Kee Marcello used Dimension D live when touring with Europe from 1988 onwards. You can see Kee's guitar tech point to it at 13:03 in the Milan 1989 soundcheck video.

"I have a Dimension C or D - I get the two confused - but that sounds really nice with slightly distorted parts, but when I try it on the solo sound it does take away some of the bottom end" - Kee interview from Guitarist magazine, July 1989 issue.

"Well, it's a Soundcraft one-inch 16-track and the little Soundtracs 16-in, 16-out desk which is great value money-wise and for what it can do. It's pretty much the ultimate for home studios and I suppose it's just about workable as a commercial studio. That's my basic set-up, with Dolby Noise Reduction on the 16-track, Little Red monitors and a Quad amp. I don't have many mics, just the UH7, C451 with C85 capsule and a PZM. I've got a few other things in operation, but as it's basically a one-man operation, I'm unlikely to need more than those three mics. If I'm doing drums I have to beg, borrow or whatever. I've also got a Drawmer compressor/limiter and Drawmer Gates - which are the best - and an Ursa Major Space Station, a Rebus rack and a couple of gates and a delay package. Then there's a Dimension D, a TC stereo parametric, Klark Technik Graphic and a Sony PCM F1 for mastering."

"As far as desks go, at home I've got an RSD 16 into 16 which is basically ample for what I require. That's patched into a Fostex B16 tape recorder. I've got a rack full of effects which I use on stage for guitar anyway but they're useful for this set-up too. It's got the Roland SDE3000 digital delay unit, an Ibanez harmoniser, a Yamaha compressor, and a Roland Dimension D."

"Jerry has a lot of acoustic drums that we recorded sampled to the MPC,' Grassi says. 'It's a good sampler when you go in through the digital input; the analogue ones tend to sound kind of grainy. So I try to get Jerry to record digitally. I also keep an amp head set up in the control room with a cable running to a speaker cabinet in the studio. I always want to try to have things that actually move air on the tracks. Even when we're using digital drums — which is most of the time — I use a few reverb tricks, like very short setting and fast slaps, to give the sense that there's some air around the drums. The [Roland] Dimension D unit is especially good for making a digital kick drum sound like it has four walls around it.'"

According to the "equipment list" found on Church Studios, owned by Epworth, one of the things listed is Roland SDD320.

At Sing Sing Studios in Melbourne, Tony Espie and the Avalanches began to get to grips with the initial mixes of the tracks. Further processing of the sounds was done using Neve 3315 EQs and a Shadow Hills Mastering Compressor, and Espie employed an Empirical Labs Fatso EL7x tape simulator and Roland Dimension D chorus to add different characters and dimensions to the samples.

In a video by Point Blank Music School, the Freemasons are shown using the Roland SDD-320 Dimension D, an effects processor, during a discussion on the history of house music.

In this 1983 article, Tom Bailey mentions the Oberheim OB-Xa is rarely disconnected to an AMS reverb and Roland Dimension D.

Alan Murphy preferred rack effects over pedals, and the Roland SDD-320 Dimension D is prominently featured in his work with Kate Bush and Go West, as detailed on the Alan Murphy Equipment page.

The March '95 Sound On Sound article lists studio gear that was used by this artist. This is mentioned in paragraph 16 line 6

The runout groove for Pete Namlook's "4Voice 4" EP mentions his use of the Roland SDD-320 Dimension D, as documented on Discogs.

"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.