I decided to create a dedicated thread "for the internet record". I went searching the web for Andy Summers "gear" and more specifically, delay settings. I found that many have asked this over many years, but the answers are the usual "vagueries". I was surprised. For a song that was No1 for 8 weeks, and The Police's biggest hit, I would have expected a lot more detail. There is a "SoundonSound" interview floating around. While lengthy, it glosses over Andy Summers contribution, except for the fact he did use the Roland JC120 in the mix, mic on each speaker, panned left and right, then Double tracked Right and Left. This got me thinking, because quite a few other sources "guessed" he was using a Roland SDD320 Dimension D, and I guess, it is possible he did. He definitely had one to use. SoundOnSound article here... https://www.soundonsound.com/techniques/classic-tracks-police-every-breath-you-take I always thought he used a Roland Dimension D (because of a Line6 comment in a manual). My interest in this song was sparked from all the hubbub surrounding the release of the Boss DC-2w. I just wanted to see if the flanger into chorus trick worked (Electric Mistress into JC120), the results were good, but the delay, while close, just had something missing and didn't sound quite right. Scouring the web, the biggest consensus is the that delay is set for a very short slapback on a single repeat. There is certainly a sense of this, with a percussive echo falling just behind Andy's pick attack. The problem is, even with gobs of reverb, using the "slapback" option creates the impression that the guitar is being played in a very small room. This is contradictory to the very airy, wide ambience of Andy's guitar on the track. The other popular suggestion is that the delay is set up for dotted eighths. While this is an understandable easy lever to reach for, and fits the ambience, it doesn't fit the rhythm. It clutters the very open and sparse guitar part with delay repeats. The song is played around 105BPM (YMMV)... not fast, but not slow either, yet it has a very laidback feel to it which is an essential ingredient, and the delay or echo needs to contribute to that feel. At 105BPM an eighth note delay time is 285ms. I tried 280ms, loud single repeat... the delay comes back just before the next pick attack. Creates the "slapback" feel with the pick being the slapback. Not quite there. Also, sterile and empty, too "immediate", not airy. I tried 285ms. The repeat comes back right on the next pick attack, creates a little harmony, a sense of double tracking. Getting closer, but still empty and dry sounding. 290ms... delay coming back just after next pick attack. The slapback is "appearing" in the mix. Single repeat still sounds empty. 290ms... 7-8 Repeats. Delay mix around 40%. Now we're getting somewhere. Ambience and slapback present, still sounds a little "straight" and dry, not laid back. 310ms, multi repeats. Starting to sound a bit too much like dotted eighths. The slapback is separated too much from the guitar and creating its own "side rhythm". 300ms, multiple repeats, mixed in around 60% of the Dry volume. Thats it!!!! Let's have a look. At 105 BPM, 300ms is:- 1/8th note + 15ms (slapback). The thing is, you can't "Tap Tempo" that delay into your machine. So you will need a good ear to adjust manually or have a Millisecond readout display. Another snag is, 300ms only works if you are playing at 105 BPM. Play a bit faster and 300ms starts sounding like a dotted eighth. Play a bit slower and 300ms sounds like a straight eighth with no slapback. Also, with the delay pinging in your ears, its very easy to lose the song tempo, and start playing instead, with the tempo of the delay. So you need to keep focused on the song. So what the delay is doing here is:- Creating spatial ambient echo. Multiple, longish repeats into reverb gives a sense of being played "in a large area, far away"... not "close and present". Creating "slapback" width. Those extra 15ms add some bounce and thickness. Adding Harmony. Typical Add9, "stacked 5ths" chord sequences, means the delay is adding an alternating "-5th" to "+5th" harmony to the guitar. Expanding the "modulation". In a sense, like hearing 2 flangers or 2 choruses (or both) in parallel. On another delay note... it seems Stews drums, or some element of them, was run through a 300ms delay... which might add to the "percussive" delay of the guitar. The web seems to indicate Andy did most of this in one take, in contrast to Sting and Stew who spent more time fighting and getting it wrong. The beauty of the song stands out in its instrumental "simplicity" I think. I will follow up with some recordings.