We can see GML 8200 Equalizer at 0:08 in this video.

The last step in the chain to process Toro Y Moi's drum tracks is the GML 8200 Equalizer, used "for clean up, for subtraction, because it’s more detailed and sweeter than the [mixing] board."

Used for the vocals on Champion Sound, as stated in this September 1, 2003 Remix article.

“I think Madlib pretty much just invents his own rules,” Peanut Butter Wolf muses. Studio engineer Dave Cooley claims that holds true even when a different setup is needed. For “React,” Jay Dee's beat and 'lib's turntable cuts were flown into Digidesign Pro Tools from separate stereo and 4-track masters. Madlib then tracked his vocals on an Audio-Technica 4033A and a Shure SM7, from there going into a Neve 1099 preamp, a GML 8200 EQ, a Universal Audio 1176LN limiting amplifier and finally a dbx 902 De-Esser. “We usually de-ess maybe 4 dB off of the vocals and then compress with a ratio of 8 to 1, which is pretty high,” Cooley explains. “But Madlib likes his shit loud, and it's mixed loud to begin with. He has a really cool ‘angular’ mixing style: Something is always sticking out.”

the GML 8200 can be seen on one of the racks in the center of this image

A GML 8200 can be found in Owl City's studio.

Mix engineer Tommaso Colliva on recording Drones : "Most of the microphones went through the Neve desk, and we also had some EQs and compressors in the chain. For example, I had [...] a GML 8200 EQ on the overheads."

A couple welcome arrivals at the studio today! The first is a GML 8200 by way of @atomic_garden_east. I’ve used many GML’s over the years and have owned a Sontec and a Don Classic but never an 8200. Hyped to have it in my arsenal! Anyone want to buy a pair of Empirical Labs Lil’ Freq’s? The second is a bag of new old stock

In the video titled "Inside Real World Studios, Peter Gabriel's recording sanctuary" by The Vinyl Factory, a George Massenburg Labs (GML) 8200 parametric equalizer is visibly present in Peter Gabriel's studio at the 0:21 mark, confirming its use in his recording setup.

This can be seen as part of the rack-mountable equipment in the studio in this video.

The GML 8200 Equalizer can be seen in the back of the composer's desk.

Used to submix the bass drum and snare on Only by the Night, as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on.

"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer.

Despite mention of a "580", a 8200 is clearly visible in the bottom right corner of this picture of Studio D's outboard rack from the same interview.

can be seen in this post from September 2, 2013