Latest User Reviews

When the SDE-1000 came out it was a revelation. It was an amazing piece of equipment for about $350 when Lexicon and others were selling their DD’s at twice the price. Using this amazing piece of equipment was a joy. The chorus was luxurious and the delay was absolutely mind blowing. I didn’t modulate that much so I can’t speak to that but this was the piece of equipment that blew open the venerable doors to fantastic equipment at an affordable price. Kudos to Roland!

When I received this delay, I was in heaven. I sat there for days on end with a guitar and played rhythmic textures with the delay providing dotted or triplet accompaniments. I was so intoxicated that I could not leave it alone for more than a few hours.

When I received a synth with sequencer later on, it became even more addictive. I loved the solid feel of the delay and ease of operation far better than the one-box-does-it-all approach of later generation effect boxes. There was only one point to complain. The programmer, which only includes 4 storage buffers, does not remember the modulation settings, only if the modulation was on or off.

I though that was a serious oversight, greatly reducing the usefulness of the programming feature. Other than that, it was one of my favorite pieces of equipment for many years (which is also what lured me into writing this review). Well done, Roland. The next box by Roland providing this much excitement was the venerable SRV-2000.

Excellent delay, quite vintage sounding, built like a tank…very useful.

Laite on ollut käytössäni 90 luvulta ja hyvin pelittää edelleen. (The device has been in my use since the 90’s and still plays well.)

I consider this device as unique because its perfect approaching to the dealing of emulating an natural acoustic ambient, also because its simple and powerful control panel and its superb design. It’s a jewel among vintage equipment.

I have owned one for several years it was my main reverb for years I also have an EMT plate and several others including the big kurtswild the Quantec is the most interesting and the best for giving the vocal a smooth and listenable edge you must live with the Quantec to get it a guy named Tom Flye had one and I loved it on my snare another friend came back from Germany broke so I scored it ten years plus so that’s it it’s everything folks say get one if you can it its gets hot it will explode I have a little quiet fan sitting on top that’s on when it is on that is the trick.

I discovered this machine at a live guitar rig. Mixing that band live, I found that I really loved those guitar tones. A few months later I bought one for my recording studio. Since then this is my go to reverb for all clean electric guitars. I would have never expected that sound from an unit like this. It sits in my rack next to EMT252, Sony DRE2000, Eventide 2016, AMS RMX16 and Lexicon 300.

IMHO it can‘t get any better than this for guitars. Tried it on other sources as well, but without that success. I think the manufacturers huge knowledge with guitar processing units seems clear – those converters just seem to love guitars… It‘s not easy to find the right words to describe what exactly I like in it soundwise. Let me try: It sounds somehow more 3D and more real than other reverbs. Esp. if you compare it with plugins. Even if you use it in mono – directly in front of a guitar combo with just one SM57, it somehow sounds 3D. It‘s weird.

Downsides: external PSU with custom plug; you gotta be very careful not to clip it on the inputs. Many presets sound quite bad, to my taste. Some singular ones are great, though. 90% of the time I just use one Virtual Room preset with a rather short decay. Whenever I try micing guitar cabs with additional stereo room mics, I end up prefering the Intelliverb on the close mic!

I have had it in the rack, along to a Sony R7. It´s not that detailed, but it´s easy to use.

This unit has a very low output and therefore in normal circumstances you’ll need to pump up the line gain in your pre, not a problem. However, marry this up with the correct mic pre and something very special happens with the colour. Its one of those units you send a full bus signal through and mix it 50/50 for example, just to get the colour, space and height. I love it for dry hip hop and uncluttered recordings makes things sound contemporary retro.

I see people on various forums say this box isn’t so hot and best avoided. I say fine, more for me then. I’ve had mine since 2006 and have found it to be one of the most useful and flexible effects units in my arsenal. It sounds very nice using it’s standalone effects. With the multi-effects it can be a little noisier. Some of the presets are fantastic and most are fantastically weird. I really love the pitch delays, distortion and reverbs. The chorus is outstanding. the vocoder is pretty lame. Compression is workable but difficult without gain reduction metering. Recently my rotary encoder went. But this unit is worth the trouble to repair. Overall this machine provides a ton of unique effects and plenty of unusual colors.

I’ve had mine since the early 2Ks and am still finding uses for this machine, live and in the studio. I used to carry it around to gigs, as my main (and sometimes only) FX unit. The 2 machines covered my basic FOH FX needs, and it provided me with a consistent and repeatable drum and vocal sound, no matter what the P.A. Cos. would provide. I‘ve used it as digital hardware plugin via S/PDIF in a DAW. I‘ve made digital IRs of my favorite presets, which gives me multiple virtual V77s. And tomorrow I‘ll be using it as master P.A. processor with a total of 8 bands of stereo parametric EQ and a final limiter for speaker protection. The 75% for mojo/funk aren‘t a negative thing…I just find this unit very clean, serious and professional.