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| MEMETUNE | COLLECTION — Digital FX Units of the 1980s| | j FEATURING ~~ | REVIEWS/INFOFOR |. THE FOLLOWING UNITS: 1978 - Lexicon 224 rsa Major Space Station - Dynacord DRS 78 amaha Rev-1 1983 - Roland SDE1000 }> 1984 - MXR 01 1984 - Lexicon Model 200 L. 1984 - Ibanez DM2000 1985 - Yamaha Rev-7 - Roland SRV2000 1987 - Korg DRV-3000 1987 - Art DR-1 1988 - Lexicon LXP-1 | 1988 - Eventide H3000S 1988 - Alesis Quardaverb |. 1989- Akai AR900 1989 - Roland R880 as your dear old mum] ‘sed ta say when she bounced yeu on here Knitting. are not everything. But the help. Before we start ineestigaing eternal erties, such as delay time, signal to n04 ratio and feedback loops, it's first LOO at thexe two new rack mounted digital delay lines from Roland. ‘They are gorgeous. Thin boses are not| the easiest items to make attractive bui the Roland arists have succeeded beyond} their dreams. The CDE-3000 in particu has a silky black finish and a dacaling blue/ereen LED display treated to a sloping artwork frame, ‘Most of the controls are on oblong buttons which again bleed into the shadowy paint jo® with spots of colour identify shee functions, The result bs a machine easy to understand and fast to access because all the information is displayed on the readout, “The 3000 in the ile presumably refers to the maximum delay time—3000 milliseconds expandable to 4500 via a back panel conirol Te boasts eight programmable memories in imo banks of four. Control features include delay time, feedback, delayed signal oatpat level, modulation rate and modulation depth. You can also shift the phase of the delayed signal, add a filter, alter the phase ofthe feedback and double the delay time, ‘This last function is how you achieve the full 4300 miiseconds fram the device's internal lope circuits. By stacking the delay chips so the signal gos around twice, you ean increase the time=that's what the times two baton i for on the front. But it's like building a tunnel. If you possess fixed number of bricks thea you ean extend the length oni atthe cost of reducing the height, Thus, not all ofthe signal squeezes through, and as you hit that times two button, the uppermost frequencies af the delayed signal are lost, “The CDE-2000 and CDE-1000 are only just arriving inthe country and as we ere carrying out the revdew, Roland hal technical figures on the frequen range, signal 10 noise and so on. So, all we can tell you is that in terms of hiss (0 rather lack of it) and signal preservation the CDE:3000 performs immaculately 2s you mighi expect from its price tag and heritage. Instruments such a the Varna DX-T reviewed elewhere did suffer slightly oa the times two effect but that's mainly Because digital keyboards create many high harmonics adding sparkle to harpsichord and bet-like sounds &s a a) ja chorusey clement. ‘This isn't the only way the CDE-3000 cam add extra space around your ears. On slapback echoes (very short delay times) Jrore element with which to distinguish the original and the secondary sigaals and it certainly establishes a roomier feel, as if your guitar chord is bouncing back off a stone wall, not a sean chip. “The feedback phase can also be signal up and down a small mountain almost makes up for being roid strum—almost but nok quite ‘What else have we got? Have I done the bit about the back panel? No? Okay, lguite a few sockets and things round here {There's a single jack input with a switch For. + dB or ~ 2048 roughly aligning it For mike or line levels leaving the volume [control at the front to make the final adjustments. This ensures you are giving. ths 3000 the maximum it can take, resulting in the mininium background hiss at the far end, Nearby are the two output sockets. One used on fs own gives the oF le and the orignal signal on the other— gain ¥. useful for stereo chorus. ‘A hold socket connecting to a Footswitch lets you freeze the electronics that people still do that sort of thing. Playmate is Roland's name for a remote control footswiteh adjusting ihe delay time. Theoretically you press the footswitch once from your position on stage and the delay jumps back 10 zero, press again and it races up the scale towards max, but you can stop it en route Jat a desiced value by stamping the said, i the theory To sum up—fine quality, low noise, versatile delay, ideal for eight, maybe 16-track recording, and an sbie heipmate far an cutfeom sousd man, ‘And, saving the greatest boon until last, 1's programmable, ALL the information regarding delay time, feedback amount, modulation speed, even the inclusion of the filter oF the phase delay can be stored in the eight memory sections. Writing a new patch is simply a matter of setting up the desired values ka the Feadout, then pressing the appropriate emery bation for a tite longer than usual, After a second or so its indicator lighe will sart to flash, then you know the new information is locked in place. All the memories are permanently i cil, $9 tapping any of the incrementing Conirols will move away from the stored values, but punching the memory button again will snap them back fo the eriginal levels And for on stage otk, you ean {ick through the eight programmes one at atime via a remote Fastswiteh, ‘And so to the smaller brother. The SDE-1000 mimes many of the 3000's faciities—It just can't remember them all The slim (1 Ain) black, rack-mounted beastie packs a similar menu. of Feedback, evel and modulation controls except this ‘ime om good ‘ole knobs instead of incrementing butions. And once more there's a slick green LED display but showing delay time only, ‘As the mame implic, the smaller CDE is shorter on eehe space. The maximum delay is 112Sms, And there are foar memory Buttons which will store delay time values for you, box nothing ele Details such as modulation amount or ‘oumput have to be set up individually on the front panel controls That said, there's nothing to stop 90a ‘getting all the sounds available on the S0e0—harring those that nccd echoes over the limit, The fine waing of delay values agaia allows a wide range of flansing. sTapback and chorus effects and you can Iwiddle with phase inversion, and other barely legal practises uni the sows nade up against the Barn’s back door. ‘The 1000's signal a noise and bandwidth performance i nat quite up to that of the mote expensive 3000's—for sxample a squint at the circuit diagram printed on the top of the easing will show that a sompander has been inchoded in the signal path. This isto keep control of the more wayward elements of hiss or distortion, The CDE.3000 uses more sophisticaicd technology to circumnavigate such problems. Even so the 1000 is quiet and clean. Tr fact, dng me for an old stick-in.the-| transistor if you like, but | preferied the knobs for modulation, feedback, cic to the 3000°s inerementors, The all important delay time DOES stay on a button, however, which is a wise move since the finer timings would be lfficul to hit accurately without the 0.1 step-at-s-time facility offered by tapping the switches, "And round the back we have the now familar row of Playmate, bold, preset and delay-off footswitches that give you Some degree of stage front control over the 1000's activites. “This gadget probably matches the home four track market even better than the 3000. considering the price, and if you do have the time to mess about in the Toft/bedroon/studo then i's not 50 essential to have a memory system that recalls all the modulation and level Information, That You ean set up as the mood diciaies, AE