"My studio was called Pi West, and the initial bank of keyboards there when John and I started out working together were the Sequential Circuits Prophet 5 Rev3, a Prophet 10, an early ARP Quadra and two ARP Avatars — one Avatar was integrated with a Sequential Circuits Model 700 programmer — an ARP Sequencer, an Oberheim Four Voice, and an Emulator 1 sampler. I also had the Linn LM1 drum machine, which drove our main arpeggiator, the ARP Sequencer, using clock pulses."

In this image of Mark in a mask taken during the "Shout" era (1983 or 1984), an Emulator can be seen on the far left, next to a Fairlight CMI. A LinnDrum can also be seen on the right, atop a Linn LM-1.

"But now I've got an Emulator and an Emulator II, two DX9's, an Oberheim, a Prophet, a Roland JX3-P and so on, and I'd say at this point that the synth has a generic sound of its own; when I wrote parts for the synths I used to write "woodwind" and "brass" to indicate the kind of sound, but now I tend to just write "bass synth" or "wind synth" because they have sounds of their own. And even when you think you're hearing an acoustic instrument on the albums there's a synth doubling it an octave below, which gives you a bigger bottom end."

In this photo, Steve can be seen with his original E-MU Emulator I that he took on tour with him in the 80s.

"The ‘80s was really a period when great changes occurred in terms of making music... When I made [Philharmony], a musical sampler called the Emulator was released and I bought one even though it was expensive. I was really excited. Sampling was an important concept at the time. The Emulator is an American product and Stevie Wonder got the first unit. It had serial numbers on it and mine was 060. I decided to record a whole album with it, and ––Philharmony was the result. When you listen to it, it sounds normal. The Emulator was a sampler, so it could sample live sounds. It was an interesting instrument then."

From his Red Bull Music Academy lecture, 2014.

Michael Cretu uses the E-Mu Emulator I, as evidenced by an image where it is visible beneath a PPG Wave synthesizer.

"I didn’t like the Emulator I but the Emulator II, I did like. It was great and I started sampling my voice and using string samples. That became part of the whole thing as well."

This photo shows Jerry playing an E-Mu Emulator I.

Andy is credited with "Emulator" in the liner notes for the album Junk Culture.

Paul is credited with "Emulator" in the liner notes for the album Junk Culture

This emulator is listed 9th down in their gear list

"[The Residents] had never toured before because their music depended so much on the studio and they feared that it would not translate well to stage. However, the invention of EM-U's Emulator in 1981 was a big step forward in music creation. The Emulator was the first affordable sampler, and it allowed musicians to take all those sounds which can't be produced by conventional instruments and play them back with great precision and control. They were so impressed that, ever the technophiles, they ordered one immediately. Their first one was Emulator #0005. The band used it extensively on the second Mole Trilogy album, The Tunes of Two Cities, and started experimenting with using it to perform music from The Mark of the Mole live in their studio."

As detailed from this page by the Residents themselves.