Sujet Quelqu'un a t il déjà essayé ce spatialisateur? (Roland SDD-320 Dimension D)

Citation : SDD-320 Dimension D
The Dimension D is a studio gem that adheres to the principle of doing one thing, but doing it extremely well. Its one and only function: some of the best sounding stereo chorus ever made. However the Dimension D is more than a chorus, it is really a sound enhancer for adding spatial effects to stereo or mono sources. The Dimension D gives a new "dimension" without the apparent movement of sound produced by other chorus devices. The strength of the Dimension D is in its subtlety. It was clearly designed not to create a dramatically new sound, but to enhance the sound of any instrument, preserving the instrument's own sonic qualities. Furthermore, the Dimension D was not built to a price; it was an expensive, heavy, well-built unit for the studio. A Dimension D will put you out around $1200 on the used market--if you can find one of these rarities. They were built to last, and rarely require servicing.


Controls
The front panel controls are as you might expect: Simple. It has 4 pushbuttons (much like an 1176) for four different levels of effect intensity. Interestingly, there are no controls for rate. All four settings sound fantastic, and are all very useful. Another pushbutton turns the effect off. The only other controls are a bypass and power button. It has a 10-LED segment for output level, plus a front panel jack for a remote bypass switch.

Design
The Roland Dimension D is built around two "bucket brigade" type analog delay lines with companders (compressor/expanders) and pre/de-emphasis for noise reduction. The delayed signal is mixed into the stereo channel it was derived from, and also cross-mixes to the other channel with opposite polarity. Normally this would result in a loss of lower frequencies, but the cross-mixing is high pass filtered, and the direct signal is slightly bass-boosted. When you switch it on, not only a delayed (and equalized) signal is added, but the direct signal is altered, to be "complementary" to the delayed signal.

The result is that the overall tonality is almost unchanged when the effect is switched on or off. The 4 presets all have somewhat slow modulation of the delay time, which helps to keep the periodic nature of the modulation in the background. To achieve the desired depth, comparatively long "bucket brigades" are used: 1024 stages for each channel. Most bucket brigade chorus circuits work with 512 or even fewer stages.