This photo, uploaded to his instagram shows a closeup from a JV-2080 display.

"Almost all songs used to be made with this before, and there's a large amount of timbres in it, so it's a reliable instrument that anyone could manage to understand"

"Synth-wise and for our sounds, we’ve got a Moog Voyager, Yamaha CS10, Korg MS20, Access Virus, Roland Juno106, JD 800, JV2080, Novation Supernova and a Korg MS2000.”

"I love the old TX802 FM module because it can create all those classic FM sounds, and of course, I have a JV2080 which has its own character and is expandable. I have the World card in there for the ethnic instruments, but I buy expander cards and then forget what I've got — it's terrible really! There's also the Roland Super JV, which is great for vocal Oohs and Aahs, and below that is an R8 that I don't think I've used for years."

Persing is the founder of Spectrasonics, a company specializing in developing World Class software 'virtual instruments' since 1994. He has produced dozens of the sampling industry's top selling titles and gone on to create the award-winning Omnisphere, Keyscape, Stylus RMX, Trilian, Atmosphere and Trilogy software virtual instruments. Eric's ground-breaking instruments and sound libraries are the best selling and most widely used in the world. Spectrasonics products are in constant use on thousands of major film, television, music, game and multimedia productions.

In addition to being the Creative Director of Spectrasonics, Eric was a longtime consultant and the Chief Sound Designer for Roland Corporation Japan from 1984-2005, creating the key sounds for many popular Roland synthesizers, samplers, CD-ROMs, expansion boards, processors and groove devices - from the vintage Jupiter and JX series, to the legendary D-50, D-70, JD-800/990, R8, S-series samplers, JV-880/1080/2080, the Sound Canvas, JP-8000/8080, MC-505/909, The V-Drums, XV-5080, Fantom series, the V-Synth and many more.

In the video titled "Studio Tour with Todd Edwards Producer - Scion Musicless Music Conference 2011 Scion AV (Reupload)" by SetrkiUno on YouTube, Todd Edwards shows a Roland JV-2080 Synthesizer Module at the 1:05 mark.

While the demands of the filming process forced the chopping and changing of the songs, Marius was in contact with London‑based composer Chris Elliott, who had the job of arranging many of the orchestral parts. "We were emailing back and forth," explains Marius. "This was before the Rocket Networks thing really happened, otherwise I'm sure we'd have been using that. But for a long time I sent him MP3s of the backing tracks and pencil sketches on score paper suggesting where I wanted to go, and he'd send MIDI files back to me which I printed out from Emagic Logic and fed into my JV2080 and S6000s to listen to what he'd done. We built up the orchestrations that way until he came out to Sidney. Alexis Smith was working over here in the UK as my programmer while I was in Sidney, and he would sending over grooves and ideas for drum beats and sound design. By the time we got to the shoot, we had everything developed up to a stage where the orchestrations were coming in a relatively realistic manner out of the JV2080, our rhythm tracks were pretty realised and our vocals were recorded to a stage where they were ready for lip‑sync."

"I still only stuck with 4 for the 2080. They were probably quite expensive. I swapped the Pop for the Voice one though, which was disappointing."

In this video at 3:13 minutes Rick shows Roland JV-2080 in racks

Kurt Ader, known for his work with KApro, utilizes the Roland JV-2080 Synthesizer Module. This information is referenced on his Facebook page.

Kenji Kawai is confirmed to use three Roland JV-2080 Synthesizer Modules, as listed on his official website.

Don Preston mentions using a Roland JV-1080 onstage in this 2002 interview.