As listed in this 1993 interview on the Music Magazine Archive

At 5:42 in the video. "This is a really early one, 1969 VCS 3. Used this endlessly...Wonder what it's on at the moment, you never know with these things, they're like some weird beast."

In this image, Murphy can be seen playing an EMS VCS 3.

Photo of cEvin Key in his studio, with a VCS 3 in the background.

You’ve done a lot of synth stuff. On a song like “Breathless,” was that material sequenced?

It was pre-sequencing, as we now know it. You could get a sequencer back then, but sequencers in those days were way different. You’d have a wall of synths, and the way you would get these instruments sequenced would be by patching everything through a trigger device. You’d have rows of devices that would trigger one synth after the other. It was complex, but this was 1972. There was no MIDI. You could only sequence and record a little chunk of music at a time and then you would have to splice it into the piece. I would have been manually sequencing with an EMS “Putney” [VCS3] with a little keyboard.

in an interview for Vice's Noisey blog Carpenter discussed his gear at length starting with his first score:

*Do you remember any of the equipment you used on Dark Star (1974)? *

Oh boy. I don’t remember the exact name of the equipment, but I remember that you had to stick these pins in the thing, like wooden pins that made a sound. You changed the frequency or something like that. I don’t remember the name of it.

the interviewer goes on to identify this early matrix synth as the famed EMS VCS 3

This photo, from this article, shows Gui Boratto's EMS VCS 3, and the quote below it says, "This is one of my favorite pieces of gear. It’s the EMS VCS3, used by Pink Floyd on Dark Side Of The Moon. I bought it from the actor Vincent Gallo. It’s quite expensive but it sounds so unique. Songs like ‘Galuchat’ and ‘Stems From Hell’ were made with a lot of its sounds."

Mark Mothersbaugh uses the EMS VCS 3 synthesizer, as demonstrated in a YouTube video.

... This is the story of Tangerine Dream’s Ricochet.... The array of electronic equipment used by Tangerine Dream on that tour was formidable indeed. For its time it looked nothing short of a futuristic world controlled by machines. For the die hard rig fanatics, an approximate list of the machines used by the three members of the group at the Coventry Cathedral show included:

"In contrast, the huge chord sounds heard on “The Other Side Of Paradise” is the ARP 2600 recorded 30 times playing each note of the chord individually, resulting in 32 tracks, super-stacked, panned off hard left and right, with a little bit of a chorus for the widest chord sound Bayley could create. The Jupiter-6 is what he likes for pad sounds and EMS VCS3 for effects."

"I was at college at the time and we were "studying synthesiser" on that early EMS thing, the VCS3, which Floyd and Roxy were using. But no-one at the college knew how to get a decent sound out of it. We were always experimenting with it, waggling the joystick, but all it made was horrible noises. It's difficult to believe that was only 12 years ago, but that was the leading edge of synthesiser technology."

From December 2022 Guitar World interview, answering what is his favourite piece of gear.

When we started Roxy Music, [Brian] Eno and I had — as part of our setups — a Revox tape recorder that had a thing called Sel-Synch and Varipitch where you could change the pitch and echo repeats by changing the speed. I had it linked to a DeArmond volume pedal that controlled the speed and Sel-Synch functions on the Revox and provided weird echo effects that linked into Eno’s [EMS VCS3] synth. This was a completely different and revolutionary way of working that Eno and I used in 1972 and 1973.