At 6:00 in this video, one can spot Alan Braxe's PCM 42.

The heart of Linnell’s system is an Apple Macintosh IIci (1) running MOTU’s Performer sequencer and Mosaic notator (for horn arrangements), connected to an Opcode Studio Plus Two MIDI interface (2) and Timecode Machine sync box (3). A Cutting Edge hard disk (4) alongside Linnell’s Music Mart accordion (5) doubles as a pedestal for a Bundy bass clarinet (6) — which is not to ignore his prized Buescher bass sax (7). A Yamaha MJC8 (8) distributes MIDI to his E-mu Proteus FX (9) (“this is what I’m using live now”) and Vintage Keys (10), Roland R-8M percussion module (11) and U-220 (12), plus a Casio VZ-10M (13) bought in a closeout sale. “It’s the end of the legendary CZ line,” he laments. “It’s got some weird, cheap sounds you can’t get any other way.” An Akai S1000KB sampler (14) also serves as a master MIDI keyboard. When he’s in a picking mood, Linnell picks up a Gibson SG from the early ‘60s (15). A Boss TU-12H (16) helps keep it in tune.

The instruments, plus a Sennheiser 421 mike (17), feed a Tascam 688 eight-track cassette deck (18). “It has all these line inputs,” Linnell points out. “I can mix all my sequenced tracks and still have seven tape tracks for bass clarinet.” For effects, he uses a Urei 7110 compressor/limiter, Lexicon PCM42 delay (19). Yamaha SPX90II multieffect unit (20) and Korg DRV-1000 reverb (21). He mixes to a Sony TC-WR690 cassette deck (22) and Panasonic SV-3700 DAT (23), amplified by a Hafler PRO2400 (24) and Design Acoustics PS-10 speakers (25).

In a video titled "Analog Mixing & Jonathan Wilson's Home Studio" on the Produce Like A Pro YouTube channel, Jonathan Wilson discusses his use of the Lexicon PCM 42 effects processor in his studio setup.

"For effects, Pearson uses a variety of multi-effects units to help create different sonic textures. 'I have a TC M5000 multi-effects unit, a Lexicon 480L reverb, a [Yamaha] SPX-990 multi-effects, a PCM 42 delay and an Eventide H3000 Harmonizer. On Alanis' CDs, she overdubs her voice a lot to create harmonies and textures, so I use a variety of delays and the harmonizer to create different textures between the verses and the chorus. But [I] keep it sounding natural to imply the effect that she uses on the CDs."

In the video "White Denim Flash Bare AZZ Breakout" on the official White Denim YouTube channel, James Petralli mentions using the Lexicon PCM 42 at the 7:44 mark.

"My regular looping rig is a modified Lexicon PCM 42—the first one made of its kind. [Lexicon designer] Gary Hall modified it around 1981 to have approximately 20 seconds of sampling/delay time. The originals only had five seconds. I have another PCM 42 that was modded to feature a reverse-play switch."

Used for the keyboards on "Makes Me Wonder", as stated by mix engineer Mark Endert in this September 2007 Sound on Sound interview.

Keyboards: Urei 1176, Roland SDE3000, Lexicon PCM42

“The acoustic piano had a ton of 1176 compression on it and also some slap echo from an SDE3000. I definitely added timed delays from my PCM42s to the Juno 106 pads to keep them nice and full in the choruses. The great thing about the contour of the track is that there are moments when it’s big and then you get sucked down into moments that are tight and small. So when the keyboards change to distorted Rhodes and Wurlitzer in the bridge, they are much more dry than anything else. I don’t think I used plug–ins on the keyboards."

In this rack photo posted by Shanks on his Instagram profile, the two Lexicon PCM42 digital delay processors can be seen.

Listed in the Gear-Section.

In this YouTube video you can see Ken Marshall using the Lexicon PCM42 mounted in his rack.

According to a list of equipment which is used in his studio, Crowdspacer, Joakim is also a user of Lexicon PCM-42 digital delay.

In an interview with Gearspace, audio engineer Manny Marroquin stated, "My favorite delay is a PCM 42," confirming his use of the Lexicon PCM 42 effects processor.