<html><head></head><body style="zoom: 0%;"><div dir="auto">Quite a lot actually. The SDD line are all really different from each other - the SDD-1200 and SDD-3300 being my favorites.<br><br></div>
<div dir="auto">The 3300 is really unique. It has 3x inputs, call them I1, I2, I3, 3. 3x outputs O1, O2, O3. 3x delays A, B, C. For *EACH* delay you specify how much signal from each input I1, I2, I3 and each of the delays A, B, and C is going into the delay. So, routing the output of delay A back into itself is your feedback setting. You then specify how much output from the delay is being routed to O1, O2, and O3. Each of the amounts goes from -15 to ±15 so you have negative feedback and inputs as well as positive. What's important to keep in mind is that this is nit an either/or situation. All inputs and delay outputs are available simultaneously for all 3 delays. Each delay A, B, and C has its own delay time and there are 3 LFOs to modulate things.<br><br></div>
<div dir="auto">It's super trippy as you basically can send anything to anything however you want. I have 3 of them. Massively underrated and I can't believe how cheap they are. <br><br></div>
<div dir="auto">I run mine in "stereo" with I1, I2 coming from my DAW sends and O1, O2 returning to the DAW. I have O3 from one unit patched into I3 of a second unit and the O3 of the second unit patched back to I3 of the first unit. This way, I can feed the two machines to each other. When I really want a mess, I use a matrix mixer (Auxpander) to patch everything to everything on sends. I havent tried putting a reverb unit in the middle but you can bet I'm going to.<br><br></div>
<div dir="auto">James<br></div>
<div class="gmail_quote" >On Mar 22, 2021, at 11:14 PM, cheater cheater <<a href="mailto:cheater00social@gmail.com" target="_blank">cheater00social@gmail.com</a>> wrote:<blockquote class="gmail_quote" style="margin: 0pt 0pt 0pt 0.8ex; border-left: 1px solid rgb(204, 204, 204); padding-left: 1ex;">
<pre class="blue">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><mec.forumreader@gmail.com> wrote:<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #729fcf; padding-left: 1ex;"><br> Want more intriguing?<br><br> MC<br><br> On 3/22/21, James Coplin <james@ticalun.net> wrote:<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #ad7fa8; padding-left: 1ex;"> 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> <mec.forumreader@gmail.com> wrote:<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #8ae234; padding-left: 1ex;">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 <cheater00social@gmail.com> wrote:<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #fcaf3e; padding-left: 1ex;"> 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></blockquote>IR,<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #fcaf3e; padding-left: 1ex;"> 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></blockquote>vcf1<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #fcaf3e; padding-left: 1ex;"> (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></blockquote>the<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #fcaf3e; padding-left: 1ex;"> 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></blockquote><mbryant@futurehorizons.com><br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #fcaf3e; padding-left: 1ex;"> wrote:<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #e9b96e; padding-left: 1ex;"><br> Thought I'd change the topic name as we're definitely moving away<br></blockquote></blockquote>from<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #fcaf3e; padding-left: 1ex;"><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #e9b96e; padding-left: 1ex;"> cheap.<br><br> So given a polyphonic synth with unlimited voices and unlimited<br></blockquote></blockquote>budget,<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #fcaf3e; padding-left: 1ex;"><blockquote class="gmail_quote" style="margin: 0pt 0pt 1ex 0.8ex; border-left: 1px solid #e9b96e; padding-left: 1ex;"> 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><hr><br> Synth-diy mailing list<br> Synth-diy@synth-diy.org<br> <a href="http://synth-diy.org/mailman/listinfo/synth-diy">http://synth-diy.org/mailman/listinfo/synth-diy</a><br> Selling or trading? Use marketplace@synth-diy.org<br></blockquote><hr><br> Synth-diy mailing list<br> Synth-diy@synth-diy.org<br> <a href="http://synth-diy.org/mailman/listinfo/synth-diy">http://synth-diy.org/mailman/listinfo/synth-diy</a><br> Selling or trading? Use marketplace@synth-diy.org</blockquote><br><hr><br>Synth-diy mailing list<br>Synth-diy@synth-diy.org<br><a href="http://synth-diy.org/mailman/listinfo/synth-diy">http://synth-diy.org/mailman/listinfo/synth-diy</a><br>Selling or trading? Use marketplace@synth-diy.org<br></blockquote><br></blockquote></blockquote></pre></blockquote></div></body></html>