Aeroplane uses the AMS RMX16 Digital Reverberation System, visible in his studio rack beneath the API 1608 mixer, as shown in a YouTube video.

According to the "equipment list" found on Church Studios, owned by Epworth, one of the things listed is AMS RMX16 reverb.

(...) With songs that I have recorded myself I don't need to do much in the mix, it's more just a matter of balancing and placing things in the stereo spectrum. I mainly use the GML EQ and the Neve 33609 compressor, but very sparingly. I had both boxes on Michael's voice, and some reverb, and another EQ, that I don't want to talk about. I'm supporting kids that go to college!

(...) For ambience I of course used the ambient tracks that I had recorded at the Warehouse, mostly from the M50. I used two other stereo pairs of mics, because I'd never worked in that room, and I wanted to cover my back. But there was a resonance in the air that was fabulous. I had the precision from the close mics, and then when you open up the room mics you get the depth. I also added some outboard reverb from the live chambers at Capitol. They were amazing. You can't top that. And my favourite reverb friend is the [AMS] RMX16. I love it, I love it, I love it, because I think it sounds very musical.

(...) I'd make stems of the saxophones, the trumpets, the rooms, the bones, the drums, the snares, the vocal dry and the vocal with reverb."

— Humberto Gatica, producer of Bublé's "You're Nobody Till Somebody Loves You" and "Stardust"

Listed in the Gear-Section.

According to a list of equipment which is used in his studio, Crowdspacer, Joakim is also a user of AMS RMX16 digital reverberation system.

Marroquin also worked on singer Pink's first album, produced in 1997 by Babyface and the hip-hop team Presidential Campaign. The record, which spawned the minor hit 'Most Girls', was "Pink before she was Pink", he says, as the singer was developing both a persona and a performance style. In keeping with her own sharp edges, Marroquin used a combination of pro reverbs, including an AMS and Lexicon 480L and 224XL units, and the clangy spring reverb from a Fender guitar amp. "Hip-hop can tend to have very little reverb, and what there is is short," he says. "When I get kind of off-the-wall records, I like to play with spring reverbs. They're cool-sounding. You can make it short and tight with a gate and it adds tone and depth to the sound without washing it out. I also EQ the reverb return. I listen for the frequency where the reverb matches the input signal and tweak that. When you have one thing in a crowded mix you really want to bring out but adding EQ would make it sound too harsh, put it through a spring reverb. They're noisy, but thank God for gates."

We can see that unit at the right of the pic, on his FX rack.

In this video you can see Philippe Zdar showing 2 AMS RMX 16

In this 1983 article, Tom Bailey mentions the Oberheim OB-Xa is rarely disconnected to an AMS reverb and Roland Dimension D.

Spectrasonics Studio List The equipment list for the Spectrasonics studio reads like a gear-head's dream. Favourites amongst Eric's sizeable synthesizer collection include the Access Virus, the Prophet VS, his collection of Waldorf synthesizers, and a 1976 Yamaha CS80. "It's my favourite axe to play, because of the awesome polyphonic aftertouch and that sensuous ribbon," explains Eric.

For effects processing Eric is a fan of the Roland SRV330 reverb, an item that "gets missed by most people, mainly because it doesn't say Lexicon on the front panel." For distortion tricks Eric often uses a rare Boss GL100 guitar preamp: "It's basically the history of Boss pedals in one rack space."

Mixing, until recently, was done on some "very odd, custom-made analogue mixers made by a guy named Mo West," reveals Eric. He recently purchased a Roland VM 7000-series mixer, however, taking him one step closer to an all-digital setup.

SAMPLERS • Roland S760 and S770 • Kurzweill K2000 • Bitheadz Unity DS1 (running on an Apple Macintosh G4)

SYNTHESIZERS/DRUM BOXES • Access Virus • Clavia Nord Lead • Doepfer modular synth • Emu modular synth • Moog Minimoog (modified by Studio Electronics) • Oberheim SEMs • Polyfusion modular synth • Roland JP8000 prototypes & production units • Roland JP8080 • Roland JD800/990 • Roland Jupiter 8 • Roland JV1080 and 2080 • Roland MKS50 Alpha Juno • Roland MKS80 Super Jupiter • Roland System 700 and 100m modular synths • Roland MC303 • Roland MC505 • Roland TB303 • Roland TR808 • Roland TR909 • Korg EX8000 • Korg M1R • Korg Mono/Poly • Sequential Circuits Prophet VS • Waldorf Wave, Microwave, Microwave XT • Yamaha CS80

SOFTWARE • Alchemy • Arboretum HyperEngine • Arboretum Hyperprism plug-in pack • Arboretum Ionizer • Arboretum Raygun noise-reduction plug-in • Antares Infinity • BIAS Peak audio editor • BIAS SFX machine effects • Emagic Logic Audio Platinum • Emagic Sound Diver synth editor/librarian • Fireball • GRM Tools plug-in pack • Metasynth • Opcode Vinyl, Vocode & Filter plug-ins • Propellerheadz Rebirth soft synth • Prosoniq SonicWorx Artist effects • Steinberg Magneto tape-saturation emulator • Steinberg ReCycle sample editor • Thonk soft synth • RAIFF • Region Munger • Transfer Station • Samplifier sample transfer software • Saturator • Sound Morph • Sound Hack audio editor • Unisyn synth editor • Waveboy Voder

SIGNAL PROCESSORS • AMS RMX reverb • API 5502 equaliser • Boss GL100 guitar driver • Boss SE70 multi-effects • Dimension beam controller • Euphonics mixing console • Eventide DSP4000 & H3500 harmonizers • GML stereo parametric EQ • Innovonics compressors • Langevin passive equalisers • Lexicon PCM70/80/480 reverbs • MXR Distortion Plus • Quest custom mixers • Roland Dimension D & C processors • Roland RSP550 multi-effects • Roland RSS10 3-dimensional effects • Roland SDE330 delay • Roland SDX330 chorus • Roland SRV330 reverb • Roland SVC330 vocoder • TC Electronics Fireworx multi-effects • Summit tube mic preamps

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.

Neeraj Khajanchi uses the AMS RMX16 Digital Reverberation System in his studio, NK SOUND TOKYO, as shown in a video tour by 作曲家・和田貴史の庭 on YouTube. The RMX16, known for its pioneering role as the first microprocessor-controlled digital reverb, remains a staple in major recording studios worldwide.