In a studio tour video by MusicRadar Tech, Andy Meecham of The Emperor Machine showcases his use of the Akai S1000 sampler.

Max used a MIDI-controlled Akai sampler to produce his first three albums.

"Roland JV2080 + expansions, EMu Proteus, AKAI S1000 but we built our own samples for the games… I had an Emulator IV for PDZ but switched to Gigasampler. Also JP8000 on that game….but soft synths were starting to happen…"

David Arnold has confirmed his use of the Akai S1000, along with other equipment such as the Akai S3000, Nord, Roland MKS80, Wavestation, and some vintage Crumar gear, in a statement on Bluesky Social.

Quoted: "akai s1000 and 3000. Nord . Roland MKS80, Wavestation and some old crumar stuff"

Tommy Hansen is documented to use the Akai S1000 sampler, as listed among the keyboards and samplers at Jailhouse Studios in Denmark.

They amalgamated live musicians with stolen samples and midi triggered electronics, mostly using an AKAI S1000 sampler and an Atari 1040ST sequencer.

The music was constructed and arranged via midi through a 24 channel mixing desk and via effects then recorded in one go "live" to DAT tape like lots of people did in the 90's.

• Murray Clarke

"A Prophet T-8 was the main controller, although not used all that much as sound source. A Yamaha DX-7 and TX-7 were used for all the electric piano sounds. A lot of the strings were a combo of two Roland synths, the MKS-70 and the D-550. I used an Akai s1000 a lot and a Linn 9000 as sequencer, drum machine (this was before powerful computers were easy to transport). An Emulator 2 was used for the guitar and many other samples."

SC: What gear do you use and how do you go about creating your sound?

"Dylan Thomas: I've got a bunch of samplers. I've got an Akai S1000 and for the old album we had a bunch of Emax's. I got the Akai to upgrade my sounds, since it's better quality."

As was typical in the early ’90s, the sequencing setup was based around an Atari 1040 ST computer running C-Lab Notator, MIDI-triggering a bank of Akai S1000 samplers and a Korg M1 synth. Additionally, on a recent trip to Japan, Nicolson had bought himself an Akai MPC60 sequencer-sampler that was to prove central to the beats on ‘Come Together’, not least because when he worked with US producer Jeff Lorber on sessions for UK boy band Brother Beyond in 1989, he had managed to come away with a library of drum samples.

“There was this timbale that I used on every single remix, which became a bit of signature,” Nicolson remembers. “I had all these pretty cool samples to use. They weren’t just 909 and 808. I had quite a good library, so the MPC was really helping me with a good base of sounds to work with.”

This user-uploaded photo shows Phil Wilde using the Akai S1000, a key piece of DJ gear and audio sampling equipment.

In an interview with Keyboard Review, Matthew Fisher confirms his use of the Akai S1000 sampler, stating, "All I was using was the Hammond, the JX-8P, which is mine, and an Akai S1000 sampler. All the sounds I’m using are S900 samples because that’s what I had but we needed the S1000 for the extra memory."

In his March 2014 interview for hardcorejunglism.com, John states:

"by signing with ‘Moving Shadow’ we were able to buy some new bits including Rob Playford’s old Akai S1000 sampler."