Sakamoto plays the Fairlight Series III in his NEO GEO Tour in 1988.

In this transcription of a 1987 interview, Gabriel is asked about his use of technology in making music.

"But you can't see any advantage for your music in getting down there, into all the bits and bytes?

"I can see some advantages, but I'm a jack-of-all-trades and there are more basic skills which I wish to acquire first. For instance, I have this Fairlight CVI video synthesizer and my next project, when I get some time, will be to learn that. Then it will be to learn the Fairlight CMI Series III."

Steve Winwood programmed The Fairlight through out the whole "Roll With It" 1988 album.

"Jim writes: "I know you're Fairlight fetishist like me. Al Jourgensen of Ministry is selling off his CMI 2 and 3. Check out how completely defaced all of the gear is! It sort of makes me sad to see those mighty Fairlights so beat up. The IIx description says 'Some original Ministry sample discs are included.'" Item #7339556355 is the Series III ($405, five days to go) and item #7339553386 is the Series IIx, which is already up to $1,500. He's also selling a Publison Infernal Machine (#7338631249), which was the first ever DSP multi-effects box, used by Prince and Michael Jackson."

As if this isn't enough, Jones' collection of sound sources is breathtaking. Inhale deeply for an (incomplete) overview: Fairlight Series III; Yamaha TX816 rack; Akai S1000; Roland Super JX, MKS50, D50, Jupiter 8, Juno 60, D550, and MKS20 digital piano; Korg Wavestation; Prophet T8; MiniMoog; Vocoder VP330; Yamaha KX88 and TG77; and somewhere in a corner his old 808 drum machine. Still there?

Interview German Synth Mag Amazona.de: Neben dem Moog Modular System, das nahezu vollständig Snowflakes are Dancing dominierte und später durch das 55er ergänzt wurde, besaß er zu jener Zeit einiges von Roland, etwa die Systeme 700 und 100, Jupiter-4, VP-330 und Strings RS-202. Weitere Instrumente: Fender Rhodes, Hohner Clavinet, Korg MS50, Korg Vocoder VC-10, Mellotron M-400, Moog Polymoog, Yamaha CS-80, Yamaha String Ensemble SS-30. Ab den frühen 80ern landete bei ihm dann auch digitales Equipment, darunter das Synclavier, E-mu Systems Emulator, Fairlight CMI III und auf manchen Fotos ist auch der legendäre Yamaha VP1 zu sehen.

The spirit which led Blank to the car shredder in 1979 is still very much at the heart of his music making in 1987. Since 1981, he's been conducting his experiments with sound creation on the Fairlight, first the Series II and more recently the Series III. There are synths in his studio too: the Oberheim Matrix 12, the Casio CZ5000, the Korg DW8000 and an old but still revered ARP Odyssey. He's also recently acquired the Roland D50 (and PG1000 programmer), an instrument he praises for its internal sound architecture.

Mentioned during the prosses of creating the Terminator 2 Score. Fiedel used two Fairlights to compose the score to T2.

It was an introduction to Pete Q Harris, in-house engineer at Battery, that broke down Edwyn's resistance to hi-tech. "I was a bit trepidatious at first, but when he showed me round the Fairlight III, I thought it was fantastic. I didn't realise the potential for plunder."

The PWL complex is well-equipped, no doubt about it, with two out of three studios identically equipped with SSL desks, Sony 24-track digital machines, and generous amounts of outboard equipment. These are supported by the most comprehensive collection of keyboards this writer has ever witnessed in a studio: Fairlight III, Kurzweil, PPG Waveterm, Roland JX8P, Publison Infernal Machine (which Stock describes as "a Godsend"), Emulator II, DX7II, and so on.

In a studio tour featured by MusicRadar Tech, Andy Meecham of Emperor Machine showcases the Fairlight Series III synthesizer, highlighting its role in creating his distinctive sound.

Kristian Schultze is associated with the Fairlight Series III synthesizer, as mentioned in the album booklet visible on Discogs.