In the mid-1980s, Brent Mydland was seen using the E-Mu Emulator II, as confirmed by an image from Ryan Storm's article "The Grateful Dead Keyboard Rigs - Yes, All of Them." The photo shows the Emulator II alongside a GS-1, with a B3 organ just out of frame and one of the Leslies visible in the background.

In Level 42's 1986 Wembley performance, Mike Lindup can be seen using the E-Mu Emulator II audio sampler.

"Getting back to my live keyboard set-up, I also use an Emulator II, DX7, Jupiter 8 and a Korg CX-3. I do all my own keyboard mixing on stage and just send the PA a stereo mix of my sound because I like to keep control of what's going on. Effects-wise, I use a few digital reverbs and a couple of digital delays, that's all really. I don't use any MIDI facility on the road."

In a user-uploaded photo, Dieter Bohlen is shown with the E-Mu Emulator II, identifiable as the prominent blue synthesizer at the bottom of his equipment rack.

In a video by AnalogSynthMuseum, Paul Hardcastle is shown using the E-Mu Emulator II to create his iconic track "19."

The item can be seen 0:20 into this video.

Luke Million uses an Emu Emulator II to play the sitar part in his rendition of Never Ending Story, as seen in this video from his studio.

In this sale of Conny Plank's studio equipment, an Emulator II is visible in image 20.

“We also had the 707 [drum machine beat] and an Emulator 2 sample of a bass sound I made up from a MIDI keyboard. The guitars were Fenders through some old Marshall amps. Jon would have had a Pearl [drum] kit of some sort and [Remo] Roto Toms. He did some cymbals, toms and fill stuff across the drum machine, as well. Garry added a bass part with a Fender Precision bass, and some of the guitar was overdubbed. It was important that the guitar work have the push-pull of people really playing—trying to get that aggression, that edginess, to come out.”

"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. I later got an Emulator 2, which became one of our main pieces and had a very musical arpeggiator on its own."

Discussed on this forum post about DiCola's Equipment.

You can see the Emulator II in this photo.