On this page, it is possible to see some of Richard David James's comments on his own SoundCloud account. On one of them, he says: "listening to this reminds me I should release all the patches I made in Supercollider to make a lot of the sounds in this, It was Supercollider 1 though, old school."

Jenkinson likes the challenge of coaxing unfound sounds from gear, even as he recognizes the shortcomings of something like the QY700’s timing in comparison to a digital sequencer. He doesn’t crave perfection, which he considers an old-school approach. Exact timing would only retain its meticulous nature for so long once the outboard units are coupled with the self-taught programmer’s “hacks,” which he cobbles together in SuperCollider, Pure Data, and Reaktor.

"I met Professor Don Hassler at the Atlanta College of Art, he introduced me to a whole new world. He was teaching modular synthesis, computer synthesis, DSP processing, Max/MSP, SuperCollider and Pure Data"

In this video tour of Gabriel's writing room at his Real World Studios, engineer Dicky Chappell is showing the camera man around the main work space. Chappell name-checks SuperCollidder at the 11:40 mark.

"I work a lot with SuperCollider to find interesting ways of generating new music material in alternative tunings for example."

Naturally, soft synths are also very important instruments in the Strongroom studio, and one of Marius’ favourites is the esoteric Supercollider audio synthesis programming language. “I still love it!” he says. “The only good version was the OS9 one, before they made it free, and tried to port it to OSX, and I think it’s stopped being developed now, so I have an old power book running OS9 for that. I did an electro acoustic ballet for the South Bank at the beginning of last year – Squaremap of Q4, with Spanish choreographer Rafael Bonachela – and Supercollider got used a lot for that. It’s still very much a favourite instrument. It feels vintage like the ARP feels vintage, but in a different kind of way."

In the YouTube video titled "Synesthetic Sensory Stimulation with Ryoichi Kurokawa," at the 1:36 mark, Ryoichi Kurokawa is seen using SuperCollider.

The liner notes of André Bratten's album Gode indicate that he uses SuperCollider. This information is documented on Discogs.