Used live for The Dance, as mentioned in the October 1997 Guitar interview "Lindsey Buckingham: Back in Mac" by Mike Mettler.

In addition to his trusty Turners, Buckingham leaned heavily on his solid-body '92 Gibson Chet Atkins, notably during The Dance's back-to-back readings of 'Go Insane' and 'Big Love'. 'Landslide' sees the debut of a new, "delicate-sounding" Taylor acoustic, and 'Say You Love Me' gets its own special revamping: "There I'm playing a longneck 5-string banjo, getting a little bluegrassy on the intro, and then I slip right into the folkiness of the song."

For amps, Buckingham switched from the older Mesa/Boogies he'd used on his solo tour to Dual Rectifiers. "The Mac sound is a bit bigger and I needed something beefier," he explains. "And I'm still not using a major amount of pedals, just a Boss SD-1 Super Overdrive and a Boss DD-5 Digital Delay."

Featured in this November 23, 2017 Premier Guitar interview.

In an interview with Russell Lissack, when asked "And what gear do you use in order to conjure up the Bloc Party sound?", Lissack responds:

"My guitars are all Fender Telecasters, and Kele and I use Fender Deluxe amps both in the studio and on stage. Pedal-wise, it’s pretty much a Boss-fest. I’ve got a TR-2 Tremolo, DS-1 Distortion, a new PW-10 Wah, the DD-5 and DD-6 Delays and the PS-5 Supershifter. For a long time, all we had was a distortion, a delay and an old wah pedal and we really got the most out of them. The DD-5 was always my best friend because there were so many different types of delay, but it was always really flexible. I really like to push my effects to see what sounds I can achieve when I get new stuff, but it’s been ages since I’ve had time to really experiment with things. I like the way new pedals can open up different ideas. Pedals can inspire new parts or songs by giving you access to new sounds. And the way you can hook them up in a different order as you get more of them can be really interesting too. Unfortunately, the only time I get my hands on my gear now, except for during a gig, is when we’re sound checking. And people don’t tend to appreciate you trying out weird sounds when they’re setting the rest of the PA and monitors up. So I’m a bit frustrated at the moment, because I’ve got all of this new stuff and I haven’t begun to explore its potential yet!" (original interview here).

In the Premier Guitar's rig rundown, at 10:11 minute mark, he says he uses this pedal especially because of the reverse effect it has, because other Boss delays don't have that feature. The reverse delay effect from this pedal has been used by Lissack for "Like Eating Glass" intro, in conjunction with another Boss delay (possibly DD-5 or DD-6).

Jeordie White uses the Boss DD-5 Digital Delay, as evidenced by a pedalboard shared by Mesa Boogie on their Facebook page.

Nick uses the loop feature on this pedal to make his signature "Dolphin Noises".

In the video titled "Nigel Hendroff Breaks Down His Stereo Pedalboard | Reverb Interview," at 0:46, the Boss DD-5 Digital Delay Pedal is clearly visible on Nigel Hendroff's pedalboard, confirming its use by the artist. The video is provided by Reverb on YouTube.

On this picture from 2001, you can see this pedal on Ballou's pedalboard (despite the excessive brightness on the DD-5).

Doug Martsch used the Boss DD-5 Digital Delay around 2000, as evidenced by its presence in their Live album and the HBO Reverb video.

In this diagram (formerly on guitar.com) we can see Jesse's guitar rig during a tour in support of Brand New's landmark album 'The Devil and God are Raging Inside Me'. In this diagram, we can see that Jesse had a Boss DD-5 on his pedalboard.

“Right now I have the Boss DD-5 Delay and RV-5 Reverb. I bought the delay pedal when I was 15, secondhand from a transvestite. I use an [Ibanez] Tube Screamer, but in terms of proper effects, that’s it.”

Hamilton used this pedal in the late 90's.

In the video titled "Baroness Rig Rundown with John Baizley, Gina Gleason & Nick Jost Guitar & Bass Gear Tour [2024]" by Premier Guitar on YouTube, at the 1:00 mark, John Dyer Baizley's pedalboard is shown to include a Boss DD-5 Digital Delay pedal.