Roland SDE-3000 Delay

Mix engineer Tommaso Colliva on recording Drones : "Pedal–wise there was a lot going on, but there are a few pedals that get used a lot, like the ZVex Fuzz Factory, the ZVex Super Hard On, which gives a nice clean boost so it distorts the amplifier, the Super Duper, and the Machsonic Thrust Drive pedal, which is made by someone in Turkey, and which we used with the Ampeg head for a very scooped–out fuzz sound, the JHS Colour Box, which mimics the sound of the Neve 1073, and a Roland SDD 3000 pedal."

For the 1988 David Lee Roth and 1990 Whitesnake world tours, Vai used this digital delay as part of his offstage effects rack.

According to the lot notes from Bonhams auction house website, Eric Clapton used the Ibanez HD1000 Harmonics/Delay, a DBX 160 compressor, a model SDE-3000 Roland delay, a Dyno-My-Piano Tri Stereo Chorus, a Boss CE-1 chorus, and a Boss HM-2 Heavy Metal pedal for his Bob Bradshaw rack system in the mid to late 1980s.

According to Premier Guitar, Eddie's set at the Bridgestone Arena in 2012 features a "pair of trusty Roland SDE-3000 delays".

In this article from [International Musician magazine (reproduced on Sting's official website)](http://www.sting.com/news/article/3517), long-serving tech Danny Quatrochi explains that Sting has used an SDE-3000 as part of his live rig.

"He still tends to treat his sounds heavily after programming: favourite devices for creating movement are his Roland SBF325 stereo flanger and Roland SDE3000 digital delay. Other effects come courtesy of Lexicon PCM70, Yamaha SPX90II, and Korg SRV reverbs, Sound City distortion pedals, and a stereo ring modulator which he had custom built. Again, like Sylvian, and still harking back to Tin Drum times, Barbieri prefers the sound of keyboards recorded to tape (the Fostex E16), and so, oddly for a modern keyboard player, doesn't own any sequencer or computer."

Included in gear list

A Roland SDE-3000 was part of John Ashton's guitar rig in 1985.

As seen in Henrik's Instagram photo.

Line level feeds the RJM rack and splits signal to two Roland SDE-3000 delays and a Pete Cornish Chorus + T.E.S. Delay.

This gear diagram of Michael's stage setup includes a Roland SDE-3000.

According to [this](http://www.guitargeek.com/bob-mould-sugar-guitar-rig-and-gear-setup-1993/) Guitar Geek rig diagram, Bob Mould uses a Roland SDE-3000 Delay.

This was the other main effect used on his sound

"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."

A Roland SDE-3000 is among the items auctioned from David Stewart's studio.

In the effects rack lie the new Roland delays the SDE-1000 and SDE-3000. It transpires that these were quite a find for Gary and they now get put to great use on both voices and instruments.

"Live, we've been using the Roland SDE-3000 delay... you can program it at home, then take it out on the road, and have a different setting for every song without having to explain it to some engineer you've never seen before — just set it up, and away you go. Great!"

This 1988 article lists a Roland SDE3000 Delay as one of the units in Dann's Rack Rig.

Equipment used on Rick Astley's "Never Gonna Give You Up," which was recorded at Stock, Aitken & Waterman's PWL Studio, included "The Linn 9000, which most sequences and drums were done on, was run from a [Friendchip] SRC synchroniser, and a [Yamaha] DX7 was used for virtually all of the bass lines. There was also a [Roland] Juno 106; a [Yamaha] Rev 5 and Rev 7; Dbx 160 compressors; SDE 3000 delays; an Emulator; and the wonderful Publison Infernal Machine 90, which was the first sampler that could actually pitch?change without really affecting the time signature. You could time?stretch things and make them fit reasonably well — It was a little choppy, but for the time it was phenomenal. Other than that, there was an AMS delay/harmoniser, which always had a number of kick and snare samples, and that was pretty much it."