Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."

In the film of the Wembley concerts from 1987 The AKAI S612 and the accompanying MD280 disk drive can be seen under Tony's mixer in the rack. The same sampler and disk drive can also be spotted in videos from the recording sessions for Invisible Touch.

Seen here in concert at: 22:32 https://youtu.be/BZtb-6K8LxQ?si=KPsERjPnCDgMgPbn&t=1352

And here in the studio at 12:27 https://youtu.be/4YfRiE4t8wE?si=olJh81iZtS9rgJiR&t=867

List of equipment used by Klaus Schulze, from the February 1993 issue of Sound on Sound:

4x Akai S1000PB (32MB) 2x Akai S1000KB (32MB) Akai S900 Akai S612 Akai S7000 Moog Modular CIII 2x Moog MiniMoog Studio Electronics MIDIMini Mellotron Yamaha CS80 Yamaha CP70 Yamaha TX81Z Yamaha SY99 Korg M1 Korg M1 EX Korg T1 Korg T3 Korg DVP1 Roland U110 Roland U220 Roland D50 Roland S50 sampler & monitor Roland Planet S & editor Roland Super Jupiter & editor 2 Roland TR505 Roland Octopad Roland JD800 Roland Super JX10 4x Hohner HS2/E sampler 5x Hohner HS1/E sampler Hohner HS1KB sampler Waldorf Microwave GDS computer synth Misc. Crumar keyboards Fairlight CMI Series II SCI Prophet 2000 SCI Prophet 2002 Emu Proteus/2 Emu Proteus/3 World Emu Emulator II Kurzweil K1000 Kawai K4 EMS Synthi A PPG Wave 2.2 Linn 9000 4x Oberheim DPX1 Yamaha RY30 drum machine Sonor timpanies and octo toms Paiste gongs and cymbals Martin 12-string guitar

Legowelt has a dedicated "Synthesizers" section on his website which contains a number of gear pieces that he has or had. One of these is the Akai S612. And while that is not a synth, and has nothing written about it (some of those pieces of gears have articles describing Legowelt's opinion or review), it's still on his official website.

The August 1992 issue of Music Technology contained an interview with Cobain and Dougans:

"I think the beauty about the sampling world is that you're basically becoming attuned to listening to small bits of music that you like," opines Cobain. "I learnt to work in that way when I was using my first sampler, an Akai S612, because it didn't have much memory and you could only play one sample at a time."

In a Sound on Sound interview, Cobain discusses the creative process for Accelerator and mentions that the two-second limit on the S612 sampler was an important part of the sound:

with the two seconds of samples offered by the S612 we learned the beauty of how to take one note and write with it. So, when I'm talking about sampling I'm not referring to just dropping massive bloody hip-hop chunks. I'm talking about going through records, going through TV, getting a conga note and then playing weird rhythms with it.

The Body Bags score was composed using Digital Performer software running on a Macintosh Iicx computer. Sampling was done with an Emulator IIIxp and a Forat F16. Other electronic instruments include Hammond B3, Wurlitzer electric piano, MicroMoog, Roland MKS80, D550, Prophet VS, Yamaha DX and TX series, EMU Proteus 1 and 2, Korg M1r and M1rex, and an AKAI 612.

The score was digitally recorded using Alesis ADATs and BRC and John Hardy microphone preamps. Microphones included AKG414, Shure VP88 and SM57. The music was mixed on a custom Speck Electronics model 62 console. Signal processors used include: Behringer MDX 2000, SNR 802, DBX165a, B&B and Troisi cq, Dyna-Mite, Aphex expander gates, Lexicon and Yamaha Reverbs, Zoom, TC and Korg delays. Additional DSP and editing done in Sound Designer/Sound Tools. -John Carpenter

There were a lot of keyboards and samplers and modules used here is the studio list;

Mirage Sampler Prophet 2002 Sampler Emulator E2 Sampler Emulator E3 Sampler Akai S612 Sampler

Moog Mini Moog Model D Synthesizer Roland JX8P Synthesizer Arp Solina String Machine

Bosendorfer Grand Piano

On stage;

Yamaha mother keyboard with weighted action Roland JX8P Korg M1 Midi Step Midi foot controller rack including Oberheim disc readers which read Prophet, Mirage and Emulator samples

Akai S612 is included in the list of equipment at Daniel Miller's home studio.

In this screenshot of a video James posted today on the White Denim Instagram account we see this Akai sampler.

After asking what the Beatminerz used on Black Moon's "Enta da Stage", co-member of Da Beatminerz, Mr. Walt Replies: "AKAI 612 Sampler & Casio SK100. Put the samples on CASSETTE and then took them to the studio."

The Akai S612 can be seen in the 6th image of this instagram post. Posted on August 12, 2022.

Item can be seen 5:33 into this video.