Tomita happily paid 10 million yen (the equivalent of $125,000 at the time) for a Moog III C and had it shipped back to Japan.

Mentioned in a May 2002 Keyboard magazine article by Hardy Fox.

Around 1979, Don Preston stored his huge modular Moog in the Residents' studio. You can hear it on Eskimo.

... 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:

Featured in photos of Thomas Heckmann's studio

... 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 the video "My Synth Studio Revealed | Studio Tour 2025," Anthony Marinelli showcases and discusses a Phantasia Moog IIIC modular synthesizer at the 0:40 mark, providing detailed insights into its features and setup.

"...The item can be seen 00:10 into this video..."

Tim Blake is shown using a Moog Modular Synthesizer in an image available on Free, highlighting his connection with this iconic instrument.

Mort Garson, a pioneer in electronic music, utilized the Moog Modular Synthesizer on his iconic album Mother Earth’s Plantasia.

Lacky war ja der Papst der elektronischen Musik zu DDR-Zeiten. Er hat damit angefangen als andere noch nicht mal, wussten wie es geschrieben wird. Da wurden Tangerine Dream auf ihn aufmerksam. Edgar Froese schätze ihn und hat ihn oft besucht. Nach einem gemeinsamen Konzert im Palast der Republik vermachte Froese Lacky einen Moog-Synthesizer aus dem Besitz von Mick Jagger, denn Lacky konnte ihn perfekt bedienen und damit arbeiten. Wir hatten später Moog selbst einmal in Frankreich getroffen und er sagte uns: „Nie verkaufen das Ding!“ Da wir im Laufe der Jahre ständig neue Technik auf Grund der Digitalisierung benötigten, haben wir ihn doch verkauften müssen. Heute bedaure ich das.

GA: Now, tell us about your gigantic Moog Synthesizer III, the system of the late ‘60s, which was only used by very few musicians. What sort of ideas did you try to express with the electronics of the Moog synthesizer?

FF: It was a great fascination to encounter sounds that were until those days not heard before from the outside. It was the possibility to express sounds that a composer was hearing from within himself, which in many cases are different from what a normal instrument could express. Therefore, this was a fantastic way into my inside consciousness, to express what I was hearing within myself.