An excerpt from an interview from Dr. Fink and Rosie Gaines. Fink: “ The following year, the crew people came up and said, "We can't haul this big Yamaha grand around anymore. Besides, it's totally useless, since you don't even need the soundboard anymore." So I said, "Why don't you have a fake piano shell built, and mount a [Yamaha] KX88 in it?" That’s what they did, and they strengthened the top so that Prince could get up and do his stuff on top of it. Gaines: I play that piano too, on "A Song for You," the old Donny Hathaway song, which I do by myself”.

Tony can be seen playing a Yamaha KX88 in a video from the studio during the Invisible Touch recording sessions.

Seen here at 14:18 https://youtu.be/4YfRiE4t8wE?si=yIWKr6fBFAIFwVeq&t=858

In the September 1987 issue of "Keyboard Magazine," the upper third column on page 31 mentions that Danny Elfman owned a Yamaha KX88 Synthesizer, along with a Roland SBX-80 Sync Box, Prophet VS rack, Sequential Circuits Prophet 2002 rack, and Prophet VS keyboard. The article was authored by Bob Doerschuk and Jeff Burger.

Even now, Howard remains a fan of Yamaha's 1980s-vintage KX88 weighted keyboard. "I still use a Yamaha KX-88," he says. "I've always used the KX-88! I buy up every one I can find. I've got a stack of them, because I love the feel of that keyboard."

In the YouTube video titled "Eric Clapton I Shot The Sheriff Royal Albert Hall 1991," at the 2:38 timestamp, Greg Phillinganes can be seen using the Yamaha KX88 Synthesizer, identifiable by its 88 keys, blue preset buttons, and specific text on the side.

In the Sound on Sound article "David Sylvian: Recording Tin Drum & The First Day," David Sylvian discusses using the Yamaha KX88 Synthesizer, as mentioned in the 14th paragraph, 3rd line.

Paich playing the SY99 and the KX88

When it's Roger O'Donnell's turn to give the tech talk, Smith teasingly points to the cassette recorder and says, 'He's got a C-120.' 'It's not that bad,' counters O'Donnell. And it really isn't much of a laundry list: A Yamaha KX88 mother keyboard and a Roland JX-8P, the latter just in MIDI line. There's an Elker MIDI footpedal module - 'bass pedals, but I don't really play basslines,' says O'Donnell. 'it looks like that but I'm actually playing chords with the foot pedals. It's for the sake of accuracy, my boots are a bit too big [for basslines]' - and a MIDI rack which consists of a Prophet 2000 sampler, a Roland MKS-80 MIDI digital piano, an Ensoniq Mirage and three Oberheim DPX-1 sample players which handle a combination of Emulator II, Mirage and Prophet 2000 disks. Outboard effects are managed by two Roland DEP multi-effects, and everything gets sorted out through a Simmons eight-channel programmable mixer with a 99-memory circuit and a Roland MIDI-Merge MIDI patchbay. Don't forget the Boss volume pedal. He hears it all through a Meyer monitor.

For sale from Nils Lofgren is a Yamaha KX-88 MIDI Keyboard with an accompanying flight case in good condition. The keyboard shows some dust and grime but is in fully-functioning condition. The flight case shows some wear from the road.

In 2:13 in the video you can see Ray Charles playing a Yamaha KX88.

As if this isn't enough, Jones' collection of sound sources is breathtaking. Inhale deeply for an (incomplete) overview: Fairlight Series III; Yamaha TX816 rack; Akai S1000; Roland Super JX, MKS50, D50, Jupiter 8, Juno 60, D550, and MKS20 digital piano; Korg Wavestation; Prophet T8; MiniMoog; Vocoder VP330; Yamaha KX88 and TG77; and somewhere in a corner his old 808 drum machine. Still there?

In the interview "Watermark recording process". The Music Magazine (Australia) July/August 1989

THE SET UP:

They use a variety of keyboards but the mainstays are a Yamaha KX88master Yamaha DX7 Emulator 111 Oberheim Matrix synths and Akai S900 but particularly Roland's D50 and Juno 60.

Enya: "The Juno is one of our favorites. We had intended to replace its parts with better sounds but we couldn't find better substitutes so we left them in. It's not always possible to have all the sounds I want for a song at the time of composing .I'd usually start with the D50. But most often, sounds suggest parts and the ones I use then are usually used on the final recording. Like on Storms in Africa... that arpeggiated line on the Juno 60 was the basis of the piece."