"You can hear an Electro-Harmonix 16-second delay on the second half of "Tomorrow's Food" as well."

Mentioned in the January 1986 issue of Guitar Player and the June 1987 issue of Electronic Musician.

Guitar Player, January 1986

GP – When did Frippertronics originate?

RF – Originally, the system was introduced to me by Brian Eno. I worked with him on it for the piece of music that became No Pussyfooting, which was recorded in July 1972 and released I 1973. I began working on it on my own in June and July 1977, when I was living in New York. Frippertronics as such went public for the first time in February 1978 at The Kitchen [a New York arts and performance gallery], where I was giving a solo concert. I needed a name for it, so I came up with "Frippertronics" because it was silly. Then it went very, very public in 1979 with a four-month solo tour – two months in Europe and two in America. And it was there, actually in front of people – in record shops, pizza parlors, record offices, small cinemas, museums, all matter of places – that I began to learn to work with it pretty well. I would run the tape back and improvise on top of it. The original form was with two Revox tape recorders, but now I'm working with the Electro-Harmonix 16 second Digital Delay. It was advertised as a Fripp In The Box. It's far smaller, quicker, and easier to set up than two Revoxes. Although, the sounds one gets are quite different. The quality I nowhere near the same as the two Revoxes.

Electronic Musician, June 1987

In 1972, Fripp began working with a tape-loop system he learned from Brian Eno, but which had also been used earlier by composers such as Terry Riley. His albums with Eno, No Pussyfooting and Evening Star are inner meditations, soul-searing inroads into the musical psyche of Fripp. The sound-generating system was dubbed "Frippertronics" and he took it on the road in the late '70s. He currently uses an Electro-Harmonix 16-second digital delay for a similar effect, played in conjunction with a Roland Space Echo, fuzz boxes, wah-wah and volume pedal, and occasionally an Ibanez digital delay.

(...) And now you you've replaced the tape-loop system with the Electro-Harmonix box.

No! With 208 guitarists. Regarding the Electro-Harmonix, we read this advert for the Electro-Harmonix 16-second digital delay with this phrase in it, and the quote is "A Fripp in the box." So we got in the touch with them and said, you know, Fripp would like one for nothing. And they said no. So I bought one. You can't get them anymore.

Yeah I have a lot of fun with it. What I would do at the David Sylvian sessions, for example, is I'd set the equipment up and just for fun punch something in to the "Fripp in the box," and leave it playing in the studio. I did it on some Crimson sessions too, walk out and come back some three or four hours later and there it was still going except the sound had changed in the three or four hours in between. And with Sylvian, he really liked what was coming out so he recorded lots and lots and lots of these little soundscape pieces and they're all over his Gone to Earth album.

Nels Cline uses an original Electro-Harmonix 16 Second digital delay, as seen in this Premier Guitar interview at (32:50). "It's always recording, I do looping with it on the fly," Cline said.

In this Instagram video, Alessandro is making textures and EHX 16 Second Delay is seen as one of the effects pedals he uses.

In this Premier Guitar article Bill Frisell talks about his gear.

Circa 2011, when playing live

Oren Ambarchi utilizes the Electro-Harmonix 16 Second Digital Delay Reissue to craft unique glitch sounds, incorporating reverse pitch-shifted effects. A user-uploaded photo on BlogSpot showcases Ambarchi with this delay pedal, highlighting its role in his experimental soundscapes.

Amedeo Pace incorporates the Electro-Harmonix 16 Second Digital Delay Reissue in his latest pedalboard setup, as highlighted in a Facebook post by Eventide Audio.

"I have used long delays since my early beginnings in the late ’70s, using tape loops with twin reel-reel machines. I had an ElectroHarmonix 16 second delay since 1982, several Digitech 8 second delays, a JamMan with 32 seconds of memory, and recently I ordered a Boomerang pedal, which has not arrived yet. I tried for a year to buy an Oberheim Echoplex, but it never arrived. As you can see, I use these looping techniques a lot, as a way to create thick textures with the guitar or flutes, strange noises, or whatever I need. It’s a great way to build very dense layers quickly and intuitively."

A user-uploaded photo from 2017 or 2018 shows Massimo Pupillo using the Electro-Harmonix 16 Second Digital Delay Reissue.

As listed by Premier Guitar, Gary Lucas has two Electro-Harmonix 16 Second Digital Delays in his possession.