"Yo uso toda una pedalera Boss que tiene un Chorus Estéreo, un Flanger, un Overdrive-Turbo que tiene dos sonidos distintos de distorsión, y un Compresor (...) De todo eso salgo y voy a dos delays que uso en sincro MIDI. Uno es el SDD 2000 de Korg y el otro es un SDE 1000 de Roland."

Gustavo Cerati para la revista "El Musiquero" año 1986.

En la foto, podemos ver la rackera detrás de Gustavo en la que si se observa bien, se puede distinguir al Korg SDD 2000 por su color azul y perillas amarillas (y arriba está el SDE 1000).

There is also 'modern' audio gear in the racks: two Avalon VT737 input channels, two Chandler Germanium compressors, a Demeter Stereo Tube Direct and two Urei 1176 compressors, along with some vintage Ibanez (AD230), Ensoniq (DP4), Korg (SDD2000) and Roland (SBF325) effects — an essential ingredient of the AIR sound from the beginning. In the studio itself, there's a Yamaha grand piano, a drum kit, a vibraphone, some kalimbas, a Neumann U47 microphone and Godin's collection of guitar and bass amps.

This article features pictures of a rack inside Subconscious Studios. On the top shelf of the rack, you can see a stack of drum synths and effects processors, including a Korg SDD-2000 digital delay.

Used live, as stated in this December 1986 Musician interview and in this January 1988 Guitar Player interview.

Musician, December 1986, "Richard Lloyd" by Bill Flanagan, pg. 26

"Onstage I use my Stratocaster and my JC 120 with a Boss Super Overdrive distortion device and a Korg SDD 2000 digital delay. I just traded an acoustic guitar for this little Acoustic amp to play at home and I've lately been using that onstage, too. Because the JC 120 is not giving me what I need. When we're in Europe we use Marshall amps, because they do something with the electronics of Fender amps in Europe and they're not as good. I'm probably going to switch to either Fenders or Marshalls, because the JC 120 has transistors and it's driving me crazy. It doesn't contain enough threat—it's too damn stable. Very pretty color tone. I mean, Adrian Belew swears by it—but he uses so many boxes he doesn't know what it sounds like anyway."

Guitar Player, January 1988, "Richard Lloyd: The 6 String Alchemy of Richard Lloyd" by Mark Dery

Lloyd runs his Strat into a Cry Baby wah-wah and then a Boss Super Overdrive with the tone set at three o'clock and the overdrive at one o'clock. That feeds into a Korg SDD-2000 digital delay set at 400 milliseconds: "I keep it at about eight repeats, to get that old Echoplex-type effect. That goes into the high channel of the Roland JC-120, and there's a small cable going into the Acoustic, which has its own overdrive, preamp thing, which I use. I like to have things so they're just at the point of bursting – just this side of overload – but I get quite a clean signal. The Boss Super Overdrive is not that dirty an effect, and the wah-wah pedal doesn't overdrive. I tried different orders, but the signal-to-noise ratio was the cleanest this way, with the digital delay closest to the amp."

This article states that this was part of Adamson's live rig.

“The Bridge” was originally created using the Roland TR-808 Rhythm Composer and the Korg SDD-2000 Sampling Digital Delay. Marley Marl programmed the beat by triggering drum sounds (the kick and snare) from the TR-808 into the SDD-2000, giving the track a unique sound and feel.

In this YouTube video, at 1:32, Sam Evian mentions that he used the Korg SDD-2000 to create the delayed sounds on a particular riff.

This article states that this was part of Watson's rig in Big Country.