Trent Reznor utilizes the Yamaha SPX-1000 effects processor, as confirmed by his explanation of a recording technique for 'The Fragile,' where he describes tuning all guitar strings to the same pitch and strumming rapidly while running the sound through the SPX-1000 with early reflection reverb. This information is sourced from an article by Reinholder on Guitar FX Depot titled "Trent Reznor On Recording 'The Fragile'."

Seen in the picture of his studio rack in the May 2018 Sound on Sound interview.

In the Motley Crue Gear Guide by Lee Glynn on Pmtonline, it is mentioned that Mick Mars uses the Yamaha SPX-1000 effects processor.

According to the website thewho.net, John used two SPX-1000 as a part of his rig between 1996 and 1997.

From the February 1993 issue of Sound on Sound, Klaus Schulze's equipment list includes:

EMT 250/251 reverbs AKG ADR 68K reverb + editor Yamaha SPX1000 multi-effects Roland SRV2000 reverb Korg SDD1200 Korg SDD3000 Korg DVP1 harmoniser Ibanez SDR 1000 Boss SE50 Eventide Harmonizer Moog 16-channel Vocoder

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.

"Yamaha SPX90, SPX90II and SPX1000 effects units because they're cheap, cheerful and easy to use - and because that original SPX90 nonlinear reverb sound is a bit of a classic. The graininess still sits well with the Doktor's snare drum. Check the kick and snare on 'Flood I' for the SPX nonlinear reverb in overkill mode. Or the whole of 'Gift'. The SPX1000 also provides a standard long plate which was reasonable value for money at the time (and it interfaces digitally with the dead-end MEL2 format used by our old Yamaha DMR8 digital multitrack tape system)."

Used for the mixdown of "In da Club", as stated by producer Dr. Dre in this transcribed March 2005 interview.

50 CENT

"In Da Club"

Producer: Dr. Dre

Engineer: Vito (Mauricio Iragorri)

"With 50, he's an artist with such an amazing voice," says Vito. "You just put him behind a microphone and it just sounds good! My job is make sure it doesn't distort and it's not overloading. While he's vibing and doing his thing, I'm scrambling to make sure nothing is going wrong with the signal path."

"Recording vocals with Dre is a meticulous process," Vito reveals. "There are some exceptions, like 50 is an exception. There are some people that just do it, and there's not much punching involved. And there are other people who need a lot of punching, and that means maybe a couple words at a time until all the rhythm and the pockets are correct. Dre has an amazing sense of rhythm. He hears all these crazy rhythms in the vocal and, because he's a rapper as well, he knows how it should be performed. As a producer he's great, but as a rapper he knows what pocket they should be hitting and he can really coach someone well. Working with Dre on vocals is cool because you get to see how he directs someone and they actually sound the best they've ever sounded."

Signal Path: Tracking

"I like my vocals to sound 'crystal,'" says Dre. "I use the Sony C800-G for vocals because it has a clean sound and about 85% of the people that get behind it sound great. My main objective is that the vocal sound is present and clean and ultimately does not distort. I get the sound I want out of the EQ on the SSL. We've used it forever and have made many hits on it, including 50's 'In Da Club.'"

"We come from the Sony C800-G and out of that into the Neve 1073 mic pre," explains Vito. "We don't use the EQ, because most of the time it sounds good flat. If there's a need for it we'll engage it, but for 50 Cent on 'In Da Club' we didn't use any EQ. Then we took it out of the Neve mic pre into the Avalon 737-SP compressor. It's a mic pre with EQ, and it actually has a compressor, but we're not using any of the mic pre on the Avalon - we're just going straight into the line input. From the output of the Neve it goes into the line input of the Avalon, which allows you to use the compressor alone. We set the compression ratio around 7:1 and the threshold usually hovers at around 0. I set it at a medium attack and fast release. I'd say we're using around 3 or 4 dB of compression, sometimes up to 7 dB. On 'In Da Club' it was about 4 or 5. Then it comes back into the SSL 4000 G with E modules (at Encore Studio) and we bring it back on the insert.

"There's a patch on the patch bay that says 'insert return,'" he continues, "and that's where we bring the vocal back into the insert return, because it's the shortest patch before you actually hear the vocal. It has the least amount of circuitry of anything in the channel, so you're bypassing the EQ, the dynamics. You could use it all, but if you really want the shortest, cleanest signal, that's the way to go. Then we bus it out to Pro Tools HD and we use the small fader to send it to PT. That's about it."

Discovery

"The way we came to this chain is - a while ago, when I first started out, I was assisting for Dr. Dre," says Vito. "I noticed how their engineer was doing it and it sounded good. The records sounded amazing, so when Dre hired me to engineer, I told him, 'Ya gotta buy some of these,' and he bought some 1073s. I had heard for a long time that they were really good mic pre's to run vocals through. At Encore, where I was assisting, they had one there, and anytime we were doing a session we would always run vocals through it. So when I saw Dre doing it, it was just cool seeing a rap guy using a 1073! That's how we came up with it. As for the compressor, it's just a good tube-sounding compressor. Sometimes we use the DBX 160 - the original - as an alternate compressor; it sounds good and we've used that on a lot of records."

Signal Path: Mixdown

The Yamaha SPX-1000 played a prominent role in mixdown. "We used a REV-5 room setting," says Vito. "There are a couple patches in there that sound really good. They're old reverbs and they're not the best nor most expensive, but they sound good, they're reliable, and that's all that matters! For R&B the Lexicon reverbs sound great. They work good for R&B, but for rap the SPX works good. We've used Lexicon's before too and they work okay. It's depends on the song and the artist and what you're looking for in the song. Like on Eve's stuff we used the SPX-1000, too."

A Yamaha SPX-1000 is among the items auctioned from David Stewart's studio.

During the "HOTEI Live in Japan 2019 GUITARHYTHM Tour," Tomoyasu Hotei utilized the Yamaha SPX-1000 effects processor, as noted in a report by Free The Tone.

in this instagram photo Nico shows one of her Yamaha SPX-1000 rackmount effects unit. she has been known to have two of them.

In an interview video titled "Ben Grosse Interview and Studio Tour" by Produce Like A Pro, at the 23:20 mark, Ben Grosse confirms using the Yamaha SPX-1000.