the Lexicon 224XL Digital Reverberator is listed in this blog

At this link is a photo of Vangelis gear where both the Lexicon 224 (white) and Lexicon 224x (blue) is shown together.

"We've got a Lexicon 224, a Lexicon 224X, a Quantec Room Simulator and an AMS system. So really that's four very good quality reverbs. We also use quite a bit of natural echo, because there's a long corridor that still has the original church stonework intact, and above Blackwing Studio there is a natural echo chamber which lies under the main roof of the church. When I originally designed Blackwing, I left the area under the roof as a natural echo room, really because it seemed too good to waste. I think nowadays the selection and application of reverb has become the most difficult - and at the same time, the most productive - area of the recording process, because that is where a lot of the new production work is going on, particularly with things like drum sounds. I spend a lot of time adding reverb to the LinnDrum and the Fairlight, because it is very difficult to get it absolutely right, though when you do of course, the results can be very impressive."

Having survived John's intrepid questioning we drove over to King's home studio, which is located a few miles out of Rye, in a house overlooking the site where in a grey and distant past the Isle Of Wight Festival took place. Jimi Hendrix and Bob Dylan once played there. Now there are only hills, grass and cows. And a studio which left John breathless for a moment. He gazed in astonishment at the 48-channel SSL E-series desk and the 15 or so Alembic and Status basses on the walls surrounding it. He skimmed the walls of outboard gear, including AMS, SPX90II, Lexicon PCM70, 480L and 224X, Urei's, decided that he felt more comfortable with the view outside, and silently settled into a chair, watching the snow fall on the grass.

A Lexicon 224x was used on the soundtrack for "They Live."

According to Circus Magazine, Jonathan Cain used the Lexicon 224X/224XL Digital Reverberator during his tenure with Journey in the early 1980s.

Used for Michael's vocals on "Faith", as mentioned by sound engineer Chris Porter in this March 2013 Sound on Sound interview. Despite Porter's mention of the 224, the mix settings (which can be found here) reveal it to be a 224x.

"I only used a few effects for George's vocals. The Lexicon 224 produced those extended high-frequency pings that you can hear on the reverb-y vocals, and there was also the AMS RMX16 reverb and DMX 1580 delay line. The real characteristic vocal sound right the way through 'Faith' and beyond was an AMS 30-millisecond delay panned slightly left of centre, a 45-millisecond delay slightly right of centre; sometimes with pitch variation on each side, but generally not.

Marroquin also worked on singer Pink's first album, produced in 1997 by Babyface and the hip-hop team Presidential Campaign. The record, which spawned the minor hit 'Most Girls', was "Pink before she was Pink", he says, as the singer was developing both a persona and a performance style. In keeping with her own sharp edges, Marroquin used a combination of pro reverbs, including an AMS and Lexicon 480L and 224XL units, and the clangy spring reverb from a Fender guitar amp. "Hip-hop can tend to have very little reverb, and what there is is short," he says. "When I get kind of off-the-wall records, I like to play with spring reverbs. They're cool-sounding. You can make it short and tight with a gate and it adds tone and depth to the sound without washing it out. I also EQ the reverb return. I listen for the frequency where the reverb matches the input signal and tweak that. When you have one thing in a crowded mix you really want to bring out but adding EQ would make it sound too harsh, put it through a spring reverb. They're noisy, but thank God for gates."

"Everyone tried to dive in. I could have got actors in but as I've explained to everyone it would have lost that feel it had and it wouldn't have been believable. We used a sample of this bloke from Sound Suite screaming, that we built up with Lexicon 224X — it sounded like a woman in the end. Even he was joking about suing the other day."

This article states that a Lexicon 224x was used on Rick Astley's "Never Gonna Give You Up," which was recorded at Stock, Aitken and Waterman's PWL Studio.