This is one of Billie's studio effects from Reverb.

Used for Albarn's vocals on Gorillaz's "Charger", as mentioned by recording engineer and frequent collaborator Stephen Sedgwick in this July 2017 Sound on Sound interview about the production of Humanz.

“The vocals start at track 42, with Damon’s lead vocal. The main lo-fi telephone-like effect is the typical 2-D sound, because this is a 2-D song. I can’t tell you what it is, but it’s done with hardware. The plug-ins on the inserts are a Waves Renaissance De-esser and RVox, and the Waves Kramer PIE [compressor], which I use a lot on vocals. Below are two tracks of lead vocals with delays.

While recording, I often use the SoundToys EchoBoy for delays, but I replace that with hardware delays to get more character. In this case these two tracks are prints of me running Damon’s vocals through a Roland SDE 2000. I was having fun with that, doing fast delays and delays with modulation. Then there are some Damon harmonies, and the yellow tracks are him singing the chorus, and some of these are pitched down an octave with the Little AlterBoy. I usually compress vocals with outboard, either using Empirical Labs Distressors or sometimes the Summit TLA 100A or Tube-Tech CL1B compressor. If want to impose a lot of character I’ll engage an old Collins broadcast limiter. For reverbs on the vocals I often use the studio’s EMT 140 plate.

Visible among Belew's effects rack in Adrian Belew: Electronic Guitar (1984) at 2:41.

Shown within rack setup as per photos published on FREE THE TONE's blog (2017).

Hay can be seen using a Roland SDE-2000 Digital Delay mounted on a stand in front of him during this performance in Hamburg, Germany in 1982.

On current projects "Most audio that is recorded at Labrinth's studio passes through either the Avalon VT737SP voice channel (top) or the Neve Portico 5032 (centre) and into the Apogee Rosetta converter. Other outboard includes two Roland SDE2000 delays, Lexicon PCM80 reverb, BBE 422A Sonic Maximizer, MXR Digital Time Delay, Control Synthesis Deep Bass Nine and Drawmer DS201 gate."

Included in this list of Martyn's Roland gear.

the Roland SDE-2000 can be seen in this image

"A Yamaha 12-channel mixer received signal input from Guy Fletcher’s two Roland Jupiter synthesizers, Solina string synthesizer, Korg organ, Yamaha CP-80 electric piano, and Wurlitzer electric piano. The resultant mix was processed through a Roland SDE-2000 delay unit, and then sent to the house and monitor consoles. Additionally, a direct input was taken on each individual keyboard instrument to ensure clean signals at the desks."

Manuel Göttsching's Studio Roma

Jools Holland's equipment list, from the January 1993 issue of Music Technology:

(Helicon Mountain studios)

Instruments: Casio FZ1 Keyboard Sampler Casio FZ10M Sampler Module w/80-disk sound library Casio VZ1 Synth Hohner Clavinet Korg CX3 Organ w/Leslie 145 Cabinet Yamaha C5 Grand Piano Yamaha DX7 Synth

Recording: Atari 1040ST w/Steinberg Pro24 and C-Lab Creator sequencing software Fisher CD Player Revox PR99 two-track Saturn 824 24-track (Dolby SR on arrangement) Soundtracs Quartz 48-channel in-line desk (96 inputs on mixdown) Casio DA1 DAT Recorder Casio DA2 DAT Recorder XRI XR300 SMPTE Synchroniser

Effects: Drawmer Gate Drawmer Dual Compressor/Limiter Eventide Harmonizer Lexicon 480L Reverb Lexicon PCM70 Multi-effects Processor Roland SDE2000 Digital Delay SA PPE 240 Teac Graphic Equaliser Yamaha REV7 Reverb Yamaha R1000 Reverb Yamaha SPX90 (x2) Multi-effects Processor

Microphones: Neumann U87, AKG, Shure, PZM

"Unlike a lot of guitarists I don't feel the need to have lots of different guitars for different sorts of songs. I've just got the SG2000 which I'm basically very happy with. I've also got a Roland guitar synth which I used on the first album and the last tour, but I don't use it much now. The sound is just a bit too thin: it doesn't make the guitar stand out enough amongst all the synths. To vary the sounds a bit I use a Roland 555 Chorus Echo and an SDE-2000."