Final buss summing and that phase inversion thing That FX switching is done by simple “ON” IC switches, which would normally result in a 50% wet sound, (with an “ON” switch you add FX signal to the dry signal), so an additional dry FX Buss signal with an invetred polarity is created that cancels the sounds of the respective instruments “sent to FX.” Come again? Where you send an instrument to FX, you also create a signal that cancells out its main dry counterpart. The signals of “non-single out instruments” are also sent back individually to the main PCB for FX “send” duties. not subtracted via single outs) is sent back to the main PCB and mixed, in turn, with the external input and FX output. The “main mix” of remaining instruments (i.e. On the jack board all instruments are summed again, yet plugging a single out jack substracts the respective instrument from the main mix. First, signals are summed for the headphones outputs before they pass to the switches instrument output sockets – this is why you always hear all dry instruments on phones, whether a single out is plugegd or not. The 11 instruments of the RD are summed several times separately. Be this as it may, early RD8s were soon dubbed as “Rimzilla” (by Allotropes on GS) and are bound to cost 5k second-hand soon (or something)… A look at the prolific Yoco scene might have helped “guessing” a more suitable value. In earlier versions, Rim had a very high volume, especially in relation to Clave, which made live switching of both instruments a bit like living on the edge □ Trivia behind this: in the first revision behringer chose 560 ohm for the Rim level attenuation (R513 on the RD8) and later on increased the resistor value to 82k – now, in the original Tr808 schematics, the value label of the respective resistor (which has originally 220kohm) is missing, which must have been an editorial error when publishing the manual.
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