This image, from Vangelis' website, shows, among other devices, a Roland MSQ-700, used by Vangelis at Nemo Studios.

OPN's MSQ can be seen at 6:43 in this video.

In a user-uploaded photo from cEvin Key's former Subconscious Studios, the Roland MSQ-700 sequencer is visible in a rack setup.

In this article, it mentions the Roland MSQ-700 sequencer in William Orbit’s equipment list.

As listed in this 1990 interview on the Music Magazine Archive

Four Roland MSQ-700 sequencers can be seen in Greg's synth rig during this concert. A better shot of them can be seen around the 12:11 mark in the video, during "Touch and Go".

In the early 1980s, Jonathan Cain used the Roland MSQ-700 sequencer during his time with Journey, as reported by Circus Magazine.

Ray Parker Jr. says in this interview that he used a Roland Jupiter 6, Roland MSQ 700 and Linndrum on "Ghostbusters."

can be seen under Kid606 in this facebook post

De Vries first cut his programming teeth on an Roland MSQ700, and then moved on to the Atari, initially running Hybrid Arts' Midi Track software, and then C‑Lab's Notator. A few years ago he finally switched to Macintosh and Digidesign, on which he still runs C‑Lab/Emagic software, namely Logic Audio: "I was quite slow switching from the Atari to the Mac, because I had experiences of working alongside people with Macs that appeared to be crashing all the time. But things are a lot better now, and I am really happy with my Macintosh, although admittedly the timing could be better on it. The timing of the Atari was probably more stable, but then, are you going to spend your whole life worrying about the fact that there is a millisecond delay on the bass drum, or are you going to listen to the music and try to make that sound good? The '80s ethic seemed very much to make sure that everything was very precise and glued to a grid, but there's room for things to be much sloppier now, and better for it."

Eric Persing has had a unique and influential relationship with Roland Corp for two decades. He started as a product demonstrator in 1984, showing some of Roland's first MIDI instruments. He quickly became involved in the R&D side with Roland Japan, earning the title "Chief Sound Designer", and began contributing his design ideas, real-world studio experience and sound design expertise. Persing's skills have left their mark on countless classic Roland instruments.

He is the originator of many legendary Roland sounds that have become part of the vocabulary and lexicon of musical sound. These include the Factory D-50 sounds such as Fantasia, Soundtrack and Digital Native Dance, a majority of the JV/XP/XV series Classics, all the Factory JD-800 sounds, the original Juno "Hoover" sound and thousands of others.

Here is a partial list of the Roland instruments that Eric has contributed his sound design, sampling and design consulting skills:

Juno-106 Alpha Juno 1&2 JX-3P JX-8P JX-10 Jupiter 6 Super Jupiter D-50 D-550 D-110 D-10 D-20 D-70 MT-32 U-110 U-20 U-220 Sound Canvas JD-800 JD-990 JV-80 JV-90 JV-1000 JV-1080 JV-2080 XP-10 XP-50 XP-60 XP-80 XV-3080 XV-5050 XV-5080 Fantom JP-8000 JP-8080 S-10 S-220 S-50 S-550 S-770 S-760 S-750 MC-303 MC-500 MC-505 VP-9000 MSQ-700 MSQ-100 MKS-20 MKS-30 MKS-50 MKS-70 MKS-80 R-8 R-5 DR-660 DR-770 R-70 V-Drums V-Drums expansion board SRV-2000 DEP-5 RSP-550 R-880 SRV-330 SE-50 SE-70 VS-880 VS-1680 SR-JV series expansion boards SRX series expansion boards Sound Canvas Project series CD-ROM libraries Archives series CD-ROM libraries Composers series CD-ROM libraries

Stephen Hague discusses programming the bassline for the Pet Shop Boys' "Love Comes Quickly" with an MSQ-700 sequencer:

The bassline of [Love Comes Quickly] is interesting because, originally, it was going to be a down-beat set up as it is in the intro. I had programmed it on an MSQ700, but something got screwed up when it came back sync'd from tape and the whole thing was delayed by exactly half a beat. I thought it sounded really cool so I had to re-write the bass sequence with that in mind.