In this photo of Stu's outboard gear, a Yamaha E1010 Analog Delay can be seen. This comes from an AudioTechnology showcase on King Gizzard and The Lizard Wizard (http://www.audiotechnology.com.au/wp/index.php/king-gizzards-lo-fi-gut-feeling/).

Sakamoto/Yellow Magic Orchestra relies on this analog delay in the late 70s to early 80s.

" Used by: Randy Rhoads with Ozzy Osbourne. "

In this article, you can see that the Yamaha is part of his rack set up.

The use of the Yamaha E1010 by John Sykes is confirmed in the Whitesnake "Slide it In" Ultimate Special Edition booklet.

In the Equipment & Stage Plan it lists the Yamaha E1010 as the delay JJ would use.

In a reel posted on Instagram by whitedenimmusic, James Petralli is seen in his studio with multiple racks of equipment in the background. The Yamaha E1010 is visible in the upper right rack, positioned just above a power unit.

Mentioned in this March 1984 Musician interview, and this January 1985 International Musician & Recording World interview.

Musician, March 1984, "Who The Hell Is Carlos Alomar?" by J.D. Considine, pg. 90

Carlos Alomar's criterion for his stage sound with David Bowie is fairly simple: "When I strum my guitar," he says, "I want to hear it come out of the amplifier just like on the record." To get that clean, well-manicured sound, he uses an Alembic stereo guitar, outfitted with Dean Markley strings (usually .009s), run through two Roland Stereo Chorus amps, with two Ibanez UE-300 effect units, a pair of Yamaha E-1010 delays, and twin Electro-Harmonix 203 guitar synthesizers. He also uses a Stratocaster, a couple of Yamaha guitars, and a prototype Steinberger guitar which he describes as "great, it's really great."

International Musician & Recording World, January 1985, "The Boy Keeps Swinging: David Bowie" by Philip Bashe

Carlos Alomar used an array of guitars: Alembic stereo electric, Steinberger prototype, acoustic, Spanish and 12-string. Amplification consisted of two Roland JC-120s and for effects, he employed two Yamaha E-1010 digital delays, Ibanez UE-400 and UE-405 multi-effects units, and two Electro Harmonix 230 guitar synthesizers. In this era of guitars that sound like every instrument but, Alomar opted for a fairly traditional and lightly textured sound.

"I didn't want too much of a synthesized sound," he explains. "I wanted to keep it balanced because of the horns on the album. And I didn't use the real heavy-duty power, because David's always screaming, 'No Heavy Metal!'"

Alomar played virtually all of the guitars on Tonight and details his unorthodox method of devising parts.

"I'll start off with the Alembic guitar and play one very complicated part, and from that I'll break it down into three parts and then play them all separately. This way you have your stereo placement: one guitar on the right, the other guitar answering on the left, and one guitar playing everything in the middle of the mix. It keeps the sound very interesting."

According to the "equipment list" found on Church Studios, owned by Epworth, one of the things listed is Yamaha E1010.

A Yamaha Analog Delay Model E 1010 can be seen in this gear photo posted to Maso Yamazaki’s Instagram

"I've recently made two fantastic discoveries - the AMS Digital Delay/Reverb, which is made in Burnley somewhere, and Roland's Dimension D, which both help to keep the keyboard sounds clear and separate. Almost anything you do with them sounds great. Also I use the Roland Chorus Echo and the Yamaha 1010 signal processor live."

In an interview originally conducted in April 1986 for "Guitarist" magazine, volume 2 number 11, Steve Farris discussed his use of various effects units, including the Yamaha E1010, stating, "I have a YE 1010 and a Korg 3000 DDL, not a Roland, a Korg, and I think it sounds great. It's real warm, perfect for what I'm using it for." This information is sourced from an interview with Geoff Twigg on the website hugeracksinc.com, credited to HRI // The Archives and authored by marsa.