In this interview Rudy states the following:

Rudy: I use the following(gear):

AKAI S 900, S1000HD, S1000PB, S3000 XL KURZWEIL K 2000 WALDORF MICRO WAVE/PULSE/PULSE PLUS EMU E64 DOEPFER MS 404 OBERHEIM MATRIX 6/1000 YAMAHA TMX/SY 55 ROLAND TR 808/909/MC 303/SH 101/D-50/JD-800/SH 3 SIEL KIWI BIT ONE KORG WAVESTATION/MS 20 ENSONIQ MIRAGE KAWAI K4 SEQUENTIAL CIRCUITS SIX-TRAK BRAINTEC TRANSISTORBASS 3 CLAVIA NORDRACK MAM MB33 ACCESS VIRUS/MATRIX-1000 PROGRAMMER

In an interview with Tape Op, Public Enemy producer Hank Shocklee talks about using the Ensoniq Mirage sampler in the early days of the group:

"We just happened to get a few dollars in and I found the Mirage. It gave you that three-second window, and that was an eternity for us, we’re like, 'Oh my god. We can actually sample for three seconds?'"

He also favorably compares the Mirage to the more advanced Akai S900:

"But when I heard [the Akai S900] I didn’t like it because there was a feel and sound that the Mirage had at four bits and there was something good about the fact that it could only give you three seconds, because the way that it caught with a little hiccup in it that gave you that extra charge. And you didn’t get that in the 900 — that was looped correctly! I said, 'Nah, I can’t feel that.' That was not working right now. So we did something that was more rugged — stayed with the Mirage but we ended up using the 900 for other things."

"When I was in the band I got a loan and bought a sampler called an Ensoniq Mirage. It cost about £1,200 and it could sample eight seconds of sound. By today’s standards it was terrible quality but it was amazing at the time. It was unbelievable to hear human voices coming out of a keyboard. During one gig, our drummer knocked it off its stand and it smashed on the floor. I hadn’t even finished paying off the loan. Drummers, eh?"

"We rely pretty heavily on the Prophet 2000 sampler, although it was not my choice. It just happened to be what turned up in my studio. Everyone seems to say that the actual sound quality of the 2000 is very, very good, better than most, but I don't particularly like it. I got upset right away that you can only transpose it up a very short distance. I was using a Mirage before, which is supposedly a much less sophisticated thing, but you could transpose over five octaves. Other than that, I'll admit it's a pretty good sampler."

In this video Keyboard Cat is seen with a Ensoniq Mirage.

TRAVELLING CHEST — in true Icicle Works fashion, something completely off the wall; almost a folk song, with a lyrical arrangement inspired by The Byrds' "John Riley", and replete with brushes and banjo...

IAN: "It's actually an Emulator sample, which we sequenced."

CHRIS L: "And the string bass is a Mirage Ensoniq sample. I shouldn't have said that..."

IAN: "It's well keyboardy that track, but like they're all acoustic samples – there's the upright bass, the banjo, there's a harmonium in there too. And there's an acoustic guitar..."

CHRIS S: "...triggered off the bass drum..."

IAN: "...which was an RX11. But there is real guitar on it too."

CHRIS L: "We can do it live, though. I just play it on an ordinary bass – not fretless. I don't think I could play one, I'd probably be out of tune a lot... I like to have a go, but you always end up sounding like Mick Karn, Pino Palladino... a dated sound."

In this Instagram photo, DJ Hard Rich shows off his collection of vintage rackmount Ensoniq samplers including the Ensoniq Mirage, Ensoniq EPS M, and Ensoniq EPS 16+.

In an interview with Tape Op, Public Enemy producer Hank Shocklee talks about using the Ensoniq Mirage sampler in the early days of the group:

"We just happened to get a few dollars in and I found the Mirage. It gave you that three-second window, and that was an eternity for us, we’re like, 'Oh my god. We can actually sample for three seconds?'"

He also favorably compares the Mirage to the more advanced Akai S900:

"But when I heard [the Akai S900] I didn’t like it because there was a feel and sound that the Mirage had at four bits and there was something good about the fact that it could only give you three seconds, because the way that it caught with a little hiccup in it that gave you that extra charge. And you didn’t get that in the 900 — that was looped correctly! I said, 'Nah, I can’t feel that.' That was not working right now. So we did something that was more rugged — stayed with the Mirage but we ended up using the 900 for other things."

BLAIR COWAN Korg BX3, Yamaha DX7, Casio CZ101, Ensoniq Mirage, Ibanez DM 2000, Peavey KB300, Settimio Soprani 80 Bass accordion.

In this video you can see Borai's Mirage Sampler in the rack

"I've got the old bog-standard Akai S900, a Prophet VS which I think is a very under-rated keyboard, a Mirage and an Oberheim Matrix 6", he reveals. "The VS has got some great sounds, although the keyboard tends to be a bit mushy. There's a great function on it where you can make random waveforms and random sounds ad infinitum. It just comes up with some fantastic Dr Who 'dalek sounds' and all kinds of weird stuff. Having said that, I like sampling myself. I like sounds that are real. I never got into programming, I was never very good at that."

Old stalwart Malcolm Homes sits behind his drum kit, while the similarly experienced Martin Cooper alternates between guitar, Emulator II and a Super Jupiter, Graham Weir between trombone and Mirage, and brother Neil between trumpet and bass guitar. Humphreys' Fairlight, Emulator II and Korg Micro Preset (!) are tucked into a corner, leaving most of the stage clear for Andy McCluskey to launch into frenzied dance routines.