 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. 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. It's actually a metallic disc that spins around. The first delay is 380ms, 10-12 repeats, delay voume 95%. Sometimes these are called "parallel mixers" or "looper" pedals. I also use it to add some of the bigger room and concert hall sounds. 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. As an Amazon Associate, we earn from qualifying purchases. Sort of a triplet on top of a triplet time delay. If running both delays in series, set the repeats however long you can go before oscillation starts, which is 8-10 repeats on most delays. 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. I use two delay pedals for Run Like Hell. For the muted rhythm part in Echoes, Program 3 is the closest, but almost any program position works as long as the delay time is set for 300-310ms. 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. Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in Time. 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. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Set the value to quarter notes, enter the BPM, and you have a delay time in milliseconds the same tempo as the song. verse/chorus sections: 310ms -- feedback: 3-4 repeats, Shine On You Crazy Diamond I-V - 1987-89 live version: 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. In some of the studio recordings you are hearing the guitar delay and room sound or studio reverb, not just delay. The tempo used in this demo is slightly too. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. 5 A.M. : - David Gilmour. His delay times are slightly faster here. David probably just uses the term triplet because what he does has a similar feel. - David Gilmour from Guitar for the Practicing Musician, 1985. I'll keep this simple rather than going into an explanation of time signatures. He did sometimes use the Swell mode. Copyright 2023 Killer Guitar Rigs. On Reverb, the average Echorec sells for between 3500$ to 5000$. Pink Floyd's "Shine On You Crazy Diamond" is a classic, thanks in large part to David Gilmour's otherworldly guitar playing. Gilmour used the TC Electronic 2290, but any digital delay will do. There are also instances where he has had a long delay time, but only one or two repeats, which gives the big sound, but makes the repeats almost inaudible in the band mix. It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. Below is a breakdown of how to play this effect. It is said that he switched from an Echorec to an MXR for ease of use. - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). DAVID GILMOUR DELAY TIME LIBRARY - Song by Song. But which delay pedal (s) does/did he use? There are times when I have both running at the same time for certain effects. second solo: 460ms -- feedback: 5-7 repeats, Dogs: second solo delay #1 TC2290 Digital Delay (whole solo): 480ms third (dry) solo: simulate studio ADT with a 40-50-ms slapback delay -- feedback: 1 repeat It also had had a rich and warm-sounding tube amplifier stage that gave it a beautiful and unique tone. 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. Members; 529 Members; Share; Posted December 21, 2005. Find the proper delay time for the song as described above, then let's do some "Echorec math". Digital delays Gilmour used several digital delay units trough time, starting from the Wall in 1979. This is something us Gilmour fans have sought to recreate in our own playing. RLH Intro live 1984 style - Boss CS3 compressor, Tube Driver, Boss CE3 chorus, Two Boss DD-2 delays, into a Twin Reverb. Delay volume 90%. My sound has everything to do with what sounds good to me. The shorter delay fills in the gaps between the longer delay repeats, creating a smooth delay sound, but the delay time on both makes the repeats fall inline with the song tempo. Below is an example of David using two digital delays (TC 2290 Digital Delay and the dual delays from a PCM 70 delay) for the intro to Time in 1994. April 9, 2022. by Joe Nevin. NOTE: This website is frequently updated. The last 8 minutes of the song is a rambling collage of echo repeats. 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. 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). Feedback: This is the number of audible repeats. You can check this by mute picking a single note simultaneous with a drum beat, then listen to the repeats. He did sometimes use the Swell mode. Regardless, it is the combination of both delay and reverb that makes the delay sound so smooth in some instances. 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. Its also easier for live situations as changes can be made on the fly. >> Click to read more <<. WHY CAN'T I HEAR THE ECHO REPEATS IN SOME GILMOUR/PINK FLOYD SOLOS? solo: 475ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Hey You - Pulse version (TC 2290 Digital Delay): 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. I turn each effect on one at a time so you can hear how they add to the tone. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. There is an EMT 140 plate reverb on David's floating Astoria recording studio and the four famous EMT 140 plate reverbs at Abbey Road studios can be heard on early Pink Floyd recordings, especially Dark Side of the Moon. For most of his 2016 tour he used multiple delays for those parts, but switched to using a Boonar Multi-Head Drum Echo digital delay from Dawner Prince Electronics for the last few concerts. Run Like Hell with 380ms and 507ms delay in series. David also had an MXR 113 Digital Delay System that could do that delay time. Below are a few of the rare examples of David using the Echorec in multi-head mode from 1973 and 1975. Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies. 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. There is a 440ms delay on the guitars in the studio recording. 650-680ms were occasionally used for long delays. - 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. That is an example where David seems to have set the delay speed by ear, rather than going by an exact Echorec formula. Run Like Hell with 380ms and 507ms delay in series - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. David Gilmour has always made a very precise use of delays, since the early eras, even combining two delays to create his textures. David Gilmour is famous for his unique use of delay and echo. solo: 380ms -- feedback: 5-6 repeats, Marooned - 1994 live version: It's just like the old Echoplex unit, David bought an Echorec PE 603 model in 1971 that had a maximum delay time of around 377-380ms. 570 x 75% = 427.5. David Gilmour used the MXR Digital M-113 Delay, the Binson Echorec, and the TC Electronic 2290 in his recordings. studio album solo: 275ms His signature sound is a combination of mellow overdrive and clean tones, awash in combinations of delay, compression, phase, chorus and reverb. He has used this type of setup in his 1987-89 rig, his 1994 rig, and in his 2006 On An Island tour rig. You can also do the volume swells with the guitar volume knob, although it is much easier with a volume pedal. -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. 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. 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. I usually try, in solos, to set the DDLs to have some rhythmic time signature in common with the tune. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. I am not talking about spring reverb from an amp. Some duplicate the studio album delay times and some duplicate the live delay times. David Gilmour Tone Building - Kit Rae Because the notes all intertwine, it doesn't matter anyway, but I find that I usually set them on a triplet. You should keep in mind that these official recordings have been sweetened to sound as good as possible. 614ms -- feedback: 6-7 repeats, Rattle That Lock: Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. Check here for more Big Muffs to achieve the Gilmour tone. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 That second delay should just barely be audible, as too much volume can make a double tapped mess of the main 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.. This is a big part of Pink Floyds sound. It still retained the warmth of the original signal rather well, but there is no high end roll-off in the repeats, so it is not "warm" analog delay in that regard. The repeats are bright and shimmery but not brighter than the original signal. This obviously means that a lot of guitarists want to be like him. 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. Volume 65% The second delay David used was the MXR Digital M-113 Delay. In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. 3rd solo: 430ms, Money solos - 2015/16 live version: third solo (after dry solo): 380ms -- feedback: 2-3 repeats. 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. Here is a breakdown from the Great Gig multi tracks. That may be just my fantasy; I don't know. 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. CATALINBREAD ECHOREC - One of my favorite simple Echorec style delays is the Catalinbread Echorec. 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. - In general, no - but sometimes, yes. Any delay with a 100% wet signal output can be set up in a parallel signal chain to do this. 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. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song, a few early live Pink Floyd performances of. R channel -- 1400ms with two repeats. If you want this sound and have a delay that shows the time in milliseconds, follow these steps. How to Sound Like Dave Gilmour - Guitar Lessons London Below is an isolated excerpt of this part. It's a beautiful sound, but David did not use tape delays like this. 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). www.gilmourish.com this website has info on Gilmours tone and gear used. 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): 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. On the left is my standard setting range for the early 1970s Gilmour Echorec sound. Many of the sound effects youll hear on the earlier albums were created with this machine. For Run Like Hell, David's using what he refers to as "triplets"..
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