Used live from 1968 to 1977, as researched by Bjorn Riis of Gilmourish. One unit was sold on Reverb.com in 2017 via London Vintage Guitars, with the listing revealing that the unit was an OEM "Sound City Echomaster 2".

Gilmourish, "Binson Echorec"

David used the Binson 2 model from 1968 up to the Animals tour in 1977 after which he replaced it with MXR digital units. He later recalled, “I was tired of cleaning it and needed something more reliable”. Although he probably traveled with several backups, the constant touring and not least the outdoor gigs must have been hell for the delicate Binson.

After years of absence, David’s old Binson made a brief cameo on the 2003 BBC Dark Side of the Moon documentary and Richard Wright again used one with his Farfisa organ on David’s last tour in 2006.

A Binson 2 is also featured in David’s new recording studio, Medina, located in Hove outside Brighton. Both Pink Floyd’s Endless River and David Gilmour’s Rattle That Lock was recorded in the studio but it’s not documented if the Binson is featured on the albums.

(...) Between 1968-73 David had a very basic setup layed out on the floor that consisted of a Fuzz Face, a wah wah pedal, DeArmond volume pedal and an on/off foot-switch for the Binson. Later, the 1973-75 board and the 1976 Cornish board had built in on/off switches for the Binson that was connected through send/returns.

David would mainly use the repeat mode for a classic delay sound. The Binson 2 had a maximum time setting around 300-310ms, which was David’s main setting for most Floyd songs (he used the Echo/slap back setting on live versions of the intro on Time). The level and swell were both adjusted for different songs.

One of David’s trademarks in the early days was the sustained violin effect on the intro of Echoes and many other songs. On the beginning of Echoes on Pompeii you can see David using the slide, rubbing it back and forth on the high E string to create this sustained violin effect. This is achieved by drenching the tone with echo and adjusting the guitar volume for a mild ovedrive from the Fuzz Face. The effect is used on countless early Floyd songs from 1968-1971.

2017 Reverb.com listing

We are happy to offer the following original Binson Echorec which was used , owned by one of the worlds most respected of all artists , that is “Pink Floyd” , please see full details , specifications as follows

• Binson / Sound City Echomaster 2
• 1969 ( Circa)
• Green Hammerite Casing
• Pink Floyd Stock Plaque to side
• Service Signature by Pete Cornish to side dated 1979
• Remnants of original Input / Output Labels - Notes

Verification

The above unit comes with the following verification

Original Pink Floyd Stock Number Plaque to side

Email Verification from Pete Cornish that verifies his Signature / Label and confirms that he serviced , checked the unit for Pink Floyd in 1979

Various Photographic Verification - The unit comes complete with various published photographic verification of David Gilmour using a Sound City Echomaster II that has the Pink Floyd Original Stock Serial Number Plate that is affixed in exact same location / position ( The Picture is taken from 1975 Wish You Were here tour)

Please See Picture 6 + 7 for Verification of Stock Label Position

Note - The above unit is a Key Factor in the sound and tone of Pink Floyd

According to Guitar Lobby, Jimmy used Echorec 2.

At the beginning of this clip from the Get Back documentary, Paul asks for a Binson Echorec to be used on the mics.

In Pink Floyd's 23-minute long song Echoes, Roger Waters used a Binson Echorec to create the eerie underwater wind noise heard during the first interlude (10:40-15:02 on studio recordings, underneath the screaming seagull sound produced by Gilmour); he vibrated the strings of his bass guitar with a steel slide and fed the sound through the Echorec. Waters reproduced this sound during live performances.

Also One of These Days is an another typical example where the Binson Echorec was used on the bass. In the interview for Guitar World, Gilmour explains: "One of these Days evolved from some of my experiments with the Binson, as did Echoes. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. And he came up with that basic riff that we all worked on and turned into One of these Days. The opening section is me and Roger. For some reason, we decided to do a double track of the bass. You can actually hear it if you listen in stereo. The first bass is me. A bar later, Roger joins in on the other side of the stereo picture. We didn't have a spare set of strings for the spare bass guitar, so the second bass is very dull sounding. We sent a roadie out to buy some strings, but he wandered off to see his girlfriend instead."

The Binson Echorec was a major part of the Pink Floyd sound-image until 1977.

Taylor Swift is documented using the Binson Echorec 2 T7E, as evidenced by a photograph of her with the equipment while recording her album "The Tortured Poets Department."

you can see this processor in the middle of this image

Pictured on Gallagher's official website's "Effects / Pedals" page.

I have a Binson Echorec 2 and two Roland Space Echo RE-501s. I run them in stereo with different settings. When you run those delay tracks through some more reverbs, things truly start to shimmer.

At the 1:12 mark you can watch the Binson being used on the Linn beat in the atached video.

the unit can be seen 0:30 into this video.

In this interview, Wayne Sermon mentions having a Binson Echorec.

https://www.premierguitar.com/artists/the-black-angels-left-handed-path

Hunt: We have a real deal Binson Echorec that played a huge role in recording the album, and there’s quite a story behind how we got it. Bland: So, I’m on my second Fulltone Tube Tape Echo. The first one I sold in Ireland to get a discount on a real Binson Echorec at a shop. I got $500 off the Echorec for the TTE and I paid another $1,500 for the Echorec. The very next day, the Echorec broke at our show in Manchester. We went to Paris for the next show and we took it to someone local to fix it, and were told it would be sorted out by the end of the day, and it ended up sitting there for an entire year—and it was never fixed! We retrieved it eventually from Paris and I brought it to Austin Vintage Guitars, and it was there for three weeks until they finally said they had no clue what to do. So—finally—we flew to Los Angeles and took it to our friend, who has a company called Acid Fuzz, and he pulled it off and fixed the thing!