Used for the lead vocals on "Angel Dance", as stated by tracking and mixing engineer in this Mike Poole in this December 2010 Sound on Sound article.

Vocals: Urei 1178, API 550, LT Sound CLX, Roland SRV2000 & RE501, AMS RMX16, TC Electronic D•Two.

"I had the Urei 1178 compressor and the API 550 EQ on Robert's vocal, along with a parallel channel that was even more compressed. So any time he hit a low note that sounded a little muddy and needed some more clarity, I pushed up the parallel channel. There's also an effects send channel with the LT Sound CLX on it, which is a Dbx VCA compressor with a good de?esser in it, and that was used as the send to any effects devices. As a side note, all the little slices you see on the screenshot were not performance edits, but mostly me trying to get the sibilance right. I often take out little clicks and pops and also 'esses' or 'effs' out manually. A de?esser will hit everything in a technical?sounding way, and sometimes you may want to retain the emotive way a certain 'ess' or 'eff' is expressed, but only precisely change the gain, just to correct recording artifacts. 'Angel Dance' is one of the few tracks on which Robert's scratch [tracking] vocal didn't make up the largest component of the final vocal track. On this song, he re?sang the vocals later, and I think he did two passes and we used mostly one, with a few lines from the other pass thrown in. For reverb on his vocals, I used the SRV2000 long reverb and a little bit of RMX16; for delay, either the D•Two or an RE501. I used very little reverb on the tracks on the album in general, apart from on Robert's vocals and the backing vocals. The other ambience you hear may have been a long delay from the 501 or PCM42 or any of the room mics.”

"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 RMX 16 Digital Reverb 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 10:57 mark, there's a clear shot of the RMX16 reverb unit.

Lady Gaga uses the AMS RMX16 Digital Reverberation System, as confirmed by her vocal producer/mixer, who stated: "I use around six outboard sends to physical plates and rooms that Henson has available, as well as an Eventide H3500 and an AMS RMX16 effects processor" (Mixonline, Lily Moayeri).

AMS digital reverb is included in the list of Mark's studio gear.

Another section of Nigel’s rack setup in the “morning room” at Halswell Morning in Oct/Nov 2006, during the recording of Radiohead’s In Rainbows. The top rack includes his Roland RE201 Space Echo, Roland DC30 Analogue Chorus-Echo, and AMS RMX 16 reverb (note the distincitve AMS keypad). The bottom rack inlcude an MXR M-126 Flanger / Doubler Model and an MXR M-129 Pitch Transposer.

In Étienne de Crécy's studio – 2015 0:38 : "We got this voice with just a small EQ, and then weekend go through the AMS"

Used for Michael's vocals on "Faith", as mentioned by sound engineer Chris Porter in this March 2013 Sound on Sound interview. The mix settings can be found here.

"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.

We are shown this item at 0:15 of the video.

In this June 10, 2021 Instagram post, Jeramy shows his AMS RMX16 Digital Reverberation System he repaired.

Repaired the Ams again ha #analoggear

Whitney Houston used the AMS RMX16 Digital Reverberation System 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.