"I had a Commodore 64 with, I think, the Sequential Circuits Model 64 Sequencer Cartridge. And it was the greatest thing in the world (or so I thought at the time). Moving on… The first "real" platform I used for composition was a Mac+ running Performer. Pretty Hate Machine was done with this."

he used a modified Commodore 64, a Voyager 8, and a Korg MS-20 on Extraña.

Kid Koala seen using a Commodore 64 Analog Synthesizer in his studio in a picture posted on his official Facebook.

"I bought a Commodore 64 solely to run Dr. T's Algorithmic Composer package! Jim Johnson's phrase generator allows you to outline scales, bars, change probabilities, weighting, and several more quite involved parameters; what comes out is very usable. Two or three of the most recent episodes (in the fourth series) have most of the music written in this manner. Monophonic phrases are generated (by the computer), played across to another sequencer and then layered and repeated. Miami Vice has long cues and this kind of music can help bridge, say, three scenes."

"In 1983 we used a Roland MC8 for recording some Golden Section tracks with Mike Howlett. ‘Twilight’s Last Gleaming’, for instance, was almost entirely sequenced by that. Mike was quick and efficient at programming it. I tried it out and ended up hating the damn thing.

Then a Commodore 64 with Steinberg [Pro-16] when I was working with Tim Simenon [Bomb The Bass], then with Louis Gordon. Most of Shifting City and the next couple of albums were recorded using that system. It was good, straightforward and the triggering was bang on, for the time.

Overlapping this, I got a well‑designed and very useful all‑in‑one PC‑based system from Carillon, using Cubase, then finally went over to Logic on the Mac. As for present‑day sequencing and arranging, I really like the symbiosis of digital and analogue. You’re finally able to mix the beauty, richness and deviance of analogue with the stability and precision of digital."

The 1997 album The Horrible Plans Of Flex Busterman : “Produced by Patric C. on Amiga 500 and Commodore 64 in Spandau-Berlin in 1996.”

"I have songs written on the Sinclair Spectrum, Commodore 64, Commodore Amiga, my Yamaha SY77, Cubase seqeuncer files from an Atari ST then a Falcoln, then PC. All are unreadable on an up to date version of PC Cubase and that's just my little world."

"The first thing I did when I decided I was going to be serious about this record was get this in. It was either B16s or the washing machine in the corner of the room - a 24-track. I know people who actually use B16s to master so it's a pretty good setup. A Commodore 64 actually runs the desk and I'm going to get the Soundtracs SMPTE Interface that runs with the Commodore and reads SMPTE off tape in real time to allow me to mute and edit mutes and so on."

"Some music studio pictures from 2012!"

The instrument appears on the list of instruments on official artist's website (http://olszak.pl/).

Ryo Kawasaki played a pivotal role in reinventing the Commodore 64 as a musical instrument, through which his Kawasaki Synthesizer could be programmed.

"The sid was a great sound chip for the time. I liked the fact that you could assign different waveforms to different channels, and that the square wave had a variable pulse width register that you could change to create modulated type sounds. On the down side the filters were a bit dodgy on some of the C64s and a tune that sounded good on a normal C64 sounded totally different on one of the dodgy ones. Of course an extra channel would have been great, and a better implementation of ring modulation would have been useful." - Mark Cooksey