In [this article](https://valhalladsp.wordpress.com/tag/1580/), on the making of the Brian Eno sound, it read, "Kevin Killen, answering a question about the signal flow on the U2 song “4th of July” on Gearslutz, described the signal path as follows: 'The delay and modulation was derived from the AMS 1580. On its fader return, some hi frequencies were rolled off, then it was fed into a 224 Hall setting, probably 5 seconds but with a rolloff in the top and bottom. This return may have been equalised also. We may have added a second delay but then the delays have to be timed to the track as the net effect is blurring the chord progression… Our last tweak would be to play with the sends on all of the returns to the point that its almost recirculating out of control, which in turn is creating a layer upon layer effect.'"more
In [this article](https://valhalladsp.wordpress.com/tag/1580/), about how Brian Eno and Daniel Lanois got their shimmer sound, it says, "The AMS DMX 15-80s was a digital delay / sampler / pitch shifter that was in common use in Britain in the early 1980’s. Eno and Lanois have both sung the praises of this unit, and Wendy Carlos has said that the AMS unit had 'perhaps the least audible artifacts to pitch shifting available at that time.'"more
With an Equipboard account you can rate this item, add it to your collection, submit a review to discuss what you like and dislike about it, and associate AMS DMX 15-80S Digital Delay to artists that use it. Create an account!