And I have six old 1176 compressors, a Fair-child, three Lang equalizers [a PEQ4 and two PEQ2s], two Pultec [EQP-IA3] equalizers, an EMT plate reverb, and an EMT 250 digital reverb.

Explicitly on the Syro album packaging, the EMT 140 Plate Reverb is mentioned. It is important to keep in mind that Richard owns the stereo version released in 1961, not the original 1957 mono version.

In this article it says Justin Vernon (Bon Iver) used an EMT 140 Plate when recording his last album, 22, A Million

Other processing that’s essential to the Saturns Pattern sounds: Weller’s EMT 140 plate reverb, which Kybert says he used on almost everything.

In the Reverb interview titled "How Patrick Carney Gets His Drum Sound," Patrick Carney's engineer, Marc Whitmore, confirms at 4:52 that an EMT 140 Plate Reverb is set up next to the drums and is used essentially as a microphone.

Used for Winehouse's lead vocals on "Rehab", as stated by mix engineer Tom Elmhirst in this August 2007 Sound on Sound interview.

Lead vocals

• Urei 1176 blackface compressor, Pultec EQ, Fairchild compressor/limiter, McDSP F2 Filterbank, Waves Q10 Paragraphic EQ, Waves De-esser, Great British Spring reverb, EMT plate reverb.

"I am not a techno snob, I'll use whatever I can to make a great record. Simple as that. I do try to keep compression and EQ analogue, unless it's EQ to notch out specific frequencies, in which case plug-ins are more precise and effective. Amy is a very dynamic singer. She has a lot of bite in her voice, but I wanted it to sound warm and not take your head off. I often use the Renaissance Q10 EQ for radical reductive EQ'ing, and you can see this in the settings I used on Amy's voice. I'm cutting four frequencies by 18dB; in two cases, 465 and 917, with a Q of 100! That's a really heavy notch. At 3107Hz the Q is only 13.7, so that's quite wide. Taking off 18dB here is enormous, but that's what it was.

"There were specific frequencies in Amy's lead voice [the track labelled 'AmC'], that were bugging me. It may be due to hundreds of things, perhaps to do with the microphone that was used on the day. Don't get me wrong, it was not a bad vocal sound, but she does have some hard frequencies in her voice. There are a few tracks on the album that I did not mix [instead they were mixed by Gary 'G Major' Noble], and you can hear on them what she sounds like without the EQ I applied. I also use McDSP's Filterbank F2, probably shelving around 40Hz, and the Waves De-esser cuts around 5506Hz. Amy is not hugely sibilant. The threshold here is 22, which is not that high for me. There would probably be no more than 3dB of de-essing.

"In addition, I was also filtering with a Pultec outboard EQ and on the board as well. The outboard chain on Amy's vocal was Pultec, going into a Urei 1176 blackface compressor, going into a Fairchild compressor. On the Pultec I was probably adding around 12k, just to brighten it up a little bit, adding air. The Urei will have been set with a very fast attack and a super-fast release, doing perhaps 10dB of compression, while the Fairchild will have had a very slow release. I can't quite explain what this does, but in my head the Urei will catch anything that jumps out, while the Fairchild will pick up the slack and keep a more constant hold of the vocal -- ie. smooth things out. During the mix I'll be constantly playing with these two compressors; it's not something I set up and then leave. How hard the signal coming from the Urei hits the Fairchild affects the sound a lot.

"The vocals had a spring reverb which would have been tracked when they recorded Amy, at Chung King Studios in New York. I also recorded an EMT plate on the vocals at Metropolis. You can see both at the bottom of the Edit screen. I spent a lot of time on the vocal, and I would regularly come back to it. Late in the evening of the first day of mixing 'Rehab' I would have the vocal pretty much in the track all the time, and after that I'd constantly be tweaking it a little bit. I don't just do it and leave it. You're getting constantly closer to the final mix, but it's not immediate."

While the EMT model goes unspecified in the Sound on Sound interview, Metropolis Studios' two EMTs are specified to be 140s in the product description of Wavefactory's Mercury Piano:

Recorded by Grammy Award-winning Paul B. Norris at Metropolis Studio's Studio A, using the finest microphones and preamps in a beautiful sounding live room that sounds rich and warm. [...] With effects specially designed for the piano. Including the fabulous Metropolis Plates, EMT 140s both solid state and valve versions with different decay times, along with a compressor, EQ and chorus.

Used on Jones' vocals for The Fall, as stated by producer Jacquire King in this February 1, 2010 Electronic Musician interview with Jones, Jacquire King and assistant engineer Brad Bivens.

She was into adding delay on her voice, trying not to just make it pretty with reverb. The delays were both analog and plug-in. I use Audio Ease Altiverb, SoundToys EchoBoy delay, some of the UA plug-ins—they have a nice EMT 140 emulation—and the Cooper Time Cube Delay. We used The Magic Shop’s Marshall Tape Eliminator AR-300, a tape slap simulator. And Norah had an old Ibanez analog delay. We used a Roland Chorus Echo and EMT 140 plate reverbs, too. Sometimes I will use an Eventide H3000 for harmonic delay effects, and as I get them going I will print them in Pro Tools with the transfer from analog.

"Kirsch believes he miked the piano with either a pair of Neumann U86s, or one 86 and one 87. (...) 'For Patti's vocal I used an 87.' Reverb came from the studio's EMT 140 stereo plates."

Carlos' stereo 140 was sampled for Audio Ease's Altiverb, as featured on the impulse response page.

Wendy Carlos writes about her beloved plate:

"Welcome to the wonderful world of EMT 140st Plate Reverberation. As a gift to the industry, I'm making available gratis these samples of my near mint 140st, vintage early 1971. It was added to my studio when Rachel Elkind and I expanded it into the lower floor of her Manhattan brownstone. I'd become familiar with earlier versions in graduate school, as Vladimir Ussachevsky used one in the Columbia University Electronic Music Center, where I was a student of his. This model is the epitome of electromechanical design, with extremely low noise solid state electronics replacing earlier troublesome tube circuits."

Noah Georgeson talking about his mixing on Divers, particularly 'Anecdotes': “I didn’t actually do many treatments on Anecdotes other than EQ and some light compression now and then. The other main effect was the studio’s big, analogue EMT 140 stereo plate reverb, which I used on Joanna’s voice."

According to the "equipment list" found on Church Studios, owned by Epworth, one of the things listed is EMT 140 plate reverb.

In the video, where Steve Mac is taking Future Music Magazine on a tour of his studio, at 0:29:41 he says "I've also got a big EMT 140 Plate . . .".