This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'There is hardly any processing on the guitars, maybe a little cut if too bright or boost if too dull, and a highpass filter,' says Doviak. 'Sometimes the guitar sound is thickened with an Eventide H3000 or Lexicon PCM81 guitar doubler effect, which I run as an insert or auxiliary channel in Pro Tools. But nearly all the guitar sounds and effects on Call the Comet come straight from the pedals and amps. The instant feedback and imperfections can be more difficult and slower to reproduce in the plug-in world.'" (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

You can see John's whole rack on this forum

Used for Albarn’s vocals on the Escape to Plastic Beach Tour, as stated by Albarn’s longtime FOH engineer Matt Butcher in this July 15, 2019 article by Entec Sound and Light.

“There are quite a few echo and delay cues, especially on Damon’s voice. I have an outboard rack with a TC D2 and a couple of Lexicon PCM81s in it, plus I’m using some of the internal effects for reverbs and delay for snare drums.

“When I was using a Midas Heritage on the first shows we did, I’d mess around with the tone generator and echo, along with guitar pedals to get some weird lo-fi effects. It was all very analogue and suited what we were doing and I’ve tried it with the D5, but I don’t really have as much time to play with these days!”

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Vocals: Waves Renaissance & Digidesign de–essers, AMS reverb, Zoom 1202, Lexicon PCM81, Watkins Copicat, Empirical Labs Distressor, Federal, Gates, Fairchild 666, EAR 660, Neve 1176 & Awa G7201 compressors

"I used two Renaissance de–essers on Chris's voice that were doing different things, and then a stock Digidesign de-esser. That was it for the plug–ins I added on this session. The Sonnox Oxford and the Eoisis were not out yet at the time.

"The analogue things I did on the lead vocal are really interesting. As I said, I initially mixed the songs on my own, because the band was in England re–recording some songs, so I knew I might have to recall each song. But on this song I pretty much nailed it, apart from that Chris wanted the vocals to be more exciting and different. In the end the vocal had some AMS non–linear reverb on it, while the main sound came from an old Zoom 1202 reverb and a Watkins Copicat delay, plus a special patch that I created in the PCM81, which is a much bigger reverb. So it's a combination of things, but you don't really notice them, all you notice is that Chris is in a very present, big room. When I had found that combination 'Violet Hill' really became a song, it really came alive, because his voice was able to fight through all the stuff that was going on and make it personable. There's no reverb on the rest of the track, which is another reason why the lead vocal sounds so huge: it's not fighting another bunch of reverbs. If you send everything to reverb, you don't hear it, but if you send only one thing to reverb, it'll be huge.

"For the main part of the song I had a Distressor on the insert of the lead vocal, and I sent this to another five compressors: the Federal, the Gates, the Fairchild 666, the Neve 1176 and another Distressor in Nuke mode. They're all coming back individually on the board, and it was a matter of blending those compressors. As usual in my way of working, the compressors are there to give attitude and tone, and don't necessarily compress. For the end bit of the song, where it's just Chris and the piano, I used the Awa G7201 limiter/compressor. It's an Australian compressor and it has an incredible air and presence. It's a unique sound that you can clearly hear at the end, as it's the only effect on the vocal on that point. Finally, the church group background vocals are sent to the same combination of reverbs as the main vocals. No other effects, no EQ. It means that all the vocals in the main section blend together."

At 2:52 in this video, Joe Duplantier's studio gear is shown to consist of a Lexicon PCM81 rackmount unit.

A pair of Lexicon PCM81 units can be seen in a chart depicting Yasunori's studio circa 2002.

Henrik Danhage showcases his Lexicon PCM81 effects processor in a detailed Instagram post, where he discusses and demonstrates its capabilities.

Used for vocals on the Dynamite tour, as stated by mix engineer Rick Pope in this January 1, 2006 Mix Online interview.

Despite reservations, Pope mixes the show sans feedback on a Yamaha PM1D Version 2 digital system, and records both shows to Kay’s Pro Tools rig, which he bought when the band began work on Dynamite. “We’ve been recording every show since 1999, so we have about 250 shows on either DA-88 or Pro Tools,” says Pope. “Most of them we may never even listen to, but Jay likes to have them on file.”

Pope mixes Kay’s vocals, which are sung through a Sennheiser 935 wireless mic, through a Manley VoxBox and an Eventide H3000. Save for an occasional nod to a Lexicon PCM81 or 91, all other processing comes through the Yamaha desk.

By the time of this Britannia Row article from the Automaton tour, Pope had retired the Dynamite-era setup in favor of a Yamaha PM10.

"For Jamiroquai, everyone knows Jay Kay drives a Ferrari. He’s my boss and this is the Ferrari of desks. But consider this, I used to use a TC6000 off board, a Manley Vox Box and an H3000 – they’re expensive bits of kit. Not anymore. The on-board processing and effects are as good or better than anything else out there.”

He talks about his outboard gear at 2:16 in his studio tech talk.

I also have a couple analogue effects of course. Like the Lexicon 480L, or a PCM 81

In this video, Sergey mentions that he used a variety of studio gear as well as guitar amplifiers for his album "Satellite:"

-Eventide H3000 -Roland SDE3000 -Synergy Friedman HBE Module -Synergy SYN-1 -Marshall Silver Jubilee -Custom Audio Amplification PT100 -Gibson Les Paul -Lexicon PCM80 -st.Rock React:IR -Mesa Boogie Mark V -Synergy Metro Plex -MXR/CAE Line Driver Booster -Marshall Plexi MkII -Universal Audio Apollo 8 -Zilla 2x12 cabinet with Celestion Vintage 30's and Creamback's -Shure SM57 -Model D Synth -Oberheim OB-Xa

Lexicon effects processor used by Ethan/Echo Us since 2019.

In an Instagram video, The Lady Machine explicitly mentions using the Lexicon PCM81 as part of her late-night jam, alongside other equipment like the Prophet REV 2 and RE 909.