Chris Lowe is very clearly playing an Emulator II+ in this picture.

"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."

Sleazy frequently mentioned that the main sound source for the early records was the E-mu Emulator II, although its sounds were sometimes exported to the Fairlight via MIDI and edited on it.

Apart from the Chamberlain and an Emulator 2, other keyboards featured on Woodface include a Mellotron, a Baldwin Electronic harpsichord, an old Cox organ, a Hammond, a Prophet 5, and a Piano Optigan, "a very trashy organ brought out in the '60s which reads a kind of optical disk. It sounds very low-fi but is very atmospheric. There are what you could call 'samples' on them of things like brass bands playing. It's pretty wild."

Ed and Phil in Nigel’s “The Hospital” studio in late 2006, during the recording of In Rainbows. The synths on the left are an Analogue Systems The Spawn and Analogue Systems RS-15 rack (featuring an RS-200 Sequencer System and an RS-370 with RS-375 expander), a Korg MS-10, a Sequential Circuits Prophet 5, a PPG Wave 2.2/2.3, and an E-MU Emulator II. The synth on the right is an ARP 2600, which might belong to Thom or Jonny based on other photos from the recording of In Rainbows.

"I got the EII a day or two before we started work on the third Asia album and it didn't have a sequencer on it at the time, and the MIDI hadn't come through on either the Fairlight or the Synclavier (which I was on the point of buying), so the Synthex's MIDI sequencer was really useful for sequencing the EII."

Yanni used the E-Mu Emulator II up until 1991 when it was replaced by the Emulator III. You can see it in this video at timecode 15:20.

"To me, 'Lovesong' had a real '60s feel," he explains. "So we used an [E-mu] Emulator II Vox organ sample from the [OMI] Universe Of Sounds CD. We ran it out into the studio through an amp to make it sound distorted, as if it was recorded in the '60s. And the organ sound on 'Untitled' is the harmonium sample from the same CD. At first we were going to use one of the church organ sounds, but that felt two pompous, too grand. The harmonium brings it down because it's a bit out of tune; it actually sounds as if it's being pumped with your feet. Somehow 'Untitled' creates an atmosphere of the Wild West."

Sintetizador utilizado en discos como "Pateando Piedras", "Corazones" entre otros.

"I chose to use the largest part of the space for the control room, in order to accommodate my video equipment (a small Sony 3/4-inch editing system, Fairlight CVI, and a large screen Barco projector over the mixing board) along with a large battery of electronic percussion (E-mu SP12, Linn 9000, and assorted Simmons and PPG modules) and my new Fairlight Series III and Emulator II."

Michael Cretu used the Emulator II extensively in the 80s and early 90s. The Shakuhachi flute sound heard in the hit Enigma single "Sadness" was unique to the Emulator II at that time and Cretu used that sound numerous times across the first three Enigma albums.

"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."