"Then, I have a massive collection of samplers going back to one of the very first ones that came out, which was the Mirage. I'm working now on a movie with Peter Jackson—I can't tell anything about the movie at this point—but I'm using a lot of these older samplers because they give me a lot of quality. I'm using the ASR-10, Ensoniq, the Mirage. I'm using the Emulator II. It's all really good for that stuff."

According to this interview, Vitalic made his fist album with only 3 pieces of equipment: "When I made the EP I only had an Elka Synthex, a Mirage sampler - even though I don't really consider that an instrument - and an RSF Kobol…""

"We had a bunch of synths at Smart Studios: Oberheim, Roland, Yamaha. But the Mirage was our first sampler. I think it was 8–bit, so it was sort of crunchy, but it had a vibe and some truly unique sounds. Used on everything from The Singing Irishman to Garbage."

There were other string sound recipes on Disintegration as well. On "Prayers For Rain," for example, O'Donnell added a bit of Ensoniq Mirage cello/violin to the Prophet/Solina recipe, then further darkened the timbre with what sounds like some reversed piano samples.

Kid Koala seen using a Ensoniq Mirage 8-bit Digital Multi-Sampler in his studio in a picture posted on his official Facebook.

As listed in this 1990 interview on the Music Magazine Archive

"...My main working partner on Commercial Suicide was John Bonnar, a composer who knew nothing about pop music or multitracking before this. He was writing arrangements for instruments he'd never worked with before - he'd only worked with dots on lines - so it was pure excitement for him. But when we got to actually making the record, we realised we didn't know how to do it. With pop music you do the drums or a click-track first, and if you're not using drums you do the bass, so we started with the bass. We used four DXs, a Mirage and a Roland, MIDI'd together to make the fattest noise I could imagine."

"Basically, the synth is the only instrument that offers such a wide variety of sounds. It also lets you play instruments you could never play unless you spent ten years practicing. On the new album, for example, there are some [Ensoniq] Mirage sounds on "If Only Tonight We Could Sleep." With all the will in the world, you'd have to be very, very good to be able to play that on a sitar. But if you sit with the keyboards a minute, you can play it. Another example is the koto on "Kyoto Song" [from The Head On The Door], which was a [Yamaha] DX7 preset."

Midge also uses a Powertran sampler which he finds particularly useful for sampling percussive sounds. Most recent addition to his collection, though, is the Mirage sampling keyboard, a synth that was the highlight of this years' Frankfurt show. The Mirage will be joining the Emulator and two Yamaha DX7 synths when Midge sets off on his world tour.

"This is what I use. ... a Mirage antique sampler and a DSP-5 effects processor. ... f*ckinJosh"

The Mirage sampler is the third unit down in the left hand rack case.

Per Music Technology magazine Sept., 1988:

Saunderson's instrument arsenal now takes in a Roland S550, Casio CZ5000, Roland JX8P, Korg Poly 800, Roland TB303 (the acid-house bassline machine) and Ensoniq Mirage. Drum-machine chores are taken care of by Roland's TR909, 808 and 727 together with an Alesis HR16 ("one of the cleanest drum machines I've ever heard") and his own sampled sounds.

"I love the Yamaha TX7, the Casio CZ-101, the ARP 2600, Ensoniq Mirage, Roland MKS-50, and the EMS VCS3. I like to have them around mainly for inspiration. In my experience, turning away and just focusing on a different object in front of you can yield good results."