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June 29 2012

hercules rmx weight reduction

hercules rmx weight reduction

somewhere i read about the hercules rmx having a piece of steel inside that adds to its total weight. removing it would make it easier to transport to gigs, i thought.

of course, i removed all screws to disassemble the enclosure which resulted in some parts bouncing around, so i really had to go on with my objective.

removing the steel plate was then quite simple. i even managed to reassemble it without having some parts left over. to do it again, it makes sense to only remove some screws and leave at least four of them in place: the only screws on the top side that need to be removed are the six long screws that hold top and bottom case together.

to just remove the piece of steel, it is sufficient to remove the bottom lid only which means removing all screws on the sides and the bottom and the aforementioned six on the left and right side from the top. removing the aluminium cover is trickier but not necessary.

hercules rmx top screws

December 26 2011



a patchbay might seem a bit like ye olde telephone switchboard but can actually do some neat things. here's some cablemonkey stuff:

the thing looks like this:

basically, this box contains 2 rows of 24 TRS sockets each, on front and back, equalling 96 ways to sink your beloved cables.

there are some terms that are sometimes used differently: normalled, half-normalled, open, paralleled, split and isolated. local copy: show

Patchbays (also mixbays) are very simple, once you understand their purpose. They let you easily change the way your recording studio is connected, and to easily restore your standard operating methods just by removing all of the plugs from the patchbay. This means that the patchbay must have some way of remembering what your standard operating methods are.

A standard patchbay is divided into a number of columns of pairs of jacks, each one containing one patch point. Usually a patch point consists of an output from one device and an input to another device. How they are connected depends on how you normally use your studio. With this in mind, there are four different ways patch points can be connected. Notice that the following diagrams show all combinations of jacks being inserted or removed from the front panel.


The open configuration never makes a connection from the top jacks to the bottom jacks. Notice how the two circuits are always kept separate.

This is useful for connecting a normally unused effect to the patchbay. The bottom front panel jack becomes the send to the effect and the top jack becomes the return from the effect.

Examples: effect boxes, isolated tape machines Patchbay open configuration


The normalled configuration makes a connection from the top jacks to the bottom jacks whenever no plugs are inserted into either front panel jack. Notice how inserting a plug in either front panel jack breaks the connection between the top and bottom circuits.

This is useful for connecting a source that should not have more than one load, such as a dynamic mic. The mic comes into the back of the top jacks and the feed to the preamp is at the bottom. Inserting a plug in the top front jacks diverts the mic signal for use elsewhere, while preventing the mic from being loaded down. Inserting a plug into the bottom jack allows a different signal to feed the preamp.

By using both jacks, you can insert a mic-level effect between the mic and the preamp.

Examples: microphones, high impedance outputs Patchbay open configuration


The half-normalled configuration makes a connection from the top jacks to the bottom jacks whenever no plug is inserted into the bottom front panel jack. Notice how inserting a plug in the bottom front panel jack breaks the connection between the top and bottom circuits, but inserting a plug in the top front panel jack does not.

This is useful for connecting a normal signal flow from one piece of equipment to another, while allowing the connection to be tapped off of or replaced if needed. Inserting a plug in the top front jacks taps the signal for use elsewhere while letting the normal connection still pass signal. Inserting a plug into the bottom jack allows substituting a different signal while removing the normal signal flow.

By using both jacks, you can insert an effect into the signal path.

Examples: mixer to monitor amp, direct out to recorder in Patchbay open configuration


The parallel configuration always makes a connection from the top jacks to the bottom jacks. Notice how the two circuits are kept together, and that both front panel jacks are outputs.

This is useful for connecting an output, which is normally connected to one input, to several different inputs at once. Both jacks can send the signal to places where it is needed.

Examples: mixer submaster outputs, monitor feeds, tape duplication tap points Patchbay open configuration

Note that balanced patchbays have a second set of connections on each patch point for the Ring terminal, which are wired identically to the connections for the Tip terminal that are shown in the diagram. But before the TRS plug was developed, paired plugs were made with one handle, so they fit into two adjacent patch points for balanced signals. Some of these are still around.

Patchbays are now available that have switches on each patch point, to select whether the patch point is Open, Normalled, Half-normalled, or Parallel. Usually the patchbay must be removed from the rack to change the switches.


For most studio patching, two setups are used most often:

The first setup is the normal audio chain. For this setup, the output of each component in an audio chain is brought to the rear input of one patch point. The input of the next component in the chain is connected to that patch point's rear output. The patch point is set up as Half-normalled. The normal connection is maintained whenever plugs are not inserted into front jacks of the patch pair.

Inserting a plug in the upper front panel jack allows you to split the signal off in two directions.

Inserting plugs in both front jacks allows you to insert another component in the chain.

By inserting a cable in the front output jack of one patch point, and the front input jack of the next patch point downstream, you can remove a component from the audio chain. You can then connect cables to the remaining jacks of those patch points and use the removed component somewhere else (nifty use!).

The second setup is the isolated component. Bring its output to the top jack on the rear, and its input to the bottom jack on the rear of the same patch point. Set the patch point up as Open. This component is disconnected until needed, but takes up only one patch point, rather than the two that would otherwise be used.

Patchbays can make your studio life easier, by keeping you from having to reach around behind racks to reconnect equipment frequently. They also make it super-easy to restore your most-often used configuration. All you do is pull all of the patchcords out of the front panel, and you are back to standard operation.


notice that one will hardly ever find a serious use case for the "open" configuration. connections might be different in equipment, ymmv.

each top and bottom socket on it would be on a little PCB, with one of the sockets in gray and the rest in black. it can also be rotated and put back into the patchbay.


 in theory,

these connections can be plugged in with whatever.

in else,

very often an approach is taken that looks like

the top sockets are outputs like from a subgroup, fx, line or soundcard out,
the bottom ones are inputs like for a microphone or other sound sources.

whenever a plug is inserted into the gray socket, top and bottom row will be isolated.

the idea is to use the back side of the patch- or mixbay to connect the default connections. other setups can flexibly be patched, and just unplugging the front cables will reset the connections to default.

insert cables

can be connected to the back and left disconnected at the front until some fx needs plugging in or directly used as input.

November 27 2011

new linux audio findings

recent findings

streaming & radio tools

new linux aduio findings

recent findings

streaming & radio tools

May 31 2011



Recently i started making my own drumset. as good e-drums are not quite affordable to me, i set out to build my own with some design goals:

  • the individual drums should be sensitive to the place where they get hit
  • i wanted the set to be able to play samples as well as to trigger and influence sound synthesis
  • it should teach me about arduinos and other microcontrollers
  • the sensor input should be processed in an arduino and sent to pure data
  • it should be sort of affordable
  • standard parts should be used whenever possible

i just came back from work where we checked my 20 yr old piezos with an oscilloscope, they have their first peak between 8.88 and 9ms after being hit. less than 10ms latency should work. among the other drums, these piezos go into the snare, too.



  • arduino atmega 168
  • plenty of piezos (i still had them and have no idea what kind they are)
  • an analog multiplexer to expand the amount of analog arduino inputs


practice cymbals and pads

  • 12" snare
  • cymbals: plastic crash and ride


  • arduino sketch
  • pure data patches

May 29 2011



yesterday we built a noisefoc, a little NAND-based square wave synthesizer.


the sounds it makes can be heard in a little video

January 05 2010



this is a collection of information i went through to set up a digital audio workstation (DAW) running on linux.

as far as the systems here were concerned, the distros used for the setup were debian squeeze (testing), ubuntu intrepid, karmic and lucid, for other distros take a look at

1. hardware

2. software

3. putting it all together

data rates, bit depth, midi, osc

using it

general reference

audio communication channels
resources linux audio en francais


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