this japanese interview shows daft punks equipment used to record homework

On the back cover of Jean-Michel Jarre's "Rendez-vous" album, a list of instruments used in its production includes the E-Mu Emulator III. This detail is noted in the LP Cover Art blog on Wordpress, which provides insight into the gear employed by Jarre during the album's creation.

"My main instruments are the Yamaha CP70/80 electric grand, the DX7, plus the Emulator II and EIII. I know the EII better, so the more ambitious sounds on this album are from the EII. The Kurzweil modules have various digital sampled sounds, and the acoustic guitar sounds on the 1000PX are really good. I also use the D50 - it has lots of beautiful sounds which can be accessed without editing. In terms of effects I use a lot of Rev7, and recently I started using a Boss chorus."

Alan Wilder uses the E-Mu Emulator III, as listed in the equipment section of the Sound On Sound article "UNSOUND RECORDINGS."

Studio buffs tend to forget that modern recording studios are imposing and disorientating places for the average lay person. The technology seems to be surpassed in complexity only by military and space hardware, and Mark King's 'home' studio is certainly state of the art, as the above listing indicates. There's also a Macintosh SE30 with Performer software, an SRC SMPTE-to-MIDI convertor, Adams Smith Zeta 3, NS 10 and Tannoy DTM8 monitors, and two Otari MTR90 24-track recorders with 48 tracks of Dolby SR. Sound sources include a DX7, Roland D110 and 550, Yamaha TX816, Juno 60, Emu III and Emax, Casio CZ101, plus an Akai-Linn MPC60 workstation and a DDrum 2 drum sampler.

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

Yanni used the E-Mu Emulator III for a short period of time from about 1989 to 1994. It can be seen in the Live at the Acropolis video being used as the main sound for 'Santorini'. It is the large grey console on the top-left tier (Yanni's top-right).

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

Teddy Riley, known for his work as a singer, keyboardist, and music producer, has confirmed using the E-Mu Emulator III. In an interview featured on soulandfunkmusic.com, Riley stated, "I also used the [E-mu] Emulator Three when it first came out — that long, big keyboard that gave everybody problems. But I liked the first Emulator."

"I use the Emulator III as my major instrument and there's also some D50s, DX7s and DX7IIs - I still like the DXs for bright, percussive sounds. But I think you need to become familiar with your library so you know exactly what sounds you have at your disposal. I just get so sick of learning new instruments."

Instrument-wise, the S1000 inevitably features on the album, along with the EIII, and various other keyboards. A Mac II handles sequencing duties. "We've got a massive library for the EIII now, some great samples. We've spent 18 months sampling, so that's our main tool. We've also been using the Korg T3, and we've just got the new Roland D70, which is very good because it gives you much more of the analogue style live fader control, which is what you want. You don't want to read through manuals and alter every Partial — all that matters to the musician in the studio is that you can get the sound in your mind as quickly as possible.

"The Super Famicom era was almost entirely sampler-based. I used an Akai S-3200, an E-MU EIII, stuff like that."