Used on Discovery, as stated in this May 1, 2001 Remix interview.

You've also broken away from the standard house music instrumentation. For example, you used Oberheim and Linn drum machines on several songs instead of the usual 808 and 909.

Bangalter: We used an Oberheim DMX and a Linn drum a lot. There is a Sequential Circuits Drum Tracks on “Short Circuit.” It's not like we're going against what other people are doing. We're just opening up the music to new ideas. The instrument itself is not as important as the way we use it. Instruments come with certain instructions in the manual, and many people can't look beyond those rules. People ask us why we like to use vocoders or electric keyboards from the '60s, but to us instruments are just tools. The idea is more important than the instrument. One of the cool things about the house music spirit is that it inspired musicians to use instruments for things they weren't designed to do.

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "An example of this is 'Walk Into the Sea,' where the Oberheim DMX drum machine, rather than a Roland 808 or 909, is used and then put through pedals with echo—what Marr thinks of as an 'Industrial North' approach."

The Oberheim DMX was used the kick drum on "Every Breath You Take".

"Classic drum machine. It has different tones, different accents. So what I do is I program something before, like two or three sequences, and then just play around with it. What I like a lot is really about those live sessions you can do. Maybe not so many possibilities with this one because it's quite simple."

”We used a lot of the stuff that we used on our first couple of records: sequencers, Akai samplers, MPCs, old E-Mu drum machines. ”

"If we're disregarding any computers here just for this Q, I would give the mpc1000 a good exercise with its JJOS now n then. Our RS integrator is a worthy distraction too. DMX has always been there for me too."

Rob Brown on WATTM AAA

When talking about layering, Com Truise mentions his use of the Oberheim DMX.

Was used on "Future Shock" album (1983), according to Herbie Hancock’s Electronic Instrument Glossary (2016-09 from liner notes of 2013):

Oberheim DMX – A programmable, digital drum machine released in 1981 that featured 24 individual drum sounds and eight-sound polyphony. Michael Beinhorn used this instrument on the 1983 album Future Shock.

Stewart Copeland has used an Oberheim DMX drum machine (available at the time at Tres Virgos studio facility) to record the Rumble Fish soundtrack in March 1983. He later used the DMX to program drum rhythms for the sequences Sting wrote in Los Angeles for the Synchronicity tour in order to keep in time with them, and clocked the DMX to Sting's DSX sequencer live on "Synchronicity I", "Walking In Your Footsteps", "King Of Pain" and "Wrapped Around Your Finger". He referred to it as "Mr. Oberheim". Source: The PoliceWiki, Down Beat May 1984, Jeff Seitz

Stewart had this to say about the DMX in Home Studio Recording magazine:

I've been using the Oberheim DMX up till now, and that in my opinion has the best sound, the best bass drum and the best snare sound. The cymbals on all of them are crap, you need to overdub live cymbals for that. But the triggering and so on, where you put down a trigger track on channel 1 and then you can overdub anything you want just by syncing it back in, are great. In the old days you would have to record your drum box first, then put everything else on top of it. Now you record just 4 beats in a bar and a sync pulse track.

983 Computer (G.D.S., PPG, Fairlight), much better effect devices, Oberheim DMX, custom made EEH rhythm-computer, EMT plate reverb.

In this video on VK.com Lorn is seen with a DMX drum machine

In this interview, Stephen is asked, "The acquisition of your first digital drum machine in the beloved Oberheim DMX of course gave you Blue Monday. It must have been like night and day compared with your Boss Dr Rhythm but how was it trying to synch up this state of the art technology with the Polysequencers in those pre-MIDI days." He replies, "It was fine, I never had a problem with synching it up because it was just a clock really. I have honestly come full circle and getting back into it again now."