"The Lexicon® 224 Digital Reverb plug-in is just stunning on vocals. It brings dynamics, without smearing anything. It breathes magic into a track," says Armin Van Buuren, in this article.

Nicky Romero opts to use the software version of the classic Lexicon 224XL: "To be honest I use a software version now because so many of the tracks I do have time pressure, but it's a great reverb."

"Can u tell I like my @UAudio plugins?"

From Andrew's blog post outlining his plug in staples. "It's kind of seen as an 'eighties' verb, but that doesn't give it enough credit. While you can definitely get those big digital washes on drums and vocals, there's a lot of flexibility in this plug-in to dial in lush spaces that sit beautifully in a mix."

Used for the guitar tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“I kept the bass in place with the UAD 1176LN E, and it also has a send to the Room aux, which has a UAD Ocean Way room reverb. I added compression to the guitar tracks with the UAD LA‑2A S, and there are sends to the Hall aux, with a UAD Lexicon 224, on the two main guitar tracks. The two guitar tracks that I pulled out for the B sections have sends to the Hall and to the Chorus aux, which has a UAD Studio D Stereo Chorus.”

32 seconds into a sneak peek into one of his Ableton sessions, Kill Paris opens Lexicon 224 on the left of the screen.

“The Universal Audio plug-ins are my bread and butter,” he says. “I use the UAD EMT 140 [Classic Plate Reverb], the Lexicon [224] Digital Reverb, and the Roland [RE-201] Space Echo. If drums or bass sound boring, UAD’s Fairchild 670 Compressor beefs stuff up and gives them character. Or the [Teletronix] LA2A plug-in on bass. Synths go straight to Pro Tools. Guitars and piano go to outboard effects like the hardware Space Echo, which I love for its unpredictability. I used a Manley Massive Passive EQ a lot too. The TubeTech CL-1B was the main vocal compressor. And I have a set of Lucas Limiting Amplifiers into a pair of Amtek Pultec PEQ-1A clones. That is a dummy-proof signal path. It’s hard to botch that.”

Dave Clarke talks to future music about his production techniques

When asked what some of his favorite UAD plugins are on his reddit ama, Alex Metric includes the UAD Lexicon 224 Digital Reverb Plug-In. Original source here.

Mariah Carey is confirmed to use the Universal Audio Lexicon 224 Digital Reverb Plug-In during her "The Butterfly" residency in Las Vegas. This was revealed by her mixing engineer, who discussed the use of various UAD plug-ins to enhance the show's sound. He specifically stated, "I can get the snare to sit exactly where I want it to and give that nice ’90s R&B sound as well, so using that in conjunction with the Lexicon 224 digital reverb plug-in, I can emulate some of those great ’90s snares that I need for her. It’s amazing." This information was reported by Clive Young in a Mixonline article titled "Mixing Mariah at the Colosseum: Live Sound Showcase."

Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.

“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”

Used for vocals on Another Country, as is visible in this image of the vocal effect chain from this February 2016 Sound on Sound interview with mix engineer Kevin Savigar. The plugin is in Insert 1 of Aux 1 of the UAD Console plugin.