At 2:55 in the video, we see Steve explaining what he uses for his stereo mix-down. We see that he uses an Ampex ATR-102.

Used for the mixdown of Mule Variations, as stated by producer Jacquire King in this interview from issue 9 of Audio Technology Magazine.

As a result of using these various room mics, King sometimes ended up with a full 24-track, which meant that choices had to be made upon which room mics to use. The 24-track that was used was a late ‘70s Studer A80 MkIII, with BASF 900 tape, no Dolby, 30ips, recorded at +6, "hit very hard, which gives more tape compression". The album was mixed to analogue, an Ampex ATR102, on a half-inch tape running at 30ips, without Dolby.

Dayglow is printing the final mix of "Deep End" on Ampex ATR 102 in this post.

"We are hitting tape a little bit to get some nice saturation. It’s a big part of the sound. We cut it all at 15 ips, a little slower than 30 ips, which makes a little bit of tape hiss, but I usually like the hiss. The machine we used is a ½-inch Ampex ATR 102. Sometimes a Studer, but mostly half inch mastering machines were what we were tracking into on the way in, harvesting that sound coming into the computer."

— Dave Tozer, executive producer of Love in the Future

James Petralli of White Denim utilized the Ampex ATR 102 during the production of their 2019 album, Side Effects. This detail is corroborated by Jim Vollentine, one of the sound engineers who collaborated in the production of the album and who's the co-owner of Coil Audio, in a discussion on Gearspace forum. Vollentine, who worked closely with White Denim in the Radio Milk studio, provided a comprehensive list of the recording equipment used for the album, explicitly mentioning the Ampex ATR 102 among the gear.

In a 2013 AudioTechnology article, Manny Marroquin mentions using an Ampex ATR-102 with one-inch tape for a tape delay effect on lead vocals:

"There were similar effects on Mike’s vocals. I also printed Chester’s lead vocals to an Ampex ATR-102 with one-inch tape for a tape delay effect, and brought it back into the session, which is why it has the Time Delay plug-in on it. In addition, I have the Brigadier pedal on some backing vocals, and I set up a reverb and two delay effect tracks in ProTools, using the Reverb One and Waves Super Tap delay. I had these effects mainly on the vocals."

From 1985 Sound on Sound interview, which describe his studio (Havoc House).

The control room is dominated by the monitor array of four Tannoy HPD drivers in huge enclosures set each side of the console tape machines; an early Studer A80 16 track and an Ampex ATR 102 (the half-inch version of the ATR 100). Other machines sit on shelves - cassette recorders and a bank of Sony F1 chargers, processors and recorders.

Jack Shirley uses the Ampex ATR 102 while working on the Hard Girls' record, as mentioned in an Instagram post. The post highlights the album's quality, noting it's so captivating that mixing becomes secondary to singing along.