At 2:58 in this interview, Kanye West says “whatever tools I need to get that point across, to get that sound across but, I was blessed to have grown up playing the EPS-16+”.

Timbaland is seen with the Ensoniq EPS 16 Plus in an Instagram post captioned "And where it end !!!!!!!"

Autechre's hardware samplers include the likes of the Ensoniq ESR and EPS...

In this article Mike Dean talks about his first pieces of equipment and how he began producing

At 5:32, RZA says, as he talks about his past gear, "...Ensoniq had made something called the EPS 16 plus....and I went and got it."

Used on Fantastic Damage and RTJ4, the former mentioned in the album's liner notes. It is also mentioned in this June 1, 2001 Remix article. this May 14, 2012 The Fader interview and this June 12, 2020 Mixdown Magazine interview.

Remix, June 1, 2001, "Bomb Tracks: A Hip-Hop How-To"

Regardless of the source, all of El-P's drums and other sounds go into his Ensoniq EPS-16+ sampling keyboard workstation. He really likes the EPS's variable sampling rate, which ranges from 11.2 to 44.1 kHz. Almost all of his samples go in at 22.3 kHz because, he says, “it just gives it that little edge.” In fact, edge, grit, and a certain stark quality are important elements of El-P's sound. Often he won't even use hi-hats in his beats. “As long as there is a sparse, hard kind of grit underneath it all,” he says, “I can go off and do however complicated a melody I want, regardless of whether or not it ends up sounding sparse.”

(...) In contrast to the two Akai MPC users, El-P loves his Ensoniq EPS-16+ sampling keyboard because he can play his own bass lines on it. He'll sequence a bass line on the keyboard's 8-track sequencer rather than resample it as a loop. And he tries to create distinctive bass sounds: “I'll sample this squelching noise from a guitar combined with a horn, pitch it crazy low, loop the end of it, and play a bass line from that.

Fantastic Damage liner notes (2002)

This album was produced using:

• 1 Ensoniq EPS 16+ Sampling Keyboard
• 2 Technics 1200 Turntables
• 1 Vestax 07 Mixer
• 1 Korg Chaoss Pad
• 2 Shure needles
• 1 Oberheim OB12
• 1 Magnus Electric Organ
• 1 Pro Tools Digi 001 System

The Fader, May 14, 2012, "Beat Construction: El-P"

What type of gear are you using now? Are you mostly inside of the computer at this point or are you using external stuff still?

I use a shit ton of external stuff. ​Pro Tools is the hub, for sure. I have a Pro Tools HD system. I was using Pro Tools LE for a long time but then I started getting offered these remixes for rock bands and shit. I remember I bought Pro Tools HD because I got a Mars Volta [song to] remix and that shit had like 96 tracks on it. I couldn't even open it! But yeah Pro Tools is the hub and I use a lot of external synths. I've had Moogs and Oberhiems and Tritons and a Jupiter 4, a lot of different stuff. It's a rotating cast. You get a synth, you use it, eventually you sell it and get a new one. It's a lot of external stuff and a lot of internal stuff. I have no problem using plugins and [virtual] synths, that's just another resource. If you know how to make something sound good or gritty or different then it comes out of the box and you're in a good place. I still use my EP 16+. [Another] thing that's evolved for me a lot over the years has been noise manipulation. I use a lot of outboard gear—pedals and filters and oscillators—to take a sample, change it and bring it back into the computer.

Mixdown Magazine, June 12, 2020, "El-P reveals how he produced Run The Jewels’ incendiary fourth record RTJ4"

“I knew that I wanted to bring it back a little bit into that realm for me, because I had really separated from that for a long time. When you hear Run The Jewels 3, it’s really the peak and culmination production-wise of me getting away from that to a degree – really shying away from that stuff. So it kind of added a breath of fresh air for me. I broke old the old sampler, the Ensoniq EPS 16 +. I’m always looking for new ways to keep things fresh for me, and sometimes, keeping it fresh is dipping back into your closest of goodies and thinking ‘this could be fun to play around with again.’”

In a screenshot from footage of Rammstein's live performance on July 2, 1994, Christian Lorenz is seen using an Ensoniq EPS 16 Plus. It was also used in studio, visible in the documentary "ACHTUNG! WIR KOMMEN" at 34:45 for example. In 2020, the keyboard was sold on eBay for 500€, it came maxed out with 2MB of RAM, has both the Ensoniq SP-2 and Ensoniq FB-2 expansion boards installed, and the OEX-6sr Output Expander accessory. It also came with an internal HDD of 127MB connected to the SP-2 expansion.

As mentioned in the liner notes and official site for Szampler: “A collection of samples I made for my old Ensoniq EPS-16 Plus and ASR-10 samplers that I used between 1989 and 1996.” – Fennesz, 7 Jan 2010.

"I didn't get any money from my first record deal, but I told them if they wanted me to make an album I needed a sampler, so they bought me an Ensoniq EPS 16+, which is a mono sampler with 2MB of memory. My first three full length albums were made on those three pieces of gear, and a Roland D20."

In this interview it’s stated that D’Angelo used a Ensoniq EPS 16 Plus to make “Brown Sugar”

In this video at 7:04 Havoc talks about his intro to production and first pieces of gear "...Yea when i first started...everybody knows that i started with the...y'know the MPC 60..EPS plus Ensoniq keyboard when I used to sample on that too.."

Williams displays his synthesizer collection. The EPS is the bottom rack.