Used on Stadium Arcadium, particularly on the tracks "Dani California" and "She's Only 18", as stated by Frusciante in this Guitar Player interview.

"Dani California" I played the original solo when we recorded the basic tracks, and then doubled it later, except for the super-fast wah part at the end, which was too difficult to double perfectly, so I put that section through a Delta Labs Effectron II digital delay set to a quick delay with just a touch of slow modulation.

(...) “She's Only 18” The delay effect on the verses and solo were inspired by Hendrix’s “If 6 Were 9.” They were processed with the Effectron II, set to a quick delay with a little bit of modulation to provide movement. The engineer also created a really good backwards reverb for the vocals on the choruses.

Per Dummymag.com, in conversation with Factory Floor:

"The Delta Lab Effectron was a favourite of Arthur Russell’s. The Effectron has a sound no other delay rack has. There's something about it. I have pretty much tried every drum track through it and everything always sounds good."

Used on the vocals for "When the Curtain Falls", as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"The main lead vocal, track 48, has the Opticom for some compression, and I'll always have a parallel lead vocal channel next to it, called 'smash', again for parallel compression, and it'll have tons of plug-ins and I'll just crush it to pieces, almost to the point of distortion, and tuck that underneath the main vocal. The plug-ins on the 'smash' channel include the Waves SSL Channel, Waves CLA-76, Waves DeEsser, Waves H-Delay, and the Soundtoys PhaseMistress. The latter is to get the choruses to sound wider, and the track has some automated delays. For vocal reverb I use the Echoplate 2 [plate reverb] with a Delta Labs Effectron II for pre-delay, and depending on the song either a Lexicon Primetime II or Fulltone Echoplex for slap-back delay.

"Finally there are the backing vocals, on which I had again the Waves SSL-Channel, CLA-76 and DeEsser, and then the Waves SuperTap delay, for stereo delays in the choruses, also to get them to sound wider. I do the vocal blend in Pro Tools and, depending on the parts, will send the blends out on one of the two stereo outs. In this case I had two sets of stereo outs to the API and I compressed each pair lightly with the Inward Connections TSL3 and TSL1."

To glue everything together, Al Sutton once again employs parallel compression. "The API Legacy has an A bus and a B bus, and I'll put a Shadow Hills compressor on the B bus. I'll blend that back in with the A bus, and I'll print that back on as a stereo track in the session. I'll print a brickwalled track as well so we can hear the mix really loud, and get some idea of where we'll end up. But I'll send my mix uncompressed to mastering, which for this album was done by Ryan Smith at Sterling Sound. I leave loudness up to the mastering engineer, because I don't want to play that game any more. It just ruins your mixes. If you can get at a competitive volume without having all the dynamics smacked out of your mixes, I think it will resonate more with people."

According to a list of equipment which is used in his studio, Crowdspacer, Joakim is also a user of Deltalab Effectron II.

Spotted :46s in Ronni's YouTube video in his guitar rack.

In a picture featured on Bremen Eins's article titled "7.2.1954: Geburtstag Dieter Bohlen," Dieter Bohlen can be seen using the Deltalab Effectron II ADM 1024.

In this mixmag studio video on youtube, Erol Alkan talks about his Effectron II at 5m04s and says:

"The Effectron II is one of those delays or ... things that whenever someone hears ... another musician hears it, they just want one as well. Which meant that you used to be able to pick 'em up for about 50 quid on ebay. But they're about 300 quid now."