It can be seen at 7:29.

Pictured on the rear sleeve of his LP "Sunlight" (1978), in the lower left.

Ray Manzarek is pictured here with the ARP 2810 Odyssey Rev2 synthesizer, known for its black finish and absence of XLR connectors, indicating it is the second revision. This synthesizer was reportedly his "synthesizer of choice" for personal projects and performances with the band X.

in this performance at 2:06 you see Svein with a synth on his lap. based on the design of the synth, the fact you can see sliders as control and the big knob at the left bottom it is very safe to conclude that the synth he plays here is an Arp Odyssey. based on the very dark design it can be concluded that it is the Mark 2 he plays.

We originally got the ARP Odyssey for a lead synth and for bass, as we heard it 'really' has got a sound of its own. Some days we are cool and get on with each other, other days it just bounces out of tune every minute… but that's part of the character of this machine. Back in the '70s, people loved it because they could get sounds like no other, but it was notoriously a hard synth to play live; even the smallest tweak can change up everything (you have to tune each of the oscillators by hand). As a studio instrument, that makes it fun—you know you are never going to get the exact same noise out of it twice. Apparently, Korg are going to remake this one like they did the MS-20. It will be very interesting to see what they come up with.

Mark is seen here with an ARP Odyssey Rev2 in this photo from 1976. This Odyssey appears to be a 1975 or 1976 model, since it is a MK2, but it doesn't have the CV/Gate inputs/outputs. This Odyssey was in use from 1975 or 1976 until 1979, when it was replaced with an Odyssey Rev3.

at 2:32 MK2 2813 odyssey is seen.

also in credits of instruments on youtube for "It's always binary" video

"The Transient Program For Drums and Machinery is an installation imagined by Soulwax and Ill-Studio, built for live performance, and operated by Stephen and David Dewaele, Stefaan Van Leuven, Iggor Cavalera, Victoria Smith, Blake Davies and Laima Leyton, under the name of Soulwax.

The instruments used for this performance are : Two Staccato drumkits, one Meazzi Wooding drum with added Octobans, one set or Rototoms, a Macbeth M5n, an Oberheim 2-Voice Pro, a Human Comparator Two Thousand Six Hundred, an EMS Synthi AKS, an Arp Odyssey, a Mellotron M4000D, various reverbs, echoes and effects, all going through three refurbished Trident Fleximix consoles, all positioned on a giant rug representing the electronic schematic of the installation. Soulwax were reinforced by their technical team of Chris Walker, Oliver Geerts, Phil Evans, Marc Devulder, Hugo Scholten, Jasper Wouters, Tijs Coene and Priscilla Andrade.

This performance of 'Is It Always Binary' was recorded and filmed live on 29th of August at 3 Mills Studios in London, captured by James Willis for Bullion Productions."

In this video outtake from BBC's Synth Brittania special, electronic music ianeer and Ultraox founder John Foxx can be seen demonstrating his ARP Odyssey. It apprars to e a mark 2.

In this live video of the band Strongboi, Alice Phoebe Lou plays an ARP Odyssey Rev2. We can see the synthesizer at the 2:40 mark.

The faceplate, layout and slider's colors all seem to match

Mentioned in a May 2002 Keyboard magazine article by Hardy Fox.

Around 1975, a very expensive ARP Odyssey was purchased. (It was used asrecently as 1997.)

Also mentioned in a post on Fox’s site:

After some serious lobbying on my part, I convinced Cryptic Corporation to part with about $1200 (mid-'70's dollars at that) to purchase an all-in-one device, the ARP Odyssey. I still have it and last recorded with it in 2008. Loser ? Weed, was the first experiment with the device.

Also the subject of this November 2019 article in Tape Op.

In this photo Manuel is using an Arp Odyssey Rev 2

On Arp's own website, Engineer Ryota Hayashida recounts the provenance of D.A.F.'s Arp Odyssey Rev 2 (from Conny Plank, no less) and recreates the bassline from Der Mussolini:

"They were encouraged to use the ARP Odyssey by their producer, Conny Plank, through a bass amp, adding to the signature tone. The key to achieving this sound is to apply a very small amount of detune to the two VCOs, and add some of the overtones from the RING MOD circuit. High-pass filter is also applied. Some of you may be wondering why I would use a high-pass filter when I want a thick-sounding synth bass, but you should try using it aggressively to get the sound you want. Depeche Mode was also fond of this type of synth bass and used it frequently on their earlier material."