Mentioned by Thomas Bangalter in this November 1998 Keyboards interview and listed in this 1999 Japanese interview.

I record on a Panasonic SV-3700 DAT machine – I believe it’s a reference to the USA –, and I’m very satisfied with this system, even if after, the result is transferred onto analog tape – I really like that sound. With digital audio, some of the possibilities for recording and editing are impressive, sure, but I leave that to the mastering studios we work with. We don’t want to change a formula that works well! That’s not to say that we won’t try new machines, new techniques, but when it comes to recording, we’re happy like this. Also, there are choices to make, related to the time we have available: it’s true that I’ve tested other mixers – digital, automated – but I’m not convinced…

This transcription of a* Future Music* article](http://music.hyperreal.org/artists/brian_eno/interviews/futmus95.html) includes a list of gear Eno was using at the time of writing, which includes an SV-3700 DAT machine.

The heart of Linnell’s system is an Apple Macintosh IIci (1) running MOTU’s Performer sequencer and Mosaic notator (for horn arrangements), connected to an Opcode Studio Plus Two MIDI interface (2) and Timecode Machine sync box (3). A Cutting Edge hard disk (4) alongside Linnell’s Music Mart accordion (5) doubles as a pedestal for a Bundy bass clarinet (6) — which is not to ignore his prized Buescher bass sax (7). A Yamaha MJC8 (8) distributes MIDI to his E-mu Proteus FX (9) (“this is what I’m using live now”) and Vintage Keys (10), Roland R-8M percussion module (11) and U-220 (12), plus a Casio VZ-10M (13) bought in a closeout sale. “It’s the end of the legendary CZ line,” he laments. “It’s got some weird, cheap sounds you can’t get any other way.” An Akai S1000KB sampler (14) also serves as a master MIDI keyboard. When he’s in a picking mood, Linnell picks up a Gibson SG from the early ‘60s (15). A Boss TU-12H (16) helps keep it in tune.

The instruments, plus a Sennheiser 421 mike (17), feed a Tascam 688 eight-track cassette deck (18). “It has all these line inputs,” Linnell points out. “I can mix all my sequenced tracks and still have seven tape tracks for bass clarinet.” For effects, he uses a Urei 7110 compressor/limiter, Lexicon PCM42 delay (19). Yamaha SPX90II multieffect unit (20) and Korg DRV-1000 reverb (21). He mixes to a Sony TC-WR690 cassette deck (22) and Panasonic SV-3700 DAT (23), amplified by a Hafler PRO2400 (24) and Design Acoustics PS-10 speakers (25).

As cited in the gear list of this May '92 feature in Music Tech magazine

Included in Tom Lord Alge's gear list in the April 2000 issue of Sound on Sound.

In a post on the Mod Wiggler forum, Taylor Deupree, who collaborated with Tetsu Inoue on the album Active / Freeze, states that Inoue used a Panasonic SV-3700 for recording:

yes, a JD800 was a huge part of those records as well as an Akai S3200 (or maybe 1000? i forgot, pretty sure 3200 tho).. thought i remember some sort of matrix 6 or matrix 1000, but not sur....his mixer was a Soundcraft Ghost (with a better/modified power supply) and everything recorded to a panasonic SV3700 DAT machine. struggling to remember anything else, though... MS20 perhaps... 101 or 106.. 606 i'm almost positive....

From equipment list:

Recording: Allen & Heath Sabre 24:16:2 Mixing Desk Atari 1040ST Computer running C-Lab Notator software Digital Music MX8 MIDI Patchbay Fostex E16 Multitrack Panasonic 3700 DAT Machine Rauch Amp Sony DTC1000 DAT Machine Yamaha MCS2 MIDI Control Station Yamaha NS1000 Monitors

Jer Coons listed the Panasonic SV-3700 DAT Recorder for sale on his Facebook page, indicating his ownership.