The website says he had one for chorus effects but didn't like it as much as the small clone and broke it.

In this video that shows longtime U2 guitar tech Dallas Schoo inspecting Edge's Bob Bradshaw-designed rig prior to 1997's PopMart Tour, a Clone Theory pedal is visible at the 15-minute 31-second mark (it's on the lower-right section of the shelf in this shot).

"Clone Theory... one of the original Pumpkins' Clone Theories" says Billy about this pedal at 3:11.

In a user-uploaded photo on Musewiki, Chris Wolstenholme's setup includes the Electro-Harmonix The Clone Theory pedal, visible at the bottom.

This was Hook's main chorus during most of his carrer. He used it with joy division on the album "Closer" and for the single "Love will tear us apart", and with new order throught the 80's. The effect has been one of the trademarks of Hooky's sound. It was usually rackmounted along with his rack units (As can be seen on this 1981 concert at 3:00) and it was always on (or at least most of the time).

Used on Garlands, as specified in the Equipment Notes section of Guthrie's official website (now hosted on the Cocteau Twins website).

“The recording of ‘Blind Dumb Deaf’ was a little different to most of the later Cocteau Twins songs as it was our first album, we were studio newbies and didn't have the time or experience to experiment at all during the recording process. I wasn't really the producer (I didn't even know what a producer was at that point) so all the work on guitar sounds as such was done before the band entered the studio from playing gigs and gathering what equipment we could. Garlands, the album, was essentially recorded live in the studio with myself and Will playing together and Elizabeth over-dubbing a few vocals later, very much the way most bands record. My guitar setup was this: a Kawai KS-11-XL electric guitar followed by an Electro-Harmonix Big Muff Pi, a Watkins Copicat tape echo (3 button model), an Electro-Harmonix Clone Theory and then into another Watkins Copicat tape echo (4 button model) - this went into my amp, a Maine combo (60w 2x10 never seen one since). The bass was a Rickenbacker 4001 played through a Ibanez UE-400 Multi-Effects unit into a Carlsbro Stingray bass combo. There was one disappointment at the time which was the drum machines that we used, a Boss Dr Rhythm and a Soundmaster SR88 played through the distortion channel of a HH IC100 combo were deemed unsuitable by the engineers and Ivo (the grown-ups) and were replaced with the ‘more professional’ (at the time as it had just been invented) Roland TR808. This made the drums sound very clean but weak, lacking the power that we were used to in concert. I mean the stuff we used sounded way more like (what became) hip-hop than electronic. But in spite of the lack of distortion on the drums the ‘Garlands’ sessions were a pretty accurate recording of how we sounded at the time when we played live.”

In an Instagram post by Adrian Utley, he showcases a vintage Electro-Harmonix The Clone Theory.

Featured in this July 3, 2018 Instagram post.

Ok, let’s #gothtalk. Just acquired another beauty in the incredible Pearl effects series (oops secrets out), which is their Flanger, i think one of the more special flangers I’ve heard. Goes into ring mod and vibrato territories. Flange is the least used effect for me, but of course I want to put a beatbox through this. Then you can hear my reverse color and standard Clone Theories. Reverse one has more top end and output, other one is slightly more mid forward, but more “relaxed”. V similar tho. Ok, carry on. #pearleffectors #flanger #clonetheory #ehx

In an Instagram post by the official Stereolab account, a photograph of Tim Gane's pedalboard is shared, clearly showing the inclusion of the Electro-Harmonix The Clone Theory. The post humorously notes the popularity of guitar pedal images on social media and acknowledges Joe from The GigRig for his expertise.

Mentioned in this 1981 Jas Obrecht interview and this April 1981 Guitar Player interview.

Jas Obrecht, 1981

What were you doing prior to co-founding the Pretenders?

I was selling guitars for a living, for a shop in the Hereford. I did gardening too – that was great! And it was during that time – I was out in the garden, you see, digging away, and the radio was on. Nick Lowe came on with [sings] “and so it goes, so it goes,” that number – Elvis Costello’s “Red Shoes.” And they had this big, jangly guitar sound, which is what I’d been wanting to get into for a long while. All of a sudden the radio’s on and there’s this huge guitar sound coming out, like sending out a big Rickenbacker 12-string or something. And I thought, “Ah, my time is here.” So that’s what happened. And then I hooked up with the Pretenders.

What did you use to get that sound?

At that time I was using an Ibanez Explorer that was fantastic – it was stolen. It was incredible. That went through a Marshall. And to get that sound, I was using the Clone Theory pedal made by Electro Harmonix. That’s how I go the sound. And I’m now using the old Boss pedals.

(...) What is the effect on “Precious”?

That would be the Clone Theory through a Harmonizer. I didn’t use a MuTron then.

Guitar Player, April 1981

Cheeks toured extensively for three years without ever recording. After they disbanded. Jimmy started making his living selling guitars in a Hereford shop. During the summer of 1978, after hearing the guitar sounds on new cuts by Nick Lowe and Elvis Costello, he decided that it was time to reenter the music scene: "I was out in the garden, digging away, and Nick Lowe came on with 'So It Goes,' and then came Elvis Costello's 'Red Shoes.' And they had this big, jangly guitar sound, which was what I'd been wanting to get into for a long while. It was a huge guitar sound, like a big Rickenbacker 12-string or something. I thought, 'Ah, my time is here!' To get that sound at first I used a fantastic Ibanez Explorer-style guitar through an Electro-Harmonix Clone Theory pedal and a Marshall."

"Paul Waaktaar-Savoy showcases the Electro-Harmonix The Clone Theory chorus pedal in an Instagram post."

In the studio I remember it was all recorded using a Jupiter 8 for the bells and strings and a korg ms10 thru a clone theory for the bass synth. At that time I could not get a Jupiter 8 to take on the road. The two SH101's in the picture ran sequences and the TR606 drum machine was just for the intro to "wishing"...Mike Score