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Exactly how it was used - either live or later, during mixing, would just be down to the workflow of the engineer/ producer. You could either "commit to tape", in which case your use of echo/reverb is baked into the track forever more (a valid technique!) or wait for mix time to make that decision in the context of what you're putting to final 2-track.
As to the actual how did it work part, very simple - whatever you sent came out a speaker in the chamber, and that was picked up by one or more microphones which were then fed back up to the control room.
A plate's electro mechanical, but same principle in practice.
Bandcamp
Spotify, Apple et al
Sweet. Exactly the info I was after. Thanks. Although the answer appears to be: both!
...hopefully Max Bygraves or someone like that.
Kinda. It was the attic. I don't think Berry Gordy did anything other than stick a mic and a speaker in there either. No tiling, no reshaping. Just the attic of his house. I remember reading that Joe Meek used his bathroom.
We had a PA in the live room in my studio and we sent many things back out to it from the control room to add some live to it.
I've also seen that label on guitar amps (from the '70s, sometimes carrying over into the next decade) which I presume were designed when portable spring tanks and analogue tape echo / delay machines were the only thing likely to be inserted in an effects loop.
For example the popular solid state guitar amps and combos from HH Electronics that were based on the IC100 platform, such as the VS-Musician, to the best of my knowledge all have their effects loop labelled "ECHO SEND" and "ECHO RETURN."