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<p>Colin is correct - this box is filled with analog. The delay is
'digital' in that samples are stored in a ram instead of some sort
of charge storing device (like a BBD). Beyond that and the patch
storage, not much is digital.</p>
<p>Check out the service manual for the schematics:
<a class="moz-txt-link-freetext" href="https://www.synthxl.com/korg-sdd-3000/">https://www.synthxl.com/korg-sdd-3000/</a></p>
<p>And to get back to the OP's question: do you mean just reverb or
any delay effect? An ideal reverb (and/or delay) should have a
flexible feedback path and not just flat attenuation. Filtering
(and other modifiers) are very useful in the feedback path.</p>
<p>-Dave<br>
</p>
<p><br>
</p>
<div class="moz-cite-prefix">On 3/23/21 3:54 PM, ColinMuirDorward
wrote:<br>
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<div>Thanks for sharing these, Michael! I love listening to
synth demos and music in that field.</div>
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<div>Re vintage digital delays and modern implementations, I
think the challenge would be to recreate the analog signal
paths. Many of these older units used analog feedback paths
with filtering done in that domain. As well, it's likely you'd
see analog companding. So for a modern remake, one would want
to consider those aspects. I think it's low hanging fruit,
though. There is lots to explore. I usually create my own
exotic delay lines around a console and some budget FX units.
Shelving filters work especially well in the feedback path,
along with compressors to reign in unruly escalation. I'd love
to try something with an above/below type control so I could
expand below a certain threshold, and limit above a higher
one.<br>
</div>
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<br>
<div class="gmail_quote">
<div dir="ltr" class="gmail_attr">On Tue, Mar 23, 2021 at 9:17
PM cheater cheater <<a
href="mailto:cheater00social@gmail.com"
moz-do-not-send="true">cheater00social@gmail.com</a>>
wrote:<br>
</div>
<blockquote class="gmail_quote" style="margin:0px 0px 0px
0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">Could
even add more delay lines and additional I/O for eg inserting
an<br>
analog filter into feedback loops... nothing's stopping you
with<br>
today's hardware...<br>
<br>
What sort of feedback processing is there on the SDD-3300? No
one<br>
mentions anything like a filter, or ducking, or compression.<br>
<br>
On Wed, Mar 24, 2021 at 2:10 AM cheater cheater<br>
<<a href="mailto:cheater00social@gmail.com" target="_blank"
moz-do-not-send="true">cheater00social@gmail.com</a>>
wrote:<br>
><br>
> Since the SDD-3300 is all digital, it really does not
sound like a<br>
> very sophisticated algorithm - what's stopping someone
from making a<br>
> competent clone on an arduino or a small microcontroller
with a few<br>
> megs of ram?<br>
><br>
> On Tue, Mar 23, 2021 at 6:02 AM Michael E Caloroso<br>
> <<a href="mailto:mec.forumreader@gmail.com"
target="_blank" moz-do-not-send="true">mec.forumreader@gmail.com</a>>
wrote:<br>
> ><br>
> > SDD-3000 is a single digital delay, no MIDI<br>
> ><br>
> > SDD-3300 is three digital delays with MIDI.
Complete description on my webpage:<br>
> > <a
href="http://analoguediehard.com/studio/effects/korg_sdd-3300/index.html"
rel="noreferrer" target="_blank" moz-do-not-send="true">http://analoguediehard.com/studio/effects/korg_sdd-3300/index.html</a><br>
> ><br>
> > Both are programmable. Another difference is the
LFO: four waveshapes<br>
> > are available on the SDD-3000, while the SDD-3300 is
triangle<br>
> > waveshape only but each delay unit has two LFOs and
the LFOs between<br>
> > delay units can be phase offset. That last feature
is important for<br>
> > stereo modulated delays that do not cancel in mono.<br>
> ><br>
> > MC<br>
> ><br>
> > On 3/23/21, cheater cheater <<a
href="mailto:cheater00social@gmail.com" target="_blank"
moz-do-not-send="true">cheater00social@gmail.com</a>>
wrote:<br>
> > > can you both tell me the difference between an
sdd 3300 and an sdd 3000?<br>
> > > 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" moz-do-not-send="true">mec.forumreader@gmail.com</a>>
wrote:<br>
> > >><br>
> > >> Want more intriguing?<br>
> > >><br>
> > >> MC<br>
> > >><br>
> > >> On 3/22/21, James Coplin <<a
href="mailto:james@ticalun.net" target="_blank"
moz-do-not-send="true">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"
moz-do-not-send="true">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"
moz-do-not-send="true">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"
moz-do-not-send="true">mbryant@futurehorizons.com</a>><br>
> > >> >>> wrote:<br>
> > >> >>>><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>
> > >> >>>>
_______________________________________________<br>
> > >> >>>> Synth-diy mailing list<br>
> > >> >>>> <a
href="mailto:Synth-diy@synth-diy.org" target="_blank"
moz-do-not-send="true">Synth-diy@synth-diy.org</a><br>
> > >> >>>> <a
href="http://synth-diy.org/mailman/listinfo/synth-diy"
rel="noreferrer" target="_blank" moz-do-not-send="true">http://synth-diy.org/mailman/listinfo/synth-diy</a><br>
> > >> >>>> Selling or trading? Use <a
href="mailto:marketplace@synth-diy.org" target="_blank"
moz-do-not-send="true">marketplace@synth-diy.org</a><br>
> > >> >>>
_______________________________________________<br>
> > >> >>> Synth-diy mailing list<br>
> > >> >>> <a
href="mailto:Synth-diy@synth-diy.org" target="_blank"
moz-do-not-send="true">Synth-diy@synth-diy.org</a><br>
> > >> >>> <a
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> > >> >>><br>
> > >>
>>_______________________________________________<br>
> > >> >>Synth-diy mailing list<br>
> > >> >><a
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moz-do-not-send="true">Synth-diy@synth-diy.org</a><br>
> > >> >><a
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rel="noreferrer" target="_blank" moz-do-not-send="true">http://synth-diy.org/mailman/listinfo/synth-diy</a><br>
> > >> >>Selling or trading? Use <a
href="mailto:marketplace@synth-diy.org" target="_blank"
moz-do-not-send="true">marketplace@synth-diy.org</a><br>
> > >> ><br>
> > ><br>
_______________________________________________<br>
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<pre class="moz-quote-pre" wrap="">_______________________________________________
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