"Well I remember using the Electro-Harmonix 16-second digital delay, which was pretty radical for that time. You could have 16 seconds of delay and play whole phrases on top of each other. We also did a lot of improvising at the editing stage - sort of chopping pieces up, playing new parts, and editing them together again. We also used a Yamaha CS80 synth on Hybrid, and of course there was the buzz bass - a modified instrument which sounds like a bass sitar. It produces a beautiful sound. The idea was really taken from a tambura - it's like a cross between a bass guitar and a tambura. I also used this little Hawaiian guitar quite a lot actually."

In this clip, Gilmour can be seen using a Yamaha CS-80. This synth was used extensively on Saga's "Silent Knight" album.

"The end of the 1970s saw a huge rise in the development of synthesisers, and in making traditional instruments like pianos and organs more transportable and able to be amplified well. In the early days Split Enz always used to need an acoustic piano at every gig, which was a pain for us (amplification without feedback was always an issue) and promoters alike, but with the advent of Yamaha’s CP-70, that all changed. Synthesisers had also become polyphonic and memory space to store your own sounds was also a new development. The 'space capsule', as the guys called it, was seven or eight different keyboards, including a CP-80 Yamaha (full 88-note piano), a CS-80 and Prophet 5 (both early polysynths), a CP-30 electric piano, a Mellotron for 'real' string and choir sounds, a string synth, and a monophonic synth such as an EML 500 or Cat Octave … Oh, and I bought the first Korg Vocoder to arrive in New Zealand, which was fun! As you can imagine, transporting the sheer weight and volume of all this gear became prohibitive, so we replicated the setup in the US. Unsure what happened to all that gear when the band broke up!"

Mentioned in an interview on page 34 of the July 1979 issue of Beat Instrumental.

And then there's his Yamaha CS80 synthesiser. The Yamaha CS80 has only six memory banks but Duncan has had it altered to take another four.

"There's this guy down at Yamaha called Dusty Miller that did it."

He has high praise indeed for the Yamaha, saying that he used to have six ARPs on stage but now he's got the Yamaha he doesn't bother anymore.

Dan uses the CS-80 in studio, as shown behind the guitar in this picture taken from cut/copy's Twitter profile (https://i.imgur.com/njHlBbN.png)

In Camel's Stationary Traveller, Ton Scherpenzeel uses a Yamaha CS-80 synthesizer in Vopos along with Andy Latimer.

Tyrone Downie is confirmed to use the Yamaha CS-80 synthesizer in his rig throughout the entire concert, as observed in the video "BOB MARLEY Live in Santa Barbara 1979 FULL CONCERT" provided by Papo Papi on YouTube.

The instrument appears on the list of instruments on official artist's website (http://olszak.pl/).

Christian Bruhn once fetched Timm Thaler's multi-track tape from the shelf just for me to tell me the original instruments from the track plan, I almost passed out with "Unworthiness". He had Kristian Schultze (also a brilliant musician, unfortunately already in heaven) to record the synthesizers, who had recorded the tracks in his own studio and on his instruments, as well as the Captain Future Tracks. A SH-2000 was not there, if you listen carefully you can clearly see the Minimoog. As hard as it is, Schultze had used all the unaffordable super sound monsters for the two soundtracks. So, here is the original information from C. Bruhn from the track plan:

Prophet 5 (Schultze had a rev2), Roland Jupiter 4 (you can clearly hear that on Captain Future), Minimoog, unfortunately actually also a Yamaha CS-80 and a rare Wersi string machine, as well as an eventide h910 harmonizer, the cascading pitch -Effect can also be clearly heard, along with the tape echo flutter.

I hope this clears up a piece of audio history for all Captain and Thaler fans.

Of course, I was also at an appointment for Mr. Bruhn's cinema tour. At the end of the question and answer session he had a piano medley from Cptn for me. Future and Timm Thaler played. Dark hall, I stood wg. my question, everyone else was sitting and Mr. Bruhn was playing for me. I will never forget the moment, 1.5 minutes of complete trance ... Thank you very much, Mr. Bruhn!

Mats Olausson has confirmed on his old website that he uses the Yamaha CS-80, along with other keyboards such as the Korg Trinity Pro TRI PBS, Yamaha SY-77, and Yamaha SY99, both live and in the studio. He states: "In the studio, I always make sure there is a good Grand piano and Hammond B-3 or C-3. When playing live, I rent whatever extra equipment I need."

"I try to keep plug-ins to a minimum if I can, and prefer to use samples for as much as possible where I can. For Unflesh, I wrote, recorded and produced everything at home, then took it to an analogue studio in London called MemeTune to work with Benge on bringing some aspects out of the digital realm and into another dimension for extra production and mixing. We replaced a lot of the digital parts with real hardware, mostly vintage synths and effects units like the CS80, Linn-1, and Roland SDD-320 Dimension D Chorus."

Gerald Woodruffe is confirmed to use the Yamaha CS-80 synthesizer, as stated by Monorail Music's Mono Staff in the equipment list for the LP "Wonders Of The Underwater World".