"I still love my Roland SRV-2000 and 3030 and my TC Electronic M-One 19-inch reverbs, the Lexicon 480L with the LARC, and of course, most important, the Roland RSP-550s, of which I have a bunch. These are the main effects I use all the time for the more prominent instruments. They create the rooms and reverb positionings and, of course, the delay cascades for most of the sequencers."

The website above refers to an article that presents some of the equipement used by Elton John.

Second page, 2nd paragraph states that a Lexicon 480L is used on Elton's vocal.

“While there’s a little ‘verb and harmonizer on the backing girls, I use a Lexicon 480L on Elton’s vocals,” ....

Part of Q-Tip home's studio. It can be seen in this excerpt from his 2016 CBS: This Morning interview at 0:06.

Having survived John's intrepid questioning we drove over to King's home studio, which is located a few miles out of Rye, in a house overlooking the site where in a grey and distant past the Isle Of Wight Festival took place. Jimi Hendrix and Bob Dylan once played there. Now there are only hills, grass and cows. And a studio which left John breathless for a moment. He gazed in astonishment at the 48-channel SSL E-series desk and the 15 or so Alembic and Status basses on the walls surrounding it. He skimmed the walls of outboard gear, including AMS, SPX90II, Lexicon PCM70, 480L and 224X, Urei's, decided that he felt more comfortable with the view outside, and silently settled into a chair, watching the snow fall on the grass.

Per "Rock This Town" publication, special issue 1991:

In 1991, the setup was as follows: [Rock This Town special issue 1991]

Sound studio: Analog Synths: Roland System 100/100M/101 (+Roland Midi interface MPU-101);YAMAHA CS-40M (in the Take One video); Oberheim Matrix 1000; Digital Synths: Yamaha DX-7 (2); Ensonic VFX; Roland DDR30; Yamaha tg77; Korg Wavestation; Sequencer: Atari 1040 (Sequ. Cubase 2.0); Samplers: AkaiS9000 (2); AkaiS1000 (8Mg + Hard Drive Mfile 44); AkaiS1000PB (4Mg); Emulator II; akai 1100, e-mu Procussion, roland s-10 for live use @ the mixing desk; Effects: Lexicon 480L; Yamaha SPX90 II (2); Roland SRV-2000; Roland SDE-3000; Alesis Midiverb II; Alesis Quadraverb; ART DRX; spx 1000 (x2); Eventide h3000 se; Mixing: Table TAC Scorpion 32/16; Recorder TASCAM MS16 tracks; Recorder DAT Luxman; Speakers Yamaha NS 10M pro ATC SCM50; QUAD ampli (for NS-10M); Diverse: compressor/limiter, noise gate, parametric eq. Live: Backline: Akai S9000; Roland DDR30; Simons & Roland Pads; Emulator II; TASCAM238 8

Graphic Studio: Commodore Amiga 2500 (6Mg + Hard Drive 40Mg); Commodore Amiga 500; Digitizer SNAPSHOT; Camera Sony CCD V-200E; Laserprint NEC Silentwriter LC890; Monitor NEC Multisync 2A.

In this photo, you can just barely make out that the white object on top of the mixing desk is the remote for a lexicon 480L.

In a screenshot from a chat with former member Rick J. Jordan, he confirms that Scooter used the Lexicon 480L in their music production.

A studio is nothing without equipment. In A.R.T. Studio the following top shelf music gear (and some personal favorites of Michael) were available:

Custom built AMEK Digital mixing console Audio Frame Workstation and Waveframe 1000 (old at the time, very important for the Enigma sound) Custom built studio controller by Quested Acoustics Protools system hardware Emagic Logic Audio Platinum software. Sample cell (Software sampler) Steinberg’s Halion External Midi modules and hardware: Lexicon 480 and 960 (reverb) Yamaha REV1, REV7 and REV9, Eventide Reverb Dynacord DRP20. MIDIMoog, PPG System, Korg M1, C-Lab Notator Takamine 6 and 12 String Guitars Tom Anderson Electric Guitars Otari DTR-900 Akai 900 Linn 9000 Prophet 2002 X-Pander EMS Vocoder DX-7 Roland MKS-80 «Super Jupiter», Roland V-Synth, Korg OASYS Korg Karma And, of course, a PC-based Studio Sampler. This is, after all, sample heavy music!

"The most beautiful addition to the studio recently was the Lexicon 480. I am experimenting with some esoteric MIDI-controlled effects, such as changing the reverb time from a keyboard's aftertouch or velocity parameters."

"We use an API 1608 desk, various compressors like the Universal Audio 1176s and the blue DBX 160 series. I still prefer my old Lexicon 480L to the digital plug-ins. The latest version of Pro Tools is great to have, because it is very easy to combine all the old gear with that. In ATR, we use the Roland TR-909 as the main drum machine; it’s part of the band’s sound, really. Then we still use the old Akais for ATR, like the S1100 or the S6000 or the MPC 2000XL. They are also part of the band’s identity in a way. Especially when you apply distortion. We also have a lot of modular synths, from the Metasonix Wretchmachine, the ARP 2600, Analogue Solutions Vostok, the Sherman Quad Filterbank and the Moog Voyager with all the external CV gate stuff. We find the Voyager better suited for ATR. My Minimoog just sounds too retro. I love the machine, as so many others (my Korg Trident, Roland Jupiter 8 etc...) but ATR has a certain sound that we stick to. I use all that other stuff more for the Alec Empire solo works. The Atari 1040ST is still the main sequencer for everything. Pro Tools is slaved to that."

"For effects, Pearson uses a variety of multi-effects units to help create different sonic textures. 'I have a TC M5000 multi-effects unit, a Lexicon 480L reverb, a [Yamaha] SPX-990 multi-effects, a PCM 42 delay and an Eventide H3000 Harmonizer. On Alanis' CDs, she overdubs her voice a lot to create harmonies and textures, so I use a variety of delays and the harmonizer to create different textures between the verses and the chorus. But [I] keep it sounding natural to imply the effect that she uses on the CDs."

With these words Youth heaves himself to his feet and suggests that he takes me for a quick tour of the building before he gets back to work. First he shows me the DDA studio in the basement, which sports a Tascam analogue 24-track, Lexicons 480L and PCM70, an Akai/Linn MPC60, and Genelec and NS10 monitors. A visiting M1 is subjected to his derision, much to the amusement of the programmer. Upstairs he shows me the 16-track studio, home to a Tascam MSR16 and a Soundtracs PC series desk, and the small editing suite with its Macintosh and Soundtools digital editing. Finally there's the demo room, with a Tascam M312B desk, Atari, S1000, Midiverb II, SPX50D, NS10s', and, surprisingly, a DX7II. The latter instrument is being played by Jaz Coleman, who's making a gothic-sounding godawful racket together with Geordie Walker on electric guitar.