Future Sound of London equipment list from the August 1992 issue of Music Technology Magazine:

Instruments

Akai S612 Sampler + MD280 Disk Drive Akai S900 Sampler Akai S1000 Sampler w/8Mb memory E-mu Proteus/1 w/Protologic board Jen SX1000 Synth Roland D110 Synth Module Roland JX3P Synth Roland MC202 Monosynth Roland MKS50 Synth Module + PG300 Programmer Roland TB303 Bass Synth Roland TR606 Drum Machine Yamaha DS55 Synth Yamaha TX81Z

Effects

Alesis Quadraverb (x2) Alesis MIDIverb II BBE 422A Sonic Maximiser Bel Electronics BD80 Digital Delay Drawmer DS201 Dual Gate Fostex 3070 Compressor/Limiter Ibanez DM1100 Digital Delay Korg DRV1000 Digital Reverb Yamaha SPX90 Multi effects Processor

Recording

Aiwa HDX1 DAT Recorder Atari 1040ST Computer w/C-lab Creator software Fostex B16 Multitrack Groove MC2V MIDI/CV Converter Korg KMS30 Sync Unit Nakamichi 480Z Cassette Deck Sony DTC1000ES DAT Recorder Soundtracs CM4400 Mixing Desk Technics SL1200 Mk2 Turntable Yamaha NS10M Monitors

"I've also got a Tascam 8-track reel to reel — I was the last person in the world to buy one. It's a 1/4" with mixing facilities, like a glorified portastudio. It's a great unit. I've also got an SPX90 which I use for reverbs and that's it."

This 1988 article says that he uses a Yamaha SPX90 in his rack rig that he uses for sessions.

""There are three sound sources", he explains. "There's an Akai S900 which has samples transferred from the Fairlight Series III, a Roland Super Jupiter and a Roland MKS20 piano module. All of those go into an Akai MIDI mixer and through two effects: a Yamaha SPX90 and an Alesis Midifex. They're all mapped by a Cooper Electronics MIDI Link, and I play them from a KX5 slung round my neck and a couple of Yamaha pedals. They put out program numbers to the MIDI link and that sends out separate program numbers to everything else. In other words I'll build up an entire patch with sound sources, a mix, effects and a stereo output, and store it. Then, when I send one program number into it from either the keyboard or from the pedal, it'll send the appropriate numbers out."

"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)."

The insert from the Casiopea Perfect Live II record lists Issei Noro's gear used during the concert, listing the SPX-90 in which he uses 3 units.

"My TX rack I used quite a bit. I MIDI'd my MiniMoog and that is fabulous. It really sounds great, and the MIDI on it is really fast. My old Juno 60 is still there, which isn't MIDI'd at the moment but I plan to get it done. The TR808 I used, which is MIDI'd, and a bit of the D50 - there are some good guitar-type sounds in there. I also like the Roland MKS50, which is a rack-mounted analogue synth module. The Korg SG1 piano is very good, and has some excellent sounds, and obviously the Mac. For effects I used the Lexicon 224 digital reverb, AMS, Yamaha SPX90, Klark Teknik reverb, Korg digital delays... the usual things, nothing exotic."

In the 1988 Headbanger’s Ball episode in which Anthrax hosted, Joey states The Yamaha SPX-90 as a part of the gear Danny used.

Included in a list of Andy's instruments, published in a 1993 issue of Future Music.

The insert from the Casiopea Perfect Live II record lists Minoru Mukaiya's gear used during the concert, listing the SPX-90.

The insert from the Casiopea Perfect Live II record lists Tetsuo Sakurai's gear used during the concert, listing the SPX-90.

In an article by Sound on Sound, Daniel Miller's gear list includes the Yamaha SPX90 Digital Multi Effects Processor.