Morgan Geist tells that he sold his Trident Fleximix to James as he is really into this model of mixer. it is written as though he uses this mixer for his unique sound.

from interview on musictech.com "They were originally built for Queen to go on tour with. You can join loads of them together, so you can get 32-, and 16-channel versions as well, but mine is 10. They’re also modular, and you can get compressor modules and stuff. It’s really great. I got it mainly because when I moved in here I needed to get loads of mic preamps for doing drums, but then I installed this and it just solved the problem. It’s effectively 10 really nice mic amps and a really straightforward EQ, so anything in my drum room goes through that. You can also use it coming back out for summing. It’s alleviated my need to use an expensive mic preamp for the kick drum. It’s also great for guitars – I’ll distort the mic pre and the EQ."

"all going through three Trident Fleximix" is written in the album From Deewee's booklet.

It is stated in the article that the Human League produced "travelogue" on a Trident Fleximix console

It is stated that: "Good Earth Studios boasted a floor space of 582 square feet and was L-shaped with two isolation booths and a Steinway grand piano. It was especially famous for its large, split-level control room, which was initially equipped with a Trident B-Range 24/16 desk and an MCI 16-track, augmented by a Trident Fleximix console."

Quotes from an article about the recording of "Non-Stop Erotic Cabaret" "It was at Mediasound, in Studio C, that recordings for Soft Cell’s Non-Stop Erotic Cabaret subsequently took place. This time around, Don Wershba was the engineer, and he sat alongside Mike Thorne behind what was, undoubtedly, no run-of-the-mill console.

“At that time, the Studio C setup was, in a word, hideous, but it was also the only one available for Mike to use whenever he wanted,” Wershba explains. “Located in the basement, it had some horrendous tube equipment because it was really just a voice-over room. It had a pair of Trident Fleximix PA consoles that were not set up for recording — they had no monitor section. However, since Mediasound was then one of the best studios around and Mike intended to do a lot of work there on a long-term basis, it actually hand-built a 24-track monitor section with pan pots, aux sends and no EQ. It was beautiful and the two 12-channel boards were stitched together.”

A 24-track, 3M tape machine was used for the Non-Stop Erotic Cabaret recording sessions, while Wershba usually monitored on Yamaha NS10s, even though he had the option of listening through Altec 604Es.

Engineer Don Wershba (left) and Mixing Engineer Harvey Goldberg in Central Park, early 1980s “It was a very small control room, but it was loaded with gear,” he continues. “This included [Teletronix] LA2As, [Urei] 1176s, Pultec and Lang EQ, EMT plates, some outboard Neve compressors, [an Eventide] 910 Harmonizer and an early Lexicon digital delay modulation device, which we used a lot because Mike liked it and he was always looking for unusual sounds. Then again, because we weren’t really into outboard mic preamps at that time, I probably just used the mic preamp in the console on Marc’s vocals… and I now apologise for that. Who knew?”"

Fleximix is noted as one of the consoles in the Human League's studio.

According to a list of equipment which is used in his studio, Crowdspacer, Joakim is also a user of Trident Fleximix channel strip.

"The main idea nowadays is to jam analog stuff and use the computer as a recorder through a very good analog mixer, which is the Fleximix from Trident an 8 line that you can extend."

Quotes in this article show that Marc Almond's vocals on the seminal "Non-Stop Erotic Cabaret" were "just" recorded through the Trident Fleximix Mic Preamps, which he apologizes for.

"It was at Mediasound, in Studio C, that recordings for Soft Cell’s Non-Stop Erotic Cabaret subsequently took place. This time around, Don Wershba was the engineer, and he sat alongside Mike Thorne behind what was, undoubtedly, no run-of-the-mill console.

“At that time, the Studio C setup was, in a word, hideous, but it was also the only one available for Mike to use whenever he wanted,” Wershba explains. “Located in the basement, it had some horrendous tube equipment because it was really just a voice-over room. It had a pair of Trident Fleximix PA consoles that were not set up for recording — they had no monitor section. However, since Mediasound was then one of the best studios around and Mike intended to do a lot of work there on a long-term basis, it actually hand-built a 24-track monitor section with pan pots, aux sends and no EQ. It was beautiful and the two 12-channel boards were stitched together.”

A 24-track, 3M tape machine was used for the Non-Stop Erotic Cabaret recording sessions, while Wershba usually monitored on Yamaha NS10s, even though he had the option of listening through Altec 604Es.

“It was a very small control room, but it was loaded with gear,” he continues. “This included [Teletronix] LA2As, [Urei] 1176s, Pultec and Lang EQ, EMT plates, some outboard Neve compressors, [an Eventide] 910 Harmonizer and an early Lexicon digital delay modulation device, which we used a lot because Mike liked it and he was always looking for unusual sounds. Then again, because we weren’t really into outboard mic preamps at that time, I probably just used the mic preamp in the console on Marc’s vocals… and I now apologise for that. Who knew?”

Erol mentions and is pictured with his Trident Fleximix

I also read a Gearslutz page where he notes he gets his maximum signal in hius Fabriclive from using the Fleximix mic pres

It is stated in the article that Human League used the Fleximix on Travelogue