This photo shows Paul McCartney playing a Hohner Pianet in the studio.

John Lennon played a Hohner Pianet for the Beatles video of "The Night Before." This electric piano was also frequently used by the Beatles in the studio.

At 3:01 of this clip of King Crimson's live performance of "Starless", Fripp can be seen with a black Hohner Pianet situated on top of his black Mellotron M4000.

This photo shows Ringo playing a Hohner Pianet over Paul’s shoulder.

In the second image of this Instagram post from August 2022, a Casio CT-410V is seen sitting atop the amplifier unit from a Hohner Pianet M

"Tony Banks had a very simple keyboard rig. He started with an organ, an electric piano (a Hohner Pianet, later an RMI) and a Mellotron," says Doug Melbourne, in this article for Sound On Sound.

In this photo from a CSNY rehearsal, Stills can be seen playing a Hammond B3 with a Hohner Pianet on top.

"Well, there was actually one other keyboard I sold, a Hohner Pianet, which was the first electric piano I had. Of course, I'd been playing piano for years, but acoustic piano was a bit inconvenient for gigs."

Roger O'Donnell includes the Hohner Pianet in his list of keyboards on his official website.

In the attached footage of Roxy Music playing Ladytron on the BBC programme The Old Grey Whistle Test, Bryan Ferry can be seen playing a Hohner Pianet N II at 1:30 and 1:50.

At 1:24 Christine McVie is using a Hohner Pianet N II electric piano.

The Hohner Pianet was an essential part of the Zombies' sound. Argent played a Hohner Pianet on some of the band's biggest hits such as "She's Not There," "Tell Her No," "Summertime," and "It's Alright With Me."

In the early years of The Zombies, Rod Argent can almost always be seen with a Hohner Pianet (usually placed on top of a Vox Continental organ). This photo shows Argent playing a Pianet on the British television program Ready Steady Go!. (Interestingly, a second Pianet can be seen behind Argent placed on top of a Vox Continental.)

Other sources are as follows:

Beat Instrumental, January 1972, “The Zombies Are Dead… Long Live Argent” by Anonymous, pg. 33

Rod plays a Hammond C3 and a Hohner Piannette through a Leslie cabinet. This has three mikes on it of which two are set each side of the rotating horn. (The sound of a Leslie horn is reproduced from one side only). Each mike is fed to separate Laney stacks, set up at each side of the stage. The effect, Rod explained, is like a ‘giant’ Leslie.

The Zombies: Hung Up on a Dream : a Biography - 1962-1967 (2001) by Claes Johansen

pgs. 59-60

One thing that separated The Zombies from most other beat groups at the time was that they included a keyboard in their line-up. Previously, Rod Argent had found himself forced to make do with any old upright piano that came his way, stick some kind of microphone inside it and hope for a bit of amplification. To put it in another way, he hadn’t really been audible apart from when he did the obligatory Jerry Lee Lewis runs up and down the keys. Now, working as a clerk at the Ballito’s factory, he had managed to scrape enough money together to buy an electric piano, a Hohner Pianette Mk I.

The Pianette immediately became the group’s main instrumental voice, since Paul Atkinson was mainly a rhythm guitarist who could throw in the occasional riff or solo. In fact, it wouldn’t be far wrong to describe The Zombies as a guitar combo with the lead guitar substituted by a keyboard instrument. That was what gave them their unique sound, but possibly also what distanced them from some audiences in an era dominated by guitar groups.

Rod Argent became the master of the Hohner Pianette. In fact, he is probably the only person ever to make any sense of this peculiar little instrument. In his hands the otherwise very limited Pianette somehow came to life and to a large extent led the group through the main part of their three years with Decca Records. The instrument therefore seems worth spending a few words on.

“To play the Hohner Pianette you had to approach it in a slightly jazz sort-of-way,” Rod Argent divulged to me. “It had a real bite to it. It was a brilliant sound. When I was in Argent I still used it. I loved it. They only made that particular model for a while, and then it became Mark II. The Mark I was the first electronic keyboard and it was just a revelation. Suddenly, there was this thing where you could actually hear what I was playing. It was wonderful.”

Les Lambert, who had to struggle with keeping that very same Pianette alive some ten years later, recalled it less fondly:

“It’s kind of akin to the Wurlizer electric pianos, but it’s got no attack. They’re both using metal reeds with little electric pick-ups, but in the Wurlizer the reeds are struck by a little hammer, sort of like a real piano. In the Pianette there’s a piece of double-sided sticky tape at the end of each key, and when they are at rest the tape has a chance to stick to the reeds. Then when you strike the key it lifts the reed until the tape lets go of it and the reed goes back and says ‘pling’. If you try and play it fast the tape doesn’t have a chance to stick, and when the temperature changes the stickiness changes too, so under stage light they’re useless. If you ever leave it in a dusty environment and something falls on to one of the keys and leaves it down so that the tape doesn’t touch, then it’s that note gone. The sticky tape gets dust on it and that’s it, it’s finished. You can put another piece of tape on, but it’s special stuff and they don’t sound the same if you try to do it with any other kind of tape. It’s a nightmare! And of course like all Hohner stuff it’s built like a German radiogram from the 1940s. They’re terribly made.”

pg. 96

“I have mixed feelings about the Vox organ,” Argent reckons today. “I enjoyed having it at the time. It was great on stage, ‘live’. Looking back on it, I think the sound of the Vox organ dates a lot more, generally speaking, than the Pianette. The Pianette still sounds great to me in its period fashion, whereas against the Hammond C3 or B3 the Vox sounds very weedy, although I must say you can still listen to The Animals’ ‘House Of The Rising Sun’ — it still sounds great on that.”

[…] but during the “Leave Me Be” session he still seems a bit in the dark about how to use the instrument and it would probably have been a better option at the time if he had just stayed with the Pianette (on stage, he would from now on use both keyboards, piling the Pianette on top of the organ).