This can be seen as part of the rack-mountable equipment in the studio in this video.

According to the items he sold at auction, this processor was one of those things. It was another piece of gear he used.

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.

The rack setup used during the later Blue Murder days included a Mesa Boogie Dual Recto head, a Mesa Boogie Tri-Axis Preamp, a Mesa Boogie IIC+ head, a Mesa Boogie Strategy 500 Power Amp, a rackmounted Dunlop Crybaby, a Lexicon PCM 41, a Lexicon PCM 70, and an H&H V800 Power Amp.

"He still tends to treat his sounds heavily after programming: favourite devices for creating movement are his Roland SBF325 stereo flanger and Roland SDE3000 digital delay. Other effects come courtesy of Lexicon PCM70, Yamaha SPX90II, and Korg SRV reverbs, Sound City distortion pedals, and a stereo ring modulator which he had custom built. Again, like Sylvian, and still harking back to Tin Drum times, Barbieri prefers the sound of keyboards recorded to tape (the Fostex E16), and so, oddly for a modern keyboard player, doesn't own any sequencer or computer."

"My favorite digital reverb. I had a bunch of custom presets I made that I used all the time. 'Pelvisman' (named after a song by Knerble Knerble) was a huge, bright hall sound with a lot of pre delay, and 'Anti-Pelvis' was a super fast gated snare sound, used on a ton of sessions."

In this article, Andy's approach to recording vocals is explained. "The album was rounded out with King’s vocals, captured on a Shure 57 or Neumann 67 and given a touch of delay and reverb with the PCM 70 or 80 and Logic reverb, 'to help the vocals sit in the track.'"

In his Studio Tour Feature for FACT Magazine, Mathew Jonson's PCM-70 can be seen at at 2:48.

In a 1988 photograph, Dann Huff is shown using a Lexicon PCM-70 Reverb, a popular effects processor during an era when rack rigs were highly valued in professional music production.

A pair of Lexicon PCM 70s can be seen in Karl's studio (sixth photo, right side of rack, third and fourth from bottom).

"The PCM70 is also a favourite toy; it has so many lovely things to it. Its Rich Chamber setting is a real warm, beautiful sound. So I was able to do the whole movie score with just that setup and I was very happy with it." Another smile, another cigarette, another subject. Art. To call Laurie Anderson a musician is to do her an injustice. Her work to date has involved songwriting, choreography, film-making and performing, so "artist" is a more accurate term. And strangely, it's from interviewing those sculptors that this artist has drawn many of her ideas."

In this video with Alan Braxe, you can see a PCM 70 being used at 5:50.