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. - David Gilmour, Guitar World magazine. 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! To add space to your tone, add a clean digital delay at the end of your signal chain. The clip below is played with those same 428ms and 570ms delay times. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. verse/chorus sections: 310ms -- feedback: 3-4 repeats For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. Why is that important? If your delay does not have a dry defeat feature, it is pointless to use in a parallel setup. 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. David almost always uses delays in his live rigs, not reverbs. Let's see some of the units he used over time. Last update July 2022. 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. Gilmour used the same 294ms delay from the Echorec plus the built in vibrato from an HH IC-100 amplifier, which was a very choppy tremolo effect. RUN LIKE HELL - This is one of the standout tracks from Pink Floyd's The Wall double album, with music written by David Gilmour. It is meant to simulate the sound of old analog tape delays as they aged. David usually sets his delays in time with the song tempo, which helps hide the echo repeats. 540ms, Take A Breath: What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. fills under second and fifth solos: 507ms -- feedback: 4-5 repeats If you put it in a 3/4 time it has an interesting bounce to it. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. 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. This may be a form of Automatic/Artificial Double Tracking (ADT) or simply a short slapback delay. 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. 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. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). Below are settings to get that sound. 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. If running the delays parallel, set for about 12 repeats on each. delay 1: 90ms This warble is similar to a light chorus sound, with high end roll-off. Then go to a website with a Delay Time Calculator, like the one on this page. Copyright Kit Rae. A bit of delay can smooth out the unpleasant, raw frequencies you get from a fuzz box. 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. USING TWO DELAYS TO MIMIC AN ECHOREC - David stopped using the Echorec live after 1977. It was strange because it didn't utilize tape loops. He did sometimes use the Swell mode. The first delay is 380ms, 10-12 repeats, delay voume 95%. Try playing the Comfortably Numb solo with a 380ms delay with 4-6 repeats, versus a longer 540-600ms delay to hear the difference. If the repeats are slower, reduce it. David played the first bass guitar you hear and Roger Waters played the second that comes in immediately after. Plate reverb is far more accurate. NOTE: This website is frequently updated. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. - 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. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes So why don't you hear the repeats most of the time? Both in the studio and live their musicality seeps from every note, every rest, and every beat. 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. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. See all posts by Andrew Bell. Syd's theme: 370ms and 480ms solo: 680ms -- feedback: 1 repeat - delay level: 30% -- delay type: digital. I'll keep this simple rather than going into an explanation of time signatures. One of the only audible examples of the multi heads in use in a Pink Floyd studio recording is the intro to the song Time from Pink Floyds Dark Side of the Moon. The tempo used in this demo is slightly too. 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. studio album solo: 275ms If you have a clean amp, some settings to start with would be: Gain: 3 Treble: 7 Mids: 7 Bass: 6 Reverb: 5-6 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. 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. 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. intro: 440ms 8-10 repeats on each delay. Some of the other Program Select positions work for the Time intro too, like position 12. 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. 560ms: feedback: 7-8 repeats - delay level: 25% -- delay type: clear digital, Sorrow Solo - Strat Pack version: David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. The simplest option is to use an online Beats Per Minute caculator, like, - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. Generally speaking, the sound on the album is pretty much what came out of his amp. If you want to try the two-delay effect on one amp, it is best to place the second delay after the main 380ms delay in your signal chain, and set the second delay repeat volume MUCH lower, with roughly 1/3 the repeats of the main delay. NOTE: This website is frequently updated. solos: 375ms. He used three delays there, but again, I can only distinctly hear two. solo: 680ms, Another Brick in the Wall Part 1: 530ms -- feedback: 4-5 repeats, Coming Back To Life: I go a little in-depth for all three of them, and Ill give some tips on how you can emulate his sound. first solo: 310ms -- feedback: 2-3 repeats. outro solo: 620ms -- feedback: 4-5 repeats, Yet Another Movie - 1987-89 live version: Below are some specific Gilmour settings I use. Alans Psychadelic Breakfast with 2.2 second tape delay_Oct 1970. It is actually dotted-eighth-notes, or one eighth note followed by two sixteenth notes. I'll keep this simple rather than going into an explanation of time signatures. Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. - David Gilmour. I use 240ms. It's actually a metallic disc that spins around. "Square wave" means the sound wave looks square shaped, rather than wavy. 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. 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. By porsch8 December 21, 2005 in Effects and Processors. 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. If you want to use a noise gate put it right before the delay/reverb. RLH Intro live in 1984 - Live 1984_Hammersmith Odeon and Bethlehem Pennsylvania. 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. One of the ways to do that, is by using your effects creatively, just as he does. The second delay should just be accenting the first, filling the space between the 3/4 repeats. Solo: 430ms, Fat Old Sun- 1971/72 live versions: If the repeats are faster than the tempo, increase the delay time. 5,744. 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. 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. Sort of a triplet on top of a triplet time delay. The simplest option is to use an online Beats Per Minute caculator, like this one. A little later he switched to the MXR Digital Delay. 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. outro solo : delay 1 = 1000ms -- feedback: 1 repeat / delay 2 = 720ms -- feedback: 3-4 repeats, Take A Breath 2006 live versions: There are so many different delays available now that it can be confusing to know which one is appropriate for Gilmour tones. Delay time depends on the era. Multiply that x3 to get the 3/4 time and you get 427.5. - Phil Taylor, David's backline tech. solos: 430ms, Yet Another Movie: slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog David probably just uses the term triplet because what he does has a similar feel. It was used for the early live version of, 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. How to you get the proper 3/4 delay time from that 4/4 time? Tim Renwick solo: 520ms, Louder Than Words: intro: 650ms, Coming Back To Life - 2015/16 live version: I have one for specific time settings, for things like Run Like Hell and Give Blood, so I know in numbers (delay time in milliseconds) what setting I need to use. 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: One of the smoothest guitarists in rock, Pink Floyd's David Gilmour has built a reputation for great melodic control and an expressive soloing approach that has influenced millions. The second delay is set for 254ms, 1 repeat, with the delay volume set at 50%. Unfortunately the Catalinbread Swell control cannot be set as high as it needs to be for the Time intro, but it gets close. Gilmour uses this type of delay setting on several songs in the Pink Floyd catalog, most famously in "Run Like Hell." Here is the tab for Another Brick In The Wall pt. This creates a different bouncy feel to the delay rhythm. - 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. solos: 300ms -- feedback: 3-4 repeats - delay level: 15% -- delay type: analog The best representation of this is a 340ms delay set for 3-4 repeats, On An Island: I think what makes the solo stand out is that it is dead on the beat which isn't as typical for Gilmour. 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. 1 2. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. 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. 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. 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 There are several reasons. 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). Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. I run it last in the signal chain and I almost always have a light plate reverb sound on when I play. 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. They averaged from 290-310ms. Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. Song tempos are rarely exactly the same every performance, but the SOYCD tempo is usually around 140 bmp. Delay and reverb should be the last effect in the chain. - David Gilmour, Guitar World March 2015, As I recall, he (David) used a Hiwatt stack and a Binson Echorec for delays. This the dominant delay, but there is also a 300ms delay low in the mix DELAY SETTINGS - Some of Gilmour's most commonly used delay times are 300, 380, 440, 480, 540, and 630ms. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: It's fun to just jam around using the unique delay rhythm it creates. The Binson Echorec is an analogue echo unit made by Binson in Italy. 3. 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. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. The third solo is also artificially double tracked, which you can simulate with a short 60-90ms slapback delay with one repeat. *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! In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. 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. You may also want to try setting the second delay at 760ms, double the triplet time delay (380 x 2 = 760ms). He is also known for using the legendary Proco Rat and MXR Phase 90. To sound like David Gilmour of Pink Floyd, start with the following amp settings: Gain: 3-4. His tone is instantly recognizable and unique. I often hear a guitar recorded dry, a reverb only track, and a delay only track. Example: You determine the 4/4 beat/song tempo is 600ms. Run Like Hell Tone Building - Boss CS-2 compressor, Hartman Flanger, and two Boss DD-2 delays. 2nd delay 375ms. 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 . E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. Digital delays are cleaner and sharper sounding, more like an exact repeat of the original dry sound. 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. It was surrounded by a record head and four playback heads that gave it a wide range of double-tapped delay sounds. Again, if you mute pick with the repeats set almost infinite, the repeats will be perfectly in time with the song beat on every 5th repeat. Below is my best guess at the delay times David used there. delay 1: 430ms -- feedback: 7-8 repeats - delay level: 30% -- delay type: clear digital - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *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. This was most likely a reel-to reel recorder set up for a tape-loop delay. delay 2: 375ms, Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): There are a few occasions where I have heard spring reverb in a Gilmour recording, but it is very rare. Gilmour used the TC Electronic 2290, but any digital delay will do. The mode should always be set at 800ms, unless you want a short slapback delay for something like the dry solo in Dogs. 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. REVERB OR NO REVERB ? On Reverb, the average Echorec sells for between 3500$ to 5000$. The best way I have found to create the smoothest delay is to simply set it in time with the song tempo. 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. 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. 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. I believe that every music school should analyse Pink Floyds music, as theres so much to learn from it. solo: 560ms Most digital delays create an accurate, pristine repeat that only decays in volume with each repeat, not in quality. Using two delays to simulate the multi head Echorec effect - 470ms and 352ms. That's another one of the personal esthetic judgments that you use in trying to get something to sound nice to yourself. He then upgraded to an MXR Digital Delay System II. If using a 2 amp setup, you can try running one 380ms delay to each amp and keep the volume and delay repeats about the same for each, or you can run the 380ms delay to one amp and the 507ms dealy to the other for a slightly different feel to the stereo separation. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. The fact that these two delays were studio effects may explain why David never played the slide parts live in the original Dark Side of the Moon concerts. #4. 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 David Gilmour varied his settings. Some duplicate the studio album delay times and some duplicate the live delay times. solo: 580ms, A Great Day For Freedom - Pulse version (TC2290 Digital Delay): Note that I am not talking about spring or amp reverb, or a reverb pedal, which is a completely different sound. second solo: 640ms -- feedback: 6-7 repeats 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). 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. 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. - first is 380ms delay in the left channel, then 380ms+507ms in the right channel. His main analog delays were nearly always the drum type, like the Echorec, which only had high end-roll off as the magnetic drum and record/playback heads aged. For example, I compared the 5.1 surround sound mix of the second On an Island solo with the solo in Castellorizon (from David's 2006 On an Island album). solo: 580ms, On The Turning Away - Pulse version (TC 2290 Digital Delay): The IC-100 tremolo was set to maximum depth and the trem speed was set so there are two pulses for every delay repeat. 570 divided by four (4/4) is 142.5. MXR DIGITAL DELAYS - David began using digital delays in 1977. You can also add a second delay in series to thicken the sound, combining the 3/4 time with a 4/4 time delay. The other delay is set in 4/4 time (quarter notes) at 507ms, or one repeat on every beat. ..(later in song): 450ms -- feedback: 4-5 repeats -- delay level: 25% -- delay type: analog, Comfortably Numb - 1980-81 live version: To avoid this, and to keep the dry signal more pure, the delays in David's live rigs have sometimes been split off and run parallel with the dry signal, then mixed back together before going to the amp. But to sum up, both these digital units sound amazing, because if it didnt David Freakin Gilmour wouldnt be using them. The second is around 94ms, which is 1/5 of 470 (470/5=94). It also stems from the fact that analog equipment is frequently much more expensive than it is worth. I use two delay pedals for Run Like Hell. Using two delays to simulate the multi head Echorec effect, Below is an example from 2016 of David Gilmour using three delays to simulate the Echorec sound in, - One of the first recorded uses of Gilmour's "triplet" delay technique using a Binson Echorec was in the song, - This is one of the standout tracks from Pink Floyd's. 570 x 75% = 427.5. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. 380ms -- feedback: 3-4 repeats, On The Turning Away - 1991 live Amnesty International Big 3 O version: 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. Again, I'll simulate that with only two dominant delays. Instead, it used a metal recording wheel. If you have a second delay, set that one in series to 930ms, 4-5 repeats, 30-35% volume. The main rhythm guitar, chords, and fills are all double tracked. The other is more natural sounding because it is added post amplification, which is more like what real reverb does. If you have a subdivisions setting (quarter notes, eighth notes, dotted eighth notes, et cetera) set it to quarter notes, or the normal setting. In this video I'm demonstrating how to set up your David Gilmour delay sounds and settings. Solo: 440ms ? For example, 380ms is your triplet time. Most analog type delays have a lower quality repeat decay that rolls off more high end on each repeat. 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. You could nail his famous sound with a handful of pedals, though, which makes it that much more achievable. The early Boss DD-3 pedal had exactly the same circuit as the DD-2. Head 2 = 2/4 intro: 425ms first solo: 450ms -- feedback: 4-5 repeats -- delay level: 20% -- delay type: analog Multiply that number by 75% to get the triplet time delay. 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. The 450ms delay should come before the 600ms delay in your signal chain. . Although it is simple to play, you must play exactly in time with the delay or it will sound sloppy. I used to be expert with Binsons. Exact 3/4 time is 150 x 3 = 450ms, which is our main delay time. Alt. 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
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