Used on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview.

• Bass: AMS delay, Sound Toys Echoboy, Empirical Labs Distressor, Chandler TG1, Dbx Disco Boombox

"On the Mix window screen you can see that there are bass DI, bass amp, bass AMS and bass delay tracks. The AMS is a delay that I applied at Blackbird and that I then printed to Pro Tools. The delay is the Echoboy delay, which I added during mixing. The idea was to get a different texture than I could with the AMS delay. Both delays had different delay times, different qualities of sound, and different feedback and modulation effects, and the idea was to spread them out and fatten up the sound, give it some space without putting a reverb or something poky–sounding on it. By spreading the bass out a bit you also make it sound bigger. In addition, there's some Distressor and TG1 compression and some EQ on the bass, as well as some more subharmonic synthesis, again using the DBX Disco Boombox. I have a slightly more modern version of the box."

The item can be seen as a Pro Tools mix channel label in this image from the same interview.

The final Pro Tools Session included four bass tracks: the original miked and DI'd recordings, and duplicates treated with AMS hardware and Sound Toys (right) software delays.

Used for the lead vocals on "Angel Dance", as is visible in the input chain sheet provided by tracking and mixing engineer Mike Poole in this December 2010 Sound on Sound article.

Poole was organised enough for this interview to supply a copy of his assistant Gordon Hammond's input chain sheet, reproduced on the left.

In this Modern Drummer interview, roadie Jeff Seitz mentions Stewart Copeland using an AMS DMX 15-80 digital delay.

"The new AMS units will still be there - the DMX 15-80S has a 1.6 second delay which is quite enough, and if we want to fly in longer samples like hook lines or multiple backing vocals, we do it from quarter-inch tape. Because the studio isn't being used commercially I don't feel we need 35 second digital delays and I have to be a bit frugal on the financial side. The AMS RMX16 reverb and the Lexicon will stay, although we don't really need all the compressors and noise gates we have. There's a Scamp rack, some Drawmers, Kepex gates, a Universal Audio Limiter and a few other things - I think the Drawmers are my favourites."

On the website, a post by Keith Clark on 07/17 at 11:28 AM states that Mick Jagger used AMS DMX 15-80S Digital Delay on a small studio called "Bamboo Room Studio".

In this 1982 documentary on the making of Gabriel's fourth album, we see a shot of several pieces of gear set up in his then-home studio. At the 10:50 mark, there's a clear shot of the 15-80S delay unit.

In a 2017 Instagram post, Justin Meldal-Johnsen showcased the AMS DMX 15-80S Digital Delay in his studio.

In a 1997 photo from cEvin Key's Vancouver studio, an AMS DMX 15-80S Digital Delay is visible among his equipment racks, illustrating his use of this effects processor.

In this article, 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.'"

In a 2006 photo of Jonny Greenwood in the control room at Tottenham House during the recording of Radiohead’s In Rainbows, the distinctive keypads and knob layouts of two AMS DMX 15-80S Digital Delay rack units are visible in the bottom left rack case, providing evidence of Nigel Godrich's use of this equipment. An AMS RMX 16 is also visible in the upper left rack unit.

[Gerber plays a track and triggers an effect on the AMS DMX 15-80S digital delay unit] Did you see what it does? How cool is that? Wow. This fucking machine.

Madonna utilized the AMS DMX 15-80S Digital Delay on “Hollywood” and “I'm So Stupid.” "Two machines were used for the extensive vocal editing in “Hollywood” and “I'm So Stupid.” Madonna preferred the Antares Auto-Tune plug in; Mirwais chose an AMS 1580 S-DMX pitch shifter."