Used for Michael's vocals on "Faith", as mentioned by sound engineer Chris Porter in this March 2013 Sound on Sound interview.

"I only used a few effects for George's vocals. The Lexicon 224 produced those extended high-frequency pings that you can hear on the reverb-y vocals, and there was also the AMS RMX16 reverb and DMX 1580 delay line. The real characteristic vocal sound right the way through 'Faith' and beyond was an AMS 30-millisecond delay panned slightly left of centre, a 45-millisecond delay slightly right of centre; sometimes with pitch variation on each side, but generally not.

In an Instagram reel on the White Denim Music account, James Petralli discusses the making of the song "Look Good" and mentions, "That's me, the cowbell, going through an AMS Delay." This statement confirms his use of the specific gear.

Whitney Houston utilized the AMS DMX 15-80S Digital Delay for her vocals on "I Wanna Dance With Somebody (Who Loves Me)." This is confirmed by her mixing engineer, who stated, "Other outboard gear Frazer says he leaned heavily on for the song included the AMS devices—the RMX 16 (reverb) and DMX 15 (delay)," as reported by Robyn Flans on Mixonline.

"Then I added synth from the studio’s Roland JX-3P. And the vocal hiccup sound was a bit of trapped audio in the Neve AMS. Every ’80s studio seemed to have one."

" On Joy Division' Unknown Pleasures I used several of my AMS 15-80S delays and my Marshall Time Modulators to create a room with walls that moved in and out"

It was while working on the Human League's 'Fascination' that Martin Rushent invented one of the most popular studio tricks of the '80s: using the 'loop triggering' facility on the AMS DMX1580 digital delay as a primitive sampler. "I used it for the bass, snare and bass riff," he says. "I knew AMS reasonably well by the time they brought out this very high-quality digital delay line, so I asked if they could adapt it so that it wouldn't erase its sample. I'd been working with the Linn Drum and realised that it was just a memory of drum sounds, but I wanted to make my own sounds. So they put in four seconds of delay for me. All you had to do was feed in the signal and it would start sampling the moment it saw a rise in voltage. Then you could edit it a bit. After that you'd set it to Fire mode and trigger it via a click fed into the audio input, so I used the Micro Composer to send it a pulse. AMS asked me to show them what I wanted it for so I did a demo by feeding in a bass drum sound and triggering it via the Roland. After that, they made it standard on their products, sold it to the Japanese, and I made fuck-all out of it!"

In this video you can see Philippe Zdar showing 2 AMS Digital Delays

"I've recently made two fantastic discoveries - the AMS Digital Delay/Reverb, which is made in Burnley somewhere, and Roland's Dimension D, which both help to keep the keyboard sounds clear and separate. Almost anything you do with them sounds great. Also I use the Roland Chorus Echo and the Yamaha 1010 signal processor live."

The XTDP website features a brief interview/quote from Julian wherein he reveals some of the gear used during KoD's heyday. Among his rack units, he lists a 15-80S.

Kenji Kawai is confirmed to use an AMS DMX 15-80S Digital Delay in his studio, as it is listed on his official website under his profile.

Mentioned as a part of the equipment used on Visage's 1984 album "Beat Boy", according to Egan's 1984 interview with Electronic Soundmaker & Computer Music.

Thinking on his feet, Nicolson plugged up an AMS DMX 15-80S delay, set to an eighth and a 3/16th, and added them to the beat he’d programmed. “So it had this kind of shuffly movement going on in the background,” he says, “and suddenly the beat sounded a lot better. Back then there was a lot of shuffle going on in the grooves. So I was using my engineering skills to kind of make up for my musical ineptness. The congas in ‘Come Together’ were these funny little bad-sounding bongos and I basically squeezed as much bongo-ness out of them as I could with a Bell [Electrolabs] flanger. That was another bit of gear that I loved.”