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."

"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!"

Kenji Kawai is confirmed to have four Roland SDE-3000 delay units in his studio, as indicated in his profile on his official website.

A good friend of Driscoll and fellow trumpeter player Tom Turner stated in his blog " That night back then, his "rig" that's in the box in front of him had SIX of the then-brand new Roland SDE-3000 digital effects processors daisy-chained together with foot switches . . . "

"My normal procedure is to put a code from my MSQ700 onto my A8 through my Seck desk (they're really brilliant — only about an inch thick, and light). I have thought about getting a Fostex B16, but that would only have meant getting a mega-desk. A nice clean simple desk, simple routing, and I've got my rack system in order. I used to have two Roland SDE3000s, but I never used them to their full capacity, and they had no sampling, which is why I swapped to Korg SDD1000s, with 2 seconds of delay, and proper triggerable sampling. I always get pairs of things because I'm a stereo fanatic."

This article from International Musician & Recording World July 1985 issue (reproduced on Sting's website) mentions Kenny Kirkland using a Roland SDE-3000 delay for effects.

Pulled from the introduction fold of the Canyon Trilogy:

“Nakai's free improvisations on this album are based on his impressions of the Anasazi and Sinagua sites, ancient cliff dwellings that were home to communities of Native people thousands of years ago. By using the Roland SDE 3000 Digital Delay system, Nakai is able to play duets with his own echo, in an effort to emulate the echoes of the past that haunt these ruins. On this recording, Nakai's flute sounds even more plaintive than usual, as if the spirits of these forgotten ancestors had entered into the studio to fill his playing with the whispered reverberations of their ancient ways. This is one of Nakai's most deeply felt recordings, one that resonates with a deep, melancholy yearning. - j. poet”