GILMORE DELAYED EFFECT?

what album? he originally used the rare and valuable Binson Echorec, then he switched to soe sort of BBD analog delay, then to the early MXR digital delay racks for the wall and it goes on and on.... Ifind the stock settings on my TC Flashback X4 can cop most of his later work from Animals on. Throw in a fuzz face, big muff, univibe clone, deluxe electric mistress flanger and colorsound overdriver to shape the fuzz before it hits the dela and amplifier and "you don't need no education." Or you could get an mxr carbon copy and a nice clean delay with a middling sample rate like a boss DD3, those will cover your Animals thru Wall echoes...

but none will do Dark Side... I stillr ecommend the X4, its an outstanding pedal out of the box, and if you are willing to sit with the toneprint software you can make just about any echo you can imagine, really

The X4 does not copy the Echorec though, so if you want a Dark Side fuzzface and echorec sound you would need to futz with your own toneprints using the 'tube' template in the free software or get an alter-ego X4 or catalinbread echorec (though the CB pedal doesn't offer tap tempo). I think the line6 M series offers an echorec model too, but I can't speak for its accuracy. I thought the 'broken echorec' on the alter-ego sounded darned cool and Catalinbread's pedal seems to catch the spirit....

now get ready for the real rabit-hole....

you will also want a powerful, clean tube amplifier to drive with your delay unit of choice. Gilmour favored Hiwatt DR103s and Twin Reverbs mostly during his heyday and those loud, clean amplifiers are a big part of his tone. The way the echo hits the first tube stage really shapes the echo character as Gilmour relly runs his amps right at the edge of break up so there is a lot of compression just coming from the preamp though the power amp is not pushed very hard and remains dynamic and punchy.... good hiwatts are relatively thin on the ground and they are expensive as are any reputable clone. A MK1 or 2 sound city L100 willg et you there mostly, but those are getting rare too. They are also more of a Pate Townshend hiwatt thing which is a different circuit as is my very Hiwatty Traynor YVM1.... so that leaves a Twin. an early silverface or vintage reissue (with a few mods) will probably do you.... or a silverface pro reverb which is the 45 watt version of a twin more or less.... in a head the showman, bandmaster or bandmaster reverb might do ya.... my old '63 showman got pretty gilmoury, the friend who bought it from me got it precisely to get his Gilmour on with a 2x12 cab, big muff and echo!

oh yeah, I forgot about this:

gilmourish.com

Bjorn is a total OCD Gilmour follower.... read and learn from a guy who has learned to completely copy everything DG has ever done!

here's some core building blocks:

https://reverb.com/p/mxr-classic-108-fuzz

https://reverb.com/item/1871175-stomp-under-foot-rams-head-white

https://reverb.com/item/1832592-colorsound-overdriver-direct-from-sola-sound-london

https://reverb.com/item/1959198-tc-electronic-flashback-x4-delay-looper

https://reverb.com/item/1946543-traynor-yvm-1-1968-jcm800-mod

https://reverb.com/item/1938451-traynor-ysr-1-vintage-tube-custom-reverb-guitar-amplifier-head

EDIT: also let me add that fat-boy and beardo-hipster at Anderton's music are nuts!?!! they sound nothing like Gilmour (which is partially a lack of nuance in their hand technique and also a 'why the fuck did you pick that junk to cop Gilmour tones' issue).... I just watched their video and listened very carefully to the end bits? no guys... take your cool guy afro and beard back to the hipster, black keys worshipper forums and leave poor DG's sound alone!

or if you are good with close enough, horseshoes and handgrenades tones? ignore me! just use some echo, phase and a big muff r whatever thru any amp you have sitting around.... and don't practice your bending or vibrato, because that's not important then either!