<div dir="auto">Michael are you saying that you have seven units each of sd3300 and pcm60?<div dir="auto">Do you have any music/sound samples you can share?</div><div dir="auto">Seems to have gone OT but enjoying this convo.</div><div dir="auto">Colin</div></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Mon, Mar 22, 2021, 10:12 PM David Messenger, <<a href="mailto:mssngr1@pacifier.com">mssngr1@pacifier.com</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">The 3300 has 3 delay lines...<br>
<br>
From "The Gear Page"<br>
<br>
>Korg SDD-XXXX Delay Rack Unit History<br>
<br>
Messages<br>
1,614<br>
<br>
Jun 30, 2020<br>
<br>
#1<br>
<br>
Delving into rack delays...I see that Korg released an SDD-1000, <br>
SDD-2000 and SDD-3000. Then, they also have an SDD-1200 and SDD-3300. <br>
I'm wondering what the release dates were for each of these (really, <br>
which was first, which came later) and differences among them?<br>
<br>
SDD-3000 (1983) - 1023ms, special preamp, 9 programmable presets<br>
SDD-1000 (1984) - 1024ms at full frequency, 2048ms at half frequency - <br>
all knobs<br>
SDD-2000 (1985) - 1092ms at full frequency, 4368ms at reduced frequency <br>
- 64 programmable presets, MIDI, sampling<br>
<br>
SDD-1200 (DATE?) - 1024ms (doubles when delays in series), dual delay lines<br>
SDD-3300 (DATE?) - 500ms per line (triples when delays in series), three <br>
delay lines<br>
<br>
On 3/22/2021 10:14 PM, cheater cheater wrote:<br>
> can you both tell me the difference between an sdd 3300 and an sdd 3000? thanks.<br>
><br>
> On Tue, Mar 23, 2021 at 3:41 AM Michael E Caloroso<br>
> <<a href="mailto:mec.forumreader@gmail.com" target="_blank" rel="noreferrer">mec.forumreader@gmail.com</a>> wrote:<br>
>> Want more intriguing?<br>
>><br>
>> MC<br>
>><br>
>> On 3/22/21, James Coplin <<a href="mailto:james@ticalun.net" target="_blank" rel="noreferrer">james@ticalun.net</a>> wrote:<br>
>>> As someone with 3x SDD-3300s sitting here this intrigues me mightily.<br>
>>><br>
>>> James R Coplin<br>
>>><br>
>>> On Mar 22, 2021, 8:56 PM, at 8:56 PM, Michael E Caloroso<br>
>>> <<a href="mailto:mec.forumreader@gmail.com" target="_blank" rel="noreferrer">mec.forumreader@gmail.com</a>> wrote:<br>
>>>> After years of experimentation I have concluded that a polyphonic<br>
>>>> synth needs both reverb and at least a pair of delays that can be<br>
>>>> modulated.<br>
>>>><br>
>>>> Reverb alone was never enough.<br>
>>>> Modulated delays alone was never enough.<br>
>>>><br>
>>>> I had really liked my Korg SDD-3300 triple digital delay for synths,<br>
>>>> which can be configured in any series/parallel/cross-coupled<br>
>>>> architecture you can dream of. This gets better modulated delays than<br>
>>>> multi-effect boxes. Then I saw a spare output and two spare inputs on<br>
>>>> the 3300, so I hooked my Lexicon PCM60 digital reverb up to it and<br>
>>>> that was the magic combination I wanted.<br>
>>>><br>
>>>> Using the 3300 I can route direct signal to reverb, then process the<br>
>>>> reverb tales with the 3300. Or reverb in parallel with delays. Or<br>
>>>> series. Add predelay to the reverb send. Or multiple predelay each<br>
>>>> to different delay times. World of sounds with this combination.<br>
>>>> Enough that I built seven sets of these for my synths for independent<br>
>>>> processing.<br>
>>>><br>
>>>> MC<br>
>>>><br>
>>>> On 3/22/21, cheater cheater <<a href="mailto:cheater00social@gmail.com" target="_blank" rel="noreferrer">cheater00social@gmail.com</a>> wrote:<br>
>>>>> let's enumerate some of the possibilities:<br>
>>>>><br>
>>>>><br>
>>>>> voice 1: vco1 -> (a1) -> vcf1 -> (b1) -> vca1 -> (c1)<br>
>>>>> voice 2: vco2 -> (a2) -> vcf2 -> (b2) -> vca2 -> (c2)<br>
>>>>> ...<br>
>>>>> voice n: vcon -> (an) -> vcfn -> (bn) -> vcan -> (cn)<br>
>>>>><br>
>>>>> at a1, you want to have one of a few things:<br>
>>>>><br>
>>>>> (i) a convolution engine that takes the output of vco1, applies an<br>
>>>> IR,<br>
>>>>> and puts it into the input of vcf1<br>
>>>>> (ii) same as (i) but the input is all vcos (1..n) and the output is<br>
>>>> vcf1<br>
>>>>> (iii) same as (i) but the output is all vcfs (1..n)<br>
>>>>> (iv) same as (i) but the input is the last few notes you played in<br>
>>>>> decreasing order: 1/2 * the vco from the most current note + 1/4 *<br>
>>>> the<br>
>>>>> vco from the previous note + 1/8 * the vco from the note previous to<br>
>>>>> that etc<br>
>>>>> (v) same as (iv) but you do that with the outputs<br>
>>>>> (vi) same as (i) but there's also input from b1 or c1<br>
>>>>><br>
>>>>> then you want the same topology at b and c<br>
>>>>><br>
>>>>> They're all obviously going to have different results and different<br>
>>>>> applications.<br>
>>>>><br>
>>>>> And obviously you can think about all sorts of dsp in here, not just<br>
>>>>> convolution, and when it comes to convolution, then not just reverb.<br>
>>>>><br>
>>>>> On Mon, Mar 22, 2021 at 7:03 PM Mike Bryant<br>
>>>> <<a href="mailto:mbryant@futurehorizons.com" target="_blank" rel="noreferrer">mbryant@futurehorizons.com</a>><br>
>>>>> wrote:<br>
>>>>>> Thought I'd change the topic name as we're definitely moving away<br>
>>>> from<br>
>>>>>> cheap.<br>
>>>>>><br>
>>>>>> So given a polyphonic synth with unlimited voices and unlimited<br>
>>>> budget,<br>
>>>>>> what should the structure of an ideal reverb system look like ?<br>
>>>>>><br>
>>>>>> Once there's a consensus I'll try coding it into my digital synth.<br>
>>>>>><br>
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