During the 1988 David Lee Roth and 1990 Whitesnake world tours, Vai used 2 of these delays in an offstage effects rack.

He still used his old and trusty AIWA, but because of mechanical problems in 1992 only as a booster. Since 1992 the typical Blackmore 2/3 sec. echo came from a big Yamaha digital delay. He used this 19" rack-mounted Yamaha delay for his last Deep Purple studio recordings (“The Battle rages on ...” from early 1993) as well as for the last live album “Come hell or high water” from late 1993 and on all his later recordings

At 3:46 in this video showing Andy Summers' effects rack two Yamaha D-1500 delays are visible.

In this 1996 Guitar Player magazine interview, Robin Guthrie says: "my favorite digital delay is the Yamaha D-1500."

Vivian uses a Yamaha D-1500 Digital Delay, as shown in this Guitar Geek rig diagram.

"For effects, I use an old Roland SRV2000 and three Yamaha D1500 delays." In the video (https://www.youtube.com/watch?v=IVGYgi97MfM&list=RDIVGYgi97MfM&start_radio=1) at 1.50 minutes in Chris says "I have a bunch of these Yamaha D1500s, this is a mono one which I use like an echoplex - where I have the dry signal and the wet sifnal at one time and I use that (D1500) as / just like an echoplex. I like that a lot!".

A noroism Instagram post about Issei Noro’s October 1987 post-Platinum setup lists a Yamaha D-1500 digital delay routed through the Yamaha PSE-40A / ESY101 system. The unit also appears again in the 1991 Full Colors-era rack diagram.

He may (or may not) be the Mayor of Simpleton, but Andy Partridge knows one thing: The Roland PG-1000 programmer that goes with his D-50 confuses the hell out of him. "I'm not a very logical person," Partridge declares, and the PG-1000 "is aggressively logical and it rather upsets me." Until he figures it out, he's happier with a "tiny little Yamaha sampler" that he used for songwriting until recently. He seems to be having more fun with a new toy, a Alesis HR-16 drum machine. Partridge records home demos on a 1982-vintage Tascam Portastudio; for that purpose he keeps a "fizzy" Session MKII amp -- "not fantastic". He was impressed with a Fender Stage Lead he played through during the Oranges and Lemons rehearsals. Oops, guitars: Until '82 he played an Ibanez Artist exclusively, but that changed when he got a Fender Telecaster Squier -- "it has a nice clangorous tone" -- that's his current electric one-and-only. On the acoustic side, Partridge has played his Martin D-35 on all XTC albums dating from English Settlement. He also has a small Yamaha acoustic for "twanging" purposes, and a "Woolworth's" bass guitar (no name on the head) with a "very unusual tuba-like tone to it." Guitar strings are D'Addario or Ernie Ball Regular Slinky. Other gear: Korg DDD-1 drum machine, Yamaha D1500 digital delay, Alesis MIDIverb, Hitachi boom box. He has PG Tips teabags but prefers coffee.

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

In the February 1986 issue of International Musician, as featured in Muzines, Lloyd Cole is documented using a Yamaha D-1500 Digital Delay, alongside a selection of guitars and other equipment, during his recording sessions.

Eric Chevalier's gear list circa 2003, according to his website:

Mixing Consoles: - Sony DMX-R100 - Yamaha 01V Monitors: - Genelec 1031.A - Genelec 1030.A

Samplers: - Akai s6000 (x2) - Akai CD3000XL - Roland S760 (x4) - Roland SP 700

Synthesizers: - Roland JD800 - Roland JD990 - Roland MKS80 + PG - Roland MKS70 + PG (x2) - Roland XV3080 - Roland D550 - Roland A80 - E-MU Proteus 2000 - Yamaha TX802 - Kurzweil MicroPiano - Korg M1R EX - Korg Wavestation AD - Korg Triton - Alesis DM5 (drum machine) - Access Virus A - Access Virus C - The theremin - Nord Lead

Computer (& Plugins): - PowerMac G4/733 - PowerBook Titanium - Monitors Plasma (x2) - Pro Tools Mix Plus (software) - Logic Audio Platinum (+ eMagic plugins) - Spectrasonics Athmosphere - Spectrasonics Stylus - Mac Five - DD 80 Go + 120 Go + 160 Go LaCie - DD 40 Go Ice - Synchro: "Time Machine" C Lab - Unitor MK2 (x3)

Effects: - Lexicon 480L - PCM80 / LPX15 - Yamaha SPX90 / D1500 (x2) - Tube Tech Compressor LCA 2B - EQ Moog - TC Electronics M5000 - TC Electronic Finalizer 96K - DAT Panasonic SV-3800 - DAT Sony PCM R500

DDL duties fall to yet another Yamaha, the D1500:

"Which I got when they dropped its price to about £300 — it was such an incredible bargain, I couldn't resist it.'