"I bought a Roland 100M monosynth when I was 13 – it's like a [SH-]101 – but I got really pissed off with it."

Hans Zimmer's massive System 100m, as described by Kevin Lightner. "It features 58 VCOs, 37 VCFs, 32 ENVs, 12 VC Phase shifters, 9 Sequencers, 1 Remote controlled 4-space rack-mount power supply (25' away.), and 24 Trunk lines go to his large Moog synth across the room. The unit can link the "Keyboard" inputs for all the modules, and with this feature, all VCO's can track one input with only one patch cord. The unit was built into 6 flight cases on casters with removable front and rear covers, then later encased in wood and built into his studio."

In this Instagram photo, BT talks about taking home a Lexicon Model 200 Digital Reverberator unit. He talks about having used the reverb unit quite a bit on his project All Hail the Silence. He says, "2 things I've wanted my whole life. The reverb from Blade Runner (used a to on The Silence) and a System-100m. Vintage condition, coming home with me. #soexciteditscrazy" (posted May 2014)

The Roland - System 100M is listed as one of the many Synths used by vince according to Keyboard Magazine.

"Basically everything we’ve used we practically still have here. So it’s a list too long to go into. There is a wall alone that is the orginal setup of Skinny Puppy, based around a pair of Roland TR-808’s, Roland TR-909 with trigs going to many differnat devices including Sequential Circuits Pro One, Roland System 100m, ElectroComp Eml 101, Korg SQ-10, Korg MS-20, Korg MS-10, ARP 2500 and ARP 2600."

"The Jupiter 8 gives me the automatic delayed vibrato that I prefer to the modulation wheel type, for instance on the Prophet. The Poly Six's chorus, on ensemble setting, beefs up the effects and gives a nice fat sound, particularly on chords. The System 100M is useful for discovering unique sounds."

A Roland - System 100M can be seen above Ulrich's Tannoy monitors at 1:26 in this video with Future Music Magazine.

Per "Rock This Town" publication, Special Issue 1991:

In 1991, the setup was as follows: [Rock This Town special issue 1991]

Sound studio: Analog Synths: Roland System 100/100M/101 (+Roland Midi interface MPU-101);YAMAHA CS-40M (in the Take One video); Oberheim Matrix 1000; Digital Synths: Yamaha DX-7 (2); Ensonic VFX; Roland DDR30; Yamaha tg77; Korg Wavestation; Sequencer: Atari 1040 (Sequ. Cubase 2.0); Samplers: AkaiS9000 (2); AkaiS1000 (8Mg + Hard Drive Mfile 44); AkaiS1000PB (4Mg); Emulator II; akai 1100, e-mu Procussion, roland s-10 for live use @ the mixing desk; Effects: Lexicon 480L; Yamaha SPX90 II (2); Roland SRV-2000; Roland SDE-3000; Alesis Midiverb II; Alesis Quadraverb; ART DRX; spx 1000 (x2); Eventide h3000 se; Mixing: Table TAC Scorpion 32/16; Recorder TASCAM MS16 tracks; Recorder DAT Luxman; Speakers Yamaha NS 10M pro ATC SCM50; QUAD ampli (for NS-10M); Diverse: compressor/limiter, noise gate, parametric eq. Live: Backline: Akai S9000; Roland DDR30; Simons & Roland Pads; Emulator II; TASCAM238 8

Graphic Studio: Commodore Amiga 2500 (6Mg + Hard Drive 40Mg); Commodore Amiga 500; Digitizer SNAPSHOT; Camera Sony CCD V-200E; Laserprint NEC Silentwriter LC890; Monitor NEC Multisync 2A.

In this photo, there is system 100 in his studio.

"Roland System 100M vs. System 500. It's party time //_^)"

Klayton shows us his jam session setup with the Roland System 100 M and the System 500.

In his My Studio feature for Attack Magazine, Mathew Jonson writes:

"The Roland System 100m was featured on ‘Symphony For The Apocalypse: New Age Revolution’, ‘The Girl From LBC’ and ‘Learning To Fly’. It’s probably the best bass in the studio."

(Centre - top down): Self-built digital delay, Accesit Noise Gate & Compressor, Roland System 100M (M-191J): incl. Gristleizer, BBD Module, VCO, VCF, ADSR etc., Roland System 100M (M-191J) rack containing self-built modules: incl. VCO, VCF, ADSR etc.. Boss KM-4 mixer, Self-built effects unit (Gristelizer), Boss CE-2 Chorus, Boss BF-2 Flanger, Roland 100M M-181 Keyboard.