"One thing that’s gets used on his mixes all the time at the moment is the EMT 140 Plate reverb, and apparently the studio has several of them. The reason why the huge EMTs can’t be seen anywhere in the studio however, is because they are in a room up on the roof! 'We actually had to hire a crane to lift them up there,' laughs Alan."

According to a list of equipment which is used in his studio, Crowdspacer, Joakim is also a user of EMT 140 plate reverb.

In this video you can see Philippe Zdar showing the remote for his EMT 240 reverb

Used for the vocals on Volume 3, as mentioned by producer Pierre de Reeder in this April 15, 2015 Electronic Musician interview.

Embellishments include Deschanel’s lush vocal harmonies, which she develops to suit each track individually. “She comes in, more often than not, with her own idea for specific harmonies in mind, and depending on the complexity, we’ll either fill out the tracks on tape or, with some of the more complex ones with many parts—and it’s all her, those harmonies—we will create as many as 10 or 15 tracks in Pro Tools to make a big sound.

“There’s also a lot of plate reverb on the tracks,” de Reeder continues. “Sound Factory has three EMT 140s, and we used two, and analog delay, with just a touch of slap.”

Used for Amy Winehouse's lead vocals on "Rehab" and for the "drum stem" on Beck's Morning Phase, as stated respectively in this August 2007 Sound on Sound interview and in this May 4, 2014 Audio Technology interview covering Beck's Morning Phase.

Sound on Sound, August 2007, "Secrets Of The Mix Engineers: Tom Elmhirst" by Paul Tingen

"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."

Audio Technology, "Mix Masters: Tom Elmhirst On Beck’s Morning Phase" (May 4, 2014)

Elmhirst later sent the drum stem through his hardware EMT140 plate reverb, “because it needed to be a bit more expansive in certain sections of the song. I used the 140 quite a lot in some places.”

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.

Listed on Atomic Garden website's equipment page

In an AP News interview dated August 25, 2025, the producer Adán Jodorowsky confirms the use of an EMT 140 reverb plate on Natalia Lafourcade’s vocals for the recording of “Cariñito de Acapulco” from her 2025 album Cancionera.

English:

In the hypnotic “Cariñito de Acapulco,” Jodorowsky brought a less hurried tempo and an antique EMT 140 reverb to Lafourcade for the sensation of a 1950s Acapulco hotel. “It gave an incredible atmosphere to that song. And Natalia, she didn’t have so much reverberation [on previous records]. She always had a sound that was more dry,” Jodorowsky pointed out. “I believe that her soul wasn’t connecting with the digital reverb but it connected with this, which was totally organic.”

Spanish:

En la hipnótica “Cariñito de Acapulco” Jodorowsky llevó a Lafourcade un tempo más pausado y a un reverberador antiguo EMT 140 para una sensación de un hotel de Acapulco de la década de 1950. “Le dio una atmósfera increíble a esa canción. Y Natalia, ella no era tanto de reverberación. Ella tenía siempre un sonido más seco”, señaló Jodorowsky. “Yo creo que su alma no se conectaba con el reverb digital y se conectó con esto, que era totalmente orgánico”.

https://apnews.com/article/adan-jodorowsky-natalia-lafourcade-cancionera-fd952d2194a4d48d6a171f8936a2d542