On this photo, you can see Boss SE-50 in James's rack.

"In the track “Jowls” [from Monsters and Robots], the “chandelier” scrape at the beginning of the song is achieved with the trusty Roland SE-50 set to produce two pitches descending and two pitches ascending, thus creating the sound of four minor seconds. No delay was used, the level of harmony was 100 percent on each note, and the volume levels of the actual note and the processed harmonies were equal. Save me the slunk!"

can be seen at kl 2:40

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder

"I go through an SE-50 BOSS effect processor, so it's got a little bit of chorus and delay,"

"I use a Boss SE-50 for delay, reverb, and chorus, and I split the signal into two amps…" (Originally published July 2007)

Suicide Commando / Johan lists his equipment on his official website - see link.

As seen in the rack photos of this MusicTech interview.

mentioned in article "or those who, like Morgan Geist, learned to produce electronic music in the pre‑YouTube days, success hinged upon being lucky enough to know someone who could teach you or winging it in the dark with a badly written manual. Without the former, Morgan and Dashan persevered with little success for many years with the latter. It wasn’t until moving to study at Oberlin College, a sister school of the highly regarded Oberlin Institute where Kelley Polar studied, that Morgan’s perseverance caught the attention of Midwest techno legend Dan Curtin. By this time he had amassed a Roland Juno‑106, a broken ARP Axxe, a Kawai Q80, a MIDI‑only version of MOTU’s Performer sequencer, a Boss SE‑50 effects processor, a Boss DR‑660 drum machine and an Alesis ADAT 8‑track digital recorder, which at the time was a revolutionary machine for bedroom producers. “I saved and saved for one. It was so expensive, and now people won’t even use them as doorstops.”

For those interested in the gear I used, here is a list: Mutable Instruments ‘Shruthi’ synthesizer, Bastl Instruments Trinity Poly, Roland SP404SX Sampler, Bleep Labs ‘Nebulophone’, Phonic 12:2 mixer, Mute Dirty Synth 1, Boss SE50, Boss Tera Echo, Koma Elektronik BD101 Delay, Sony MiniDisk, 4:1 submixer…

List of effects at Paul Robb's studio:

Aphex Type C2 Exciter. BBE 462 Sonic Maximiser enhancer. Drawmer DL241 dual compressor. "I generally strap this across the stereo buss. At some point I'd like to get a better compressor, though." Boss SE50. Boss SE70. "I primarily use these for distortion." Digitech VFX Valve FX. "This is an awesome distortion box. It's so bright it will rip your head off." Ensoniq DP/2. "I also use this primarily for distortion. All four of my distortion boxes [Digitech Valve FX, Roland SE50 and SE70, Ensoniq DP2] are absolutely critical to me. They're indispensable. I rarely use synthesizers anymore without running them through a guitar box." Eventide H3000 multi‑effects. FMR Audio RNC1773 Really Nice Compressor (x3). "These are my new favourite boxes. They make them in Texas, and they're incredibly cheap — 179 dollars, I think it was. But they're great, and on a par with the Drawmer compressor." Focusrite Red 2 Dual EQ. "It's mostly just gorgeous looking! Everyone who comes in here notices it. It looks like a piece of candy, you just want to bite on it. The thing is, it's so intimidating to look at, you really can't tell if it's any good or not — it doesn't need to be any good! I like it, though it's not quite good enough to strap across the whole mix: the EQ3D is on a par, even though it's half the price." Focusrite Red 7 Voice Channel. "This has a mic pre, a compressor, an enhancer and a de‑esser in it, which we use for recording vocals." Lexicon MPX1 multi‑effects. Lexicon PCM70 multi‑effects. Nightpro EQ3D filter. Peavey Analog Filter. "I actually very rarely use this. I've run some loops through it to make them sound crunchy and lo‑fi and it works OK. These techno people use outboard filters all the time — it's just that this one isn't a particularly good one, and I can't justify spending a grand on something like the Waldorf DPole or the Mutator." Roland SDE1000. "I just use this for simple delays." Roland SRV2000 reverb. SPL Vitalizer. "I think this is a lot more popular in Britain than it is here. I like it, but it has so much background hiss that I can only use it in loud noisy music. The great thing about it is the way it spreads the stereo fields, it's got some kind of phase." TC Electronic M2000 multi‑effects. Yamaha SPX90 multi‑effects. "This was the first effects box I ever bought and it's totally on its last legs. I keep it for its stereo split program, because it sounds so grainy and nice."

In an interview with Musit, WATCHMAN confirmed that he used the Boss SE-50 multi-effects processor during the early days of his band The Sleepwalk:

"使用機材は姉から譲り受けたYAMAHAのストラトキャスター（型番不明）に、音楽仲間たちから頂いたBOSSやMAXONなどのコンパクトエフェクター群、それと自分の最初期の宅録機材であるROLAND：W-30（シーケンサー／サンプラー／キーボード）、BOSS：SE-50（マルチエフェクター）、TASCAM：PORTASTUDIO 424（4chカセットMTR）を使っていました。歌は当時マイク知識がゼロだったので笑、普通のカラオケ用マイクとリハスタにあったSHUREのSM58か何かで録っていました。