Part of White's home studio, as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 Sound on Sound interview about the production of Icky Thump.

“Jack and Meg are big supporters of the analogue format, and he’s a big believer in the old-school approach: punch it in, no comping. If you don’t like a vocal take, just erase it and redo it. He has a Studer A80 eight-track recorder at home, and we used a Studer A827 with a 16-track head, and Emtec 900 2-inch tape, 30ips, no Dolby."

"Yea, I'm old fashioned in that way. I have a soundcard and a computer, but I've also got an eight-track 1-inch Studer tape machine and two master tape recorders.

Used to record Bone Machine, as stated by engineer Biff Dawes in this February 26, 2015 Mix Online interview.

The album was recorded on a Studer A80 24-track machine, with Dolby SR selectively used on certain tracks.

The same A80 was used to record Mule Variations, as stated by producer Jacquire King in this interview from issue 9 of Audio Technology Magazine.

As a result of using these various room mics, King sometimes ended up with a full 24-track, which meant that choices had to be made upon which room mics to use. The 24-track that was used was a late ‘70s Studer A80 MkIII, with BASF 900 tape, no Dolby, 30ips, recorded at +6, "hit very hard, which gives more tape compression". The album was mixed to analogue, an Ampex ATR102, on a half-inch tape running at 30ips, without Dolby.

Kate's studio was equipped with two A80 1/2' tape machines. It's what she used to record The Hounds of Love, The Sensual World, and The Red Shoes.

There's a full list of Stereolab's live and studio equipment, circa 2004, listed in this e-musician article.

At 6:23 in this video, Robert Babicz's A80 can be seen. It can also be seen in this Facebook post.

It was in 1983, while producing at a small studio named the Producer's Workshop on London's Fulham Road, that Steve Lipson received a call asking him to spend a couple of days engineering for Trevor Horn. This would be at Sarm West, where an SSL E-Series console was supplemented by a couple of Studer A80 tape machines.

After getting his ideas together, Midge transferred them to his studio, which is as he puts it "everything the budding Popstar needs" comprising a Harrison M3 desk, Studer 24 track (A80) recorder, Studer 1/2 inch and 1/4 inch mastering and F1 digital mastering system. Ultravox's Lament album was in fact recorded at his 'home' studio.

Daniel Miller is listed as using the Studer A80 Tape Recorder, as mentioned in Sound on Sound.

According to the "equipment list" found on Church Studios, owned by Epworth, one of the things listed is Studer A80 tape recorder.

In the video, where Steve Mac is taking Future Music Magazine on a tour of his studio a tape recorder is shown and then, at 0:50:03, he says "It's a Studer A-80".

From 1985 Sound on Sound interview, which describe his studio (Havoc House).

The control room is dominated by the monitor array of four Tannoy HPD drivers in huge enclosures set each side of the console tape machines; an early Studer A80 16 track and an Ampex ATR 102 (the half-inch version of the ATR 100). Other machines sit on shelves - cassette recorders and a bank of Sony F1 chargers, processors and recorders.