Used for ZZ Top's First Album, Rio Grande Mud, Tres Hombres and Fandango!, as recalled by Gibbons in this December 3, 2009 Guitar World article (reprinted from an interview in the November 1996 issue).

“Tush”

Fandango! (1975)

“The first three albums were recorded exclusively at the Robin Hood Studios outside of Dallas, and the special sound that always seemed to be accessible there was due in part to the fact that the equipment was nailed to the floor and nothing ever moved so you could always count on a sound. Quite a good sound, I must say.

“ ‘Tush’ was Pearly Gates, my beloved Les Paul, played through the same Marshall Super Lead, and we sure enough did stop and enjoy the G tuning for the composition’s slide element. This song was largely straight guitar to amp, but I also utilized a real odd, esoteric device called the Cooper Time Cube, which was a simplistic application of the complex world of physics. In a small rack-mounted can sits a small speaker, right up next to maybe 50 feet of one-inch rubber tubing, which is coiled, spring-like. The sound waves actually take longer to travel, having to make these corners, creating a type of delay which is quite unlike the familiar sound of a digital delay. That was a real left-field piece of gear which they had—and still have, I might add—in that studio. Some of the guitar sounds that appear to be doubled on the early albums are actually the byproduct of that oddball Cooper Time Cube.”

In this article it says Justin Vernon (Bon Iver) used an original Cooper Time Cube when recording his last album, 22, A Million

Used for Followill's electric guitar on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview.

"We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools.

(...) **Guitars: **Massenburg DesignWorks EQ, Sound Toys Echoboy, Cooper Time Cube, Digidesign delay, Audio Ease Altiverb

(...) "I also used an Echoboy for delay on certain sections, like in the choruses. There was a little bit of bus compression on the guitars and a little bit of EQ, all very minor stuff, because I had already recorded what I wanted. The only radical EQ is on the Cooper Time Cube delay, which I described above, and which I applied to Caleb's guitar. I took out everything below 861Hz to get rid of the darker tone that was obscuring the source tone a bit. There's also a bit of Digirack delay on Caleb's guitar, to give it a bit more dimension by panning it to the other side than the track itself."

Vocal ad libs, backing & outro: Antares Auto–Tune EFX, Auto–Tune Live & Harmony Engine, FabFilter Pro–DS, Pro–G, Pro–Q2, Volcano & Timeless 2, Waves Vocal Rider, & H–Delay, UAD API 560, 1176, EP34, Pultec EQ, Teletronix LA2A, MXR Flanger & Cooper Time Cube, SoundToys MicroShift, Audio Ease Altiverb.

Used on the bass for "Sex on Fire", stated by Only by the Night producer Jacques King in this December 2008 Sound on Sound interview.

"I also put an AMS delay and a Cooper Time Cube on the bass, just to give it a little bit more ambience. The latter is something made by Urei. It's a tiny box with a speaker at one end and a mic at the other, and you get 11–14 milliseconds of weird, hollow, echoey delay/reverb. It gives a nice early reflection type of texture. Because the delay is so short, it also gives a chorus–filter like effect."

King also mentions the Time Cube in this interview with Universal Audio.

What's really exciting about the UA stuff is, for instance, I hadn't used the UA plug-ins when I was making the [Kings of Leon] Only by the Night record, but I was using a Cooper Time Cube. When I'm in those situations, I get something set up on the console, and then when I do my transfer from the 2", I also transfer the effects that I've set up. Like if I put a Cooper Time Cube on a guitar track, I'll transfer that in. For the last couple of records, these plug-ins are so good that now I don't have to have those things either rented, or set up, and printed in. I'm using the plug-in.