"One that I've found recently that I really like...using this Electro-Harmonix Electric Mistress effect and then using this DOD Analog Delay that Omar has that I'm borrowing right now. I turned off the original signal and had an echo maybe half a second long, or a little longer. And set it to one repeat or a couple of repeats," says John Frusciante, at 2:29:00 in this interview, talking about his use of the EHX Electric Mistress and DOD Analog Delay.

The DOD Analog Delay 680 in can be seen in the documentary "Omar and Cedric: If This Ever Gets Weird." Additionally, John Frusciante mentions borrowing a DOD Analog Delay from Omar in a 2004 interview, likely referring to this particular pedal. Source Image

Pictured on Gallagher's official website's "Effects / Pedals" page and mentioned in a couple of interviews archived on RoryON!!.

Kerrang No. 15, May 6-19 1982

"Echo units are indispensable, however. I always have a small delay on one of my amps, like a Memory Man or a DOD, but if you want anything like that authentic Rock 'n' Roll sound, then you have to have tape echo. The Copicat is great for that, but you can also set it with a very shallow delay and it can compensate for dead halls.

Guitar for the Practicing Musician, August 1991 interview with Vivian Campbell

VIVIAN: You get a tremendous tone for a single-coil Strat. Are you using any kind of distortion device between the guitar and the amp?

RORY: I've got a Boss Graphic EQ.

VIVIAN: Is that a little 6 band?

RORY: Yeah, one of the real old green ones. And I've got a DOD analog. They're back on the amps, and that's set at the minimum setting, just for a little bit of slap-back. I've got a Dyna-comp, which is on all the time, to drive the songs from the leads. It's not for effect. It's a form of compression and I have it at a setting where the compression's really low on it. I usually use a Tube Screamer, which broke down on me. Last night I was using a Boss overdrive. I use them for some solos, not all solos. I was against using them for years. If I was doing a solo, I had to look at the monitor guy to turn it up and all this. So I keep close to the natural sound. I have a brown Boss octave thing.

VIVIAN: I heard that last night. You sounded like Prince! He uses that a lot.

RORY: I've got a Boss flanger, as opposed to a chorus, which I use sparingly, I use that only in “Shadow Play” and “Moon Child,” and one other song. That's my talk on technology. I have a Vox wah-wah which I did use for one or two gigs, but purely to click it on for slide solos. I used it in the studio, for some solos as well. I don't use it on-stage, because even as it is, I try to keep it simple, within reason.

You can see it on the pedalboard

Jordan Cook is shown using the DOD Analog Delay 680 on his pedal board in a photo shared by antiquiet on Twitter.

Can bee seen in this live performance of "Race For the Prize", running his keyboard through.

A DOD Analog Delay can be seen on Bob's pedalboard in this photo.

"We recorded a version of 'African and White' as an independent single that never came out. We did a demo of it on a Portastudio that we'd borrowed from a friend (again), and I remember we also used a DOD Analogue Delay for echo and so on. There was a 24-track studio really near to us in Liverpool that had its own record label, Inevitable Records. The people there really liked the demo and offered us some studio time instead of a cash advance. We re-recorded 'African and White' there with Jerry Lewis of Inevitable producing. That was the first time we'd ever been in a recording studio, and of course it was great fun, messing about with all that flashy equipment."