Used for the drums on Echoes, Silence, Patience & Grace, as stated by mix engineer Rich Costey in this March 2008 Sound on Sound interview.

Drums: Quad 8 310, Pultec EQP1, API 550a, Neve 33609, API 2500, Lexicon 960, Urei 1176, Smart C2, SPL Transient Designer, room mics

"I had just gotten some Quad 8 310 EQs before I began the Foo Fighters project, and I found that cranking the s[**]t out of the mid-range with the Quads helped the drums quite a lot. On most of the album the bass and snare drum went through the Quad 8s, with severe amounts of mid-range added. Quad 8 grew out of Electrodyne and was very popular in the 1970s, particularly with film companies. I obtained some channels that came out of the Motown Sunrise console and they're basically three bands of EQ and a mic pre and output level, and the Q gets tighter as you push it up. The Quad 8s are a little bit rounder and warmer-sounding than similar API modules. I also used the Pultec EQP1 and API 550a on the bass drum.

"I had a bunch of different side-chain compressors on the drums that would change from song to song. On some songs it would be the Smart C2, medium ratio and fast recovery, on others the Neve 33609, the Urei 1176, the API 2500 or the Empirical Labs Distressor, and the SPL Transient Designer on toms. You can use the SPL to lengthen the sound of the toms. I don't compress all the drums at the same time, I'll compress individual parts and mix the compressed sound in with the natural sound of the drums. There was relatively little compression implemented on the drums in this song, because the band didn't care for it. They wanted the drums to sound more raw.

"Throughout the album mix I might have used a bit of Lexicon 960 on the drums for reverb, but the room mics — amongst them a heavily compressed foldback microphone — were so good that I tended to use those. I tend to like room mics that are on the darker side. If they're too bright, you can't turn them up very loud because you then also get all kinds of messy cymbal noises. One other thing to note is the drums that come in after the intro of the song. When the whole band is slamming accents like that, you want to make the drums sound very aggressive, and this meant pushing room mics, pushing compression mics and so forth. As I said, there were a lot of rides."

Photo from a instagram story. Arca's hand (screm nail art) can be seen.

In this video at 2:06 we can see Lexicon 960L Digital Effects System

The Lexicon 960L appears on the right side of the picture.

A studio is nothing without equipment. In A.R.T. Studio the following top shelf music gear (and some personal favorites of Michael) were available:

Custom built AMEK Digital mixing console Audio Frame Workstation and Waveframe 1000 (old at the time, very important for the Enigma sound) Custom built studio controller by Quested Acoustics Protools system hardware Emagic Logic Audio Platinum software. Sample cell (Software sampler) Steinberg’s Halion External Midi modules and hardware: Lexicon 480 and 960 (reverb) Yamaha REV1, REV7 and REV9, Eventide Reverb Dynacord DRP20. MIDIMoog, PPG System, Korg M1, C-Lab Notator Takamine 6 and 12 String Guitars Tom Anderson Electric Guitars Otari DTR-900 Akai 900 Linn 9000 Prophet 2002 X-Pander EMS Vocoder DX-7 Roland MKS-80 «Super Jupiter», Roland V-Synth, Korg OASYS Korg Karma And, of course, a PC-based Studio Sampler. This is, after all, sample heavy music!

Serge Tsai on the production of Shakira's "Hips Don't Lie": "'I recorded Shakira with a Telefunken Elam 251 through a Neve 1073 mic pre, no EQ on the return in the mix, and only an LA2A on the insert. The reverb on her vocals was the S777, set to the small hall in the Concertgebouw in Amsterdam. There were certain words on which she didn't want any reverb, so we had to automate the reverb send on the SSL. The main reverb in the track was a delayed plate from the 960L, used in moderation. I don't like things that are overwhelmed by reverb. And I tell you one thing, I have not heard a plug-in sound as good as the 960L. It's a crazy box.'"

In a photo shared on Facebook, John Christian's studio setup includes the Lexicon 960L, visible on the SSL Duality desk in the background.

Kenji Kawai uses the Lexicon 960L reverb, as confirmed on his official website under the profile section.

"In the end the studio consisted of a 48-channel Pro Tools HD system running on a G4 with one Prism AD8 converter, a Yamaha 02R96 desk, which we soon got rid of, plus things like an Apogee PSX 100, Lexicon 960, Eventide H3000 and other outboard equipment. There was another G4 for Logic Audio with an RME interface to connect digitally to Pro Tools. We transferred everything we'd done on my Digi 001 to Rob's HD system and, in the end, also everything that we did in Logic."

Used for vocals on the Awake Tour, as specified by FOH engineer Mickey Beck in this May 1, 2007 Mix Online interview.

Are you using onboard effects with the digital board?

Beck: As far as effects, I use the internal effects mainly for delays, backing vocals and orchestra. Basically, any effect that needs to change from song to song. The main effects processor is the Lexicon 960L configured into four stereo engines for use on Josh’s vocal, drums, percussion and featured strings. The ins and outs are routed digitally via AES-EBU. The Lexicon 960L is easily the sweetest-sounding effects processor I have ever heard, while at the same time being easy to get out of it exactly what you want. The vocal chain consists of an XTA D2 dynamic EQ and an Avalon 737 mic pre/compressor/EQ.

In the video titled "Spatial Moon Studios | My ultimate 2025 studio tour" by NIVIRO, at 7:58, NIVIRO shows the Lexicon 960L Surround Reverb positioned in the same rack with its controller placed at the top.