At 0:47-0:52 seconds you can see Roland SDD-320 Dimension D sitting in one of his racks with a Lexicon Prime Time Model 93 and what looks to be another Lexicon effects unit (maybe a reverb or multi-effects) above it.

According to Guitar World:

Although Vaughan didn’t use the Roland Dimension D in his live rig, it was a secret weapon in the studio, where he often added it to his guitar tracks during mixing. Vaughan first discovered the Dimension D while mixing his guitar tracks on David Bowie’s Let’s Dance, and he liked how its subtle chorus effect thickened his guitar sound without changing his natural tone significantly like other chorus effects frequently do.

The Dimension D was used on the solos to “Mary Had a Little Lamb” and “Pride and Joy” on Texas Flood and most of the solos on Couldn’t Stand the Weather. During mixing, Vaughan would add the Dimension D effects himself via the effects send/return controls on the mixing console." – March 2013 issue of Guitar World, page 65.

2003 interview with Richard Mullen (Vaughan's audio engineer, published in December 2022 issue of Guitar World) recalls the use of Dimension D:

One effect he used when we mixedTexas Flood was this Roland delay/chorus [Dimension D] that gave a little bit of a growl sound. It was a stereo device that created phasing effects, which you can hear on the solo to “Mary Had a Little Lamb” and the end solo on “Pride and Joy.” Stevie sat at the board and brought that effect in and out as the song progressed. He used the same effect on Couldn’t Stand the Weather, too.

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Guitars: EMI Chandler TG1, Lexicon PCM42, API 525, API 5502, Roland Dimension D SDD320, Watkins Copicat

"Normally I send each side of a stereo guitar to my EMI Chandler TG1 panned left and right and coming back on the console, but I didn't in this case, so I must have felt that it sounded bad. It might have taken away from the tightness of the guitars. They had already recorded it very tightly. So instead I didn't add anything to their stereo chorus verse guitar. I also had a mono verse guitar, which I sent to a PCM42 delay set at 224ms and panned to the opposite side, and every time the guitar strums it goes over to the right. On the acoustic guitar I did what I normally do, which is to send it through my acoustic patch, an API 525 going into an API 5502. That's a great combo and I have been using that for years. It makes the acoustic guitar very natural and full and gives it great presence without it sounding processed. In this song it's not very evident, because the acoustic guitar isn't very important, but, for example, on Parachutes the acoustic is very important, and I used the patch back then. There was no insert on the solo guitar. I did have a Dimension D SDD320 chorus on it, which spreads the sound naturally, and which went to a Watkins Copicat Echo unit with a fairly short delay. Otherwise it's totally dry, no reverb, hardly any EQ. Again, it was so well recorded that it didn't need a lot of work."

This undated advertisement show's Andy's rig with two SDD-320 units: one is in the rack to Andy's right (our left), which is in the third slot down from the top. The other is in the rack directly behind him, and it occupies the bottom slot.

"Out of the harmoniser it goes to a delay, either a Boss or a Delta Lab one, about 250mS. I prefer the Delta Lab one, but Elizabeth likes singing through that so I often end up with the Boss. Then that goes into a Roland Dimension D, which splits up the signal into a lovely spatial stereo. I've been using that in studios for years, it's like a subtle phasing, nice and sparkly. Out of that it goes into two Bolt combos, a 30 and a 60."

From an interview with the Prodigy's chief live sound engineer: "The [Roland] Dimension D is used to make the guitar big, because we've only got one guitarist and we try to make everything bigger than everything else. I've also got a [Yamaha] Rev 7 and a Rev 5. I've got them Y?split together because they've got a habit of stopping working, so one of them is usually working at any one time. They're both drum reverbs, I just run them both off the snare. Then I've got a guitar reverb, an SPX990, and a [TC Electronic] M2000 on vocals, which does harmoniser on some songs and reverbs on others. Then I've got a TC D•Two for all my more traditional delays.”

Steve Stevens' main guitar parts were played on his Prototype, on which he'd installed coil-tap switches "for a Strat-type sound. The guitar was put through a Rockman — which has two outputs — and both of those were fed into a Roland Dimension D chorus. The Rockman's output was actually just in mono, and I ran the chamber echo to the Dimension D, to enable it to be stereo. From there it went into two delay lines, each with a different rate time. For example, you can put a delay of 200 milliseconds on the left side, and maybe a 202 millisecond delay on the right, resulting in a sort of psychoacoustic effect.

In this video, Sugizo's studio rack is shown to consist of two H3000's and a Roland Dimension D rack chorus.

This 1988 Article lists him as using a Roland Dimension D Chorus.

Speculated to have been used on the Purple Rain guitar tracks, but unconfirmed.

Jonathan Wilson talks through the racks in his studio

Included in this list of Martyn's Roland gear.