Run Like Hell: the delay sound and the musical phrase
Run Like Hell is the song Guitar World singles out from The Wall for David Gilmour's signature dotted eighth note delay sound. The lesson places the example among several approaches to his lead playing, including bends, note choice, clean tones, and acoustic lines. That setting is useful: the repeating effect is part of a musical vocabulary rather than the whole vocabulary. The article also describes Gilmour as a melodic player who serves the song. The delay example can be approached in that spirit, with the sound's layered character considered alongside the purpose of the phrase being played.
For its simpler demonstration, Guitar World gives a tempo of 120 bpm and a delay time of 375ms. Those are the values for the teaching example, which the article distinguishes from the full song effect. For that fuller sound, it recommends keeping the repeats, also called feedback, fairly high. The result is described as cascading and layered. It is worth preserving that distinction when reading the settings. The demonstration offers a manageable starting point, while the feedback recommendation points toward the texture associated with the recording. The lesson does not present the demonstration values as a complete inventory of the song's original setup.
Run Like Hell provides an identifiable destination for the delay exercise. Rather than treating a repeating effect as an abstract setting, the lesson connects it with a specific piece from The Wall. That is a helpful way to organize attention. The question becomes how the exercise relates to the sound that makes the song recognizable in this discussion. Start with the simpler example the article supplies, then consider its suggestion about higher feedback. That sequence keeps the practical advice close to the musical reference, without adding equipment claims or detailed recording information that the lesson does not supply.
The wider lesson begins with scales and note choice. It describes the minor pentatonic scale as a foundation for Gilmour's blues-influenced lead lines. Adding E and B to its D example produces the Dorian sound, which the article describes as cooler and sweeter. Its acoustic example uses G major pentatonic material. These details explain why an effects exercise appears beside melodic exercises. The article treats both as parts of his approach. A player working through the lesson can give note selection its own attention, even when the delay texture is the immediate attraction.
Guitar World also discusses spacey arpeggios, referring to Us And Them and Shine On You Crazy Diamond. It recommends alternate picking for an even feel at the slow tempo of its example. For clean-tone soloing associated with Another Brick In The Wall, it suggests the neck pickup, compression, and light picking near the end of the fretboard. Run Like Hell occupies a different place in the same collection of ideas. The contrast is useful for practice: each example asks for attention to a particular element of the sound, and the article provides a musical reference for each one.
Sustain and pitch movement receive their own treatment. The lesson connects fuzz with the soaring solos of Time and Comfortably Numb, and describes unison bends as an important part of Gilmour's lead style. For its bending exercise, it tells the player to bring the third string up to the pitch of the unbent note on the second string. It also discusses vibrato, wide bends, and whammy bar movement. Those examples suggest a productive balance when exploring Run Like Hell: enjoy the layered effect, while keeping an interest in the other expressive choices the same lesson places around it.
The acoustic section brings the discussion back to simplicity. Guitar World names Wish You Were Here and Lost For Words as examples of Gilmour's acoustic playing and emphasizes the value of a simple idea. That emphasis complements the opening portrait of a musician who plays for the song. It seems a useful attitude to bring to an effects exercise, too. A dense texture can still be approached with a clear musical intention. The lesson's recommendation of higher feedback concerns the character of the repeats; its wider discussion gives plenty of reasons to remain attentive to the phrase itself.
Run Like Hell is therefore both the quiz answer and a practical listening reference. The supplied exercise offers specific settings, the feedback advice describes the intended layered character, and the surrounding examples place that sound among melodic and expressive techniques. There is enough here for a focused practice session without turning it into a search for undocumented gear. Begin with the lesson's simpler demonstration, keep its distinction between exercise and full effect in mind, and let the song provide the context. The reward is a clearer relationship between the repeating texture and the musical idea it is meant to serve.