the AMS DMX 15-80S Computer Controlled Stereo Digital Delay is listed in this blog

An AMS DMX 15-80S Digital Delay is used by Steve Vai in his studio rig.

Music Radar interviews Edge's guitar tech Dallas Schoo in this article, and details his touring rig for 2009's "360° Tour." It lists the 15/80S (also known as the SDMX) among his effects.

In the book Justice for All: The Truth about Metallica, engineer Flemming Rasmussen states Cliff used an AMS 15-80 Delay/Harmonizer unit for the intro of Damage Inc. and parts of Orion.

time stamped video @ 4:22min mark you can see the rack at Princes Paisley Park. You can see the AMS stuffs closest to the camera.

According to Guitar Lobby, Randy used AMS DMX 15-80S.

According to this article, Damon uses this in his recording studio.

In this article, 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.'"

can be seen at 1:10 in the video

can be seen in this post from July 26, 2019

In this A.M.S. interview with Hugh Padgham, he discusses using the delay on the vocals Phil Collins' No Jacket Required:

What's wonderful about using the A.M.S. is that you do get out exactly what you put on. On the new Phil Collins album (No Jacket Required) most of the vocals employ the DMX 15-80S with a 1.007 pitch change and an 11 or 12 millisecond delay - it's clean and really suits his voice. The unit is brilliant for turning something mono into a big fat stereo sound.

Used for the guitar loop on "Makes Me Wonder", as stated by mix engineer Mark Endert in this September 2007 Sound on Sound interview.

"I realised that there was one guitar part that worked particularly well with the bass and drums. It was played by Adam and had a clean Telecaster sound, and so I looped that through the track." (...) “Upon determining that Adam’s clean Tele part worked the best with the drums and bass, it was looped so that it did the same thing throughout the whole track. It sounded great being mixed loudly. When I have a loop like that without change, they way I can achieve contour is by changing the amounts of effects. So at the beginning of the song there are minimal effects on the guitar loop, then when it hits the first verse there are more delays, when it hits the chorus there is chorusing and delay and reverb on it — these are all outboard effects: PCM42s, AMS 1580S, and Eventide Orville. All the delays from the Lexicon PCM42 were timed, everything from eighth to dotted eighth to 16th notes. I love delays far more than reverb and I have eight discrete delays — five PCM42s and three Roland SDE3000s — and they are in use on every mix. In the verses it’s more like a 16th slap feel, and when it gets to the choruses, I harmonised with an AMS 1580S, pitch–changing and fattening the guitars. You can get a lot of contour out of a track that lacks dynamics just by changing the acoustic space around it."