A Space Echo can be seen on top of kurt's speaker cabinet during this show. At around 17 minutes in he plays about with the self oscilation while dave's broken drum is repaired.

The Roland RE-201 Space Echo can be seen on the stack of effects behind John Frusciante, as evidenced by the image provided.

Used for the vocals on Icky Thump, as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 Sound on Sound interview.

• Vocals: Teletronix LA2A, Roland Space Echo, echo chamber, Neve 8078 EQ

“Jack always wanted more distortion on the vocals! The main vocal effect is a distorted slap echo, which I recorded: I overloaded the tape machine. When you severely overload something, it squashes the waveform so much that it almost sounds like a different instrument. Instead of being a delay of the original signal, it becomes its own sound and adds a vibe to the track. When it came to the mix, Jack wanted still more distortion on the vocals and more edge, so I overloaded an LA2A compressor, setting the output to 80. This meant that I was getting the distortion from the last tube stage of the compressor, which creates a really beautiful distortion.

“I also added some Roland Space Echo spring reverb to the vocals during the mix, and ran the vocals through the echo chamber. Any reverb that I used on the album would have been dark-sounding, and in a lot of cases I made it mono as well. In the case of ‘Icky Thump’ I’d pan a mono reverb left behind the vocal that was panned left, and the other mono reverb was panned right behind the vocal that was panned right. Both were panned at about three quarters. I might also have rolled some top end off the distortion, just to get rid of any ugly harmonics."

This Space Echo is specified to be an RE-201 by the official Blackbird Studio audio rental rack gear list.

Througout this video the Roland Space Echo RE-201 is shown directly behind Kevin in his studio

Alex Turner can be seen using a Roland Space Echo RE-201 during this performance at Austin City Limits in 2018 as well as throughout their tour of Tranquility Base Hotel and Casino. Located under the Gretsch amplifier behind Alex. Before Turner added the Space echo into his setup, he used a Boss DM-1 Delay Machine for his delay signal and reverb from his Selmer or Magnatone amps. While likely still using reverb from those amps, he gets his delay from this Rolland. The Space Echo can first be seen used by Alex during the recording of Tranquility Base Hotel and Casino in Arctic Monkey’s film titled “Warp Speed Chic” seen in his set up during recording. Jamie Cook has been using a Space Echo since their Suck It and See era, noted by producer James Ford that Cook got his delay signals from the Rolland. Jamie has been seen using it during all mentioned tours, including AM.

A Roland Space Echo RE-201 can be seen on this detailed gear diagram of Jonny Greenwood's 1997 Radiohead stage setup.

In this image, taken in 1979 from the recording of his album "McCartney II", a Space Echo can be seen on top of the Jazz Chorus

you can see at 1:45 a roland re-201 space echo. He probably uses it for vocal delay and short slapback sounds for his guitars

In this photo of Noel Gallagher performing at a gig at Splash Club, Water Rats, London on January 27, 1994, his Roland RE-201 Space Echo effects unit can be seen behind him, atop his Vox and Marshall amps.

One can see two photos of the Space Echo RE-201 in this collage of Flying Lotus's home studio.

Jamie Cook uses a Roland Space Echo RE-201 during the recording of “Suck It and See” onward for live shows and recording of albums other albums. The Space Echo can be seen in “Warp Speed Chic,” the recording of the bands 6th album, “Tranquility Base Hotel And Casino” and their 5th album, “AM.”

In an interview with James Ford about the recording of “Suck It and See,” Ford gives insight on why and how Jamie’s set up incorporates the Rolland. “Cook's guitar setup revolves around a '60s Simms Watts rig and custom‑built Rosewell Bluesman, though for the Sound City sessions, he also borrowed engineer James Brown's Audio Kitchen Big Chopper amp. For more ambient sounds, he'd plug into various toys, including a WEM Copicat or Roland Space Echo, Electro‑Harmonix Holiest Grail reverb pedal and Fulltone Deja Vibe stereo phase/chorus.” These extra “Toys” expanded Cook’s sound in various different ways not seen on Arctic Monkey’s previous albums.

Ford continues, "Cookie does either the spacey, watery, roomy sounds,” says Ford, "which were vibrato and reverb and a bit of echo. Or he does the kind of heavy, single‑note type of stuff. We used the Audio Kitchen for his heavier stuff — it had a Vox AC30 sort of vibe, but with a bit more presence and clarity. His live take would be close‑miked, and then we'd bring the amp into the room and maybe double it with a distant mic, Jimi Hendrix‑style, from the other side of the room.”

In the interview shows a picture of Jamie’s set up of the Space Echo along with a WEM Copicat. Pictured is Jamie’s set up during the “Tranquility Base Hotel and Casino” tour in 2018 & 2019. The Space Echo is seen behind Jamie, on top of his Hiwatt Stage/Studio 2x12 Combo amplifier.

(Sound on Sound, James Ford: Producing Arctic Monkeys) https://www.soundonsound.com/people/james-ford-producing-arctic-monkeys

"Though Ed generally prefers digital and analog delays, he did briefly use a Space Echo in circa-1996."