List of equipment in George Michael's studio, from the July 1996 issue of Sound on Sound:

RECORDING

AKG LSM50 cube monitors Aphex Expressor compressor Denon tape deck * Dynaudio Acoustics M1 monitors Lexicon PCM80 effects Lexicon LXP15 effects Mackie 32*8 32:8:2 8‑buss console Otari RADAR 24‑track hard disk recorders (x2) Tascam DA20 DAT * Yamaha NS10 monitors

SOUNDS

Akai S3000i samplers (x2) Akai S3200 sampler * Emu Procussion percussion module Emu Vintage Keys Plus module Emu Ultra Proteus synth module Korg Prophecy keyboard synth Korg Trinity Plus keyboard synth Kurzweil K2000 sampler/synth Roland JV1080 synth module Roland Juno 106 analogue keyboard synth Roland Vintage Synth MVS1 sound module Studio Electronics SE1 synth module * Yamaha SY77 keyboard synth Yamaha TG500 synth module

MISCELLANEOUS

DAC hard drive * Opcode Studio 4 MIDI interface (x2) Powermaster drive *

this item is listed 3rd on the list of samplers used by PSB on this site.

" The Super Famicom era was almost entirely sampler-based. I used an Akai S-3200, an E-MU EIII, stuff like that."

In this archived version of a December 2000 article from Sound On Sound, there is a sidebar toward the bottom that lists Hyde's then-current studio gear: ·Access Virus synth. ·Akai S3200 sampler. ·Behringer Composer compressor/limiter. ·Behringer Ultrafex 2 enhancer. ·Clavia Nord Lead synth. ·Joe Meek VC1 voice channel. ·Novation DrumStation drum module. ·Sherman Filterbank. ·Sony MP5 multi-effects. ·Spirit Absolute 4P monitors. ·Waldorf Microwave XT synth. ·Yamaha SPX90 multi-effects.

"The first Señor coconut album, El Gran Baile, was more about combining audio tracks and cutting and pasting samples together to create a Latin atmosphere — it wasn't about songs or melodies. In those days I used an Akai S3200 sampler, Akai MPC3000 sequencer and an Akai eight-track digital recorder for overdubbing. It was a very minimal setup."

The tenth photo shows his studio and is captioned: "Marius de Vries now does most of his programming work in his own room at London's Strongroom studios. The large rack at left contains, from top, Alesis DM Pro drum module, Korg O1R/W sound module, Roland MKS80 Super Jupiter synth with MPG80 programmer, Studio Electronics MIDIMoog synth, two Akai S3200 samplers, Emu Vintage Keys and Morpheus sound modules, Kurzweil K2000R sound module, Roland MKS50 and JV1080 sound modules."

In this 2016 interview, Soichi mentions the gear from his first studio. He still uses most of them to this day.

The S3200 is mentioned as his most used piece of gear because of his own sound library.

In this image over his shoulder you can see a sampler its hard to make out in the low quality. The knobs match up (two small one big) and the coloring doesent look like the XL. Additionally on this form post ( https://modwiggler.com/forum/viewtopic.php?t=107504#top ) Tyler Duepree (Who collaborated a few times with Inoue) lists what he can remember Inoue using, and this sampler is listed.

Isham's 'orchestra pit' is, however, no slouch, with several Akais (S3200, CD3000, S1000, S1000PB and three S2000s), three Emu E4Xs, three Roland S760s, plus a selection of older units. "They each have their own characteristics — the Akais have a tremendous transient response, and for percussion they're just brilliant; the Rolands have a warmth about them. I also have so many because of the various different programmers that work in the different formats. Eric Persing of Spectrasonics pretty much works for Roland, and he's just so good that I had to have some Roland gear to take advantage of his wonderful work."

According to this article on the making of Goldie's Timeless album from the June 1998 issue of Sound on Sound magazine, Playford's studio gear includes an S3200 sampler.

Roland JV1080, Roland JV 2080, Emu Ultra Proteus, EMU vintage keys X 2, Akai S3200 X 2, Novation BassStation, Mac running Logic etc

Source: Interview with Michael Münzing and Luca Anzilotti about SNAP! in mu:zines.co.uk from 1994. https://www.muzines.co.uk/articles/snap-to-tomorrow/8245