As listed in this 1990 interview on the Music Magazine Archive

From an interview with the Prodigy's chief live sound engineer: "The [Roland] Dimension D is used to make the guitar big, because we've only got one guitarist and we try to make everything bigger than everything else. I've also got a [Yamaha] Rev 7 and a Rev 5. I've got them Y?split together because they've got a habit of stopping working, so one of them is usually working at any one time. They're both drum reverbs, I just run them both off the snare. Then I've got a guitar reverb, an SPX990, and a [TC Electronic] M2000 on vocals, which does harmoniser on some songs and reverbs on others. Then I've got a TC D•Two for all my more traditional delays.”

Listed among Wakeman's studio gear in this July 1999 Sound on Sound interview.

"My main instruments are the Yamaha CP70/80 electric grand, the DX7, plus the Emulator II and EIII. I know the EII better, so the more ambitious sounds on this album are from the EII. The Kurzweil modules have various digital sampled sounds, and the acoustic guitar sounds on the 1000PX are really good. I also use the D50 - it has lots of beautiful sounds which can be accessed without editing. In terms of effects I use a lot of Rev7, and recently I started using a Boss chorus."

In the video "Inside Real World Studios, Peter Gabriel's recording sanctuary" by The Vinyl Factory, at the 2:20 mark, a Yamaha REV-7 digital reverberator is clearly visible in a rack within Peter Gabriel's studio.

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 insert from the Casiopea Perfect Live II record lists Minoru Mukaiya's gear used during the concert, listing the REV-7.

"Because Burchill is known for his atmospheric tones, it is no surprise that he has experimented with and used several different gear setups throughout his career. The early ‘80s sound came through a Roland 501 Echo unit into a Roland JC120 amp. During the second half of the ‘80s, Burchill switched to Marshall JCM 900 amps, and used a variety of effects including and Eventide Harmonizer, TC Electronic 2290 delay, Roland GP-8, Yamaha Rev 7, and a Kurzweil 250 rack-mount sound module. Burchill used a ‘62 Gretsch White Falcon and a Fender Strat in the studio, and a custom thin-line Telecaster (notably on “Don’t You, Forget About Me”)."

Included in gear list

"I hardly ever use any outboard gear now. I've got an old Yamaha REV7 which I like and an Alesis Quadraverb, but everything else is a plug-in. I'm a big fan of Line 6's Amp Farm, and all the plug-ins which simulate the analogue world, funnily enough. This has given synthetic sounds a new lease of life. A synth can sound like something which has been miked up through a cabinet, for example. You can use so many multiple effects on the same sounds, and mutate sound sources so much, that I can't imagine ever going back to the way things were before. The snobbery about plug-ins is that so many dance records just use them for ear candy and don't really explore the possibilities, but they are the most sophisticated and creative thing to happen to modern music since the first synthesizers appeared. You can try things on Amp Farm which took hours to do with a mic and a cabinet.?"

When it comes to signal processors, the group haven't exactly gone overboard on the digital variety. A couple of MIDIverb IJs handle most of their reverb requirements, while a Yamaha REV7 is used for short pre-delays. A Yamaha SPX90, which Price and Massey characterise as "tinny", is confined to providing weird panning effects, while delays.come from a Korg DDL. In fact, the group are just as likely to turn to a variety of old guitar pedals for their effects.

A second rack is filled with effects units. These are topped by a record deck ("my biggest effects unit"), below which are two Korg SRV3000s, a Yamaha Rev 7, an SPX90, Lexicon PCM70 ("I really love that, especially for vocals), BSS compressor, Digitech Smartshift, and Drawmer gates. Not a huge selection "but I use the Synclavier for effects. Its voice structure is a little like that [pointing to the D110] in that it has partials; if I want a delay I can take a sound, set different delays for each parts — put some attack on, say, the third delay, make it so that the original sound comes in last, and fade in each delay like a backwards echo. Sometimes it does sound a bit too clean though."