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Yes, some relays can handle DC. You want to be very aware of how much current you plan to pull throught the contacts, and of your switched supply voltage. If you are a total beginner, the best way to protect your circuit and yourself is to leave the mains alone. Sorry, but it is that simple. Find yourself a friend who knows what they're doing and get them to do it. This board is designed for use with a computer parallel port. It's not really the same thing. My questions for you are: What do you need to control? Do you really need to involve the mains? I mean really? Is there any way you can reduce the voltage/current requirements, rather than working around them? - Without this info, I can't really give you a solid answer.

I think it is as valid as any other prototyping technique, don't get me wrong. But when I look at boards like the one Sasha found, I just get a little vertigo. ;) Do let us know on the shepard generator. My modular (which I still haven't started) would love one. Or 4, or 9...

http://www.ucapps.de/mbhp/mbhp_burner_16f88_adapter.pdf

OK, now the thing with crimp tools is that there are a lot of crimping applications. - hence a lot of crimping tools. The really expensive ones are most likely pneumatic or hydraulic powered, and are used to swage the eyelets on the end of steel ropes. These tools should only be owned/operated by a professional, hence the "professional" price range. The ratchet-type crimping tools work the best (for me...) as the ratchet action ensures that the crimper will not let go until the appropriate crimping pressure has been achieved. You also have no need for any tool which mentions RJ connectors, RG connectors etc, these are for telecommunications / networking / video install applications, and are useless for the 0.1" header application you need. Long story short, here's one...

I can't speak for your specific example, as the manual linked by Comfile is actually for a different product ::) , and in any event does not mention the control current. Generally with solid state relays you have an optocoupler circuit which isolates your control circuit from your switched device. In the case of the SSR8 board linked, it is an optoisolated triac control device, therefore it is for AC devices only. The control current of these is typically around the 10-20mA mark, so you should be fine. Edit: Yes, you should keep the resistors, to limit current from your 595s. Since you will be controlling AC (presumably mains), normal caveats apply.

That is awesome!

Of course it is! They are americans...! I'm guessing it has to be classified as a sports utility robot to meet emission standards.

Damn. I have been replaced by a machine. Not as a drummer (that happened before I was born...), but as a crazy person who walks around exploring and hitting things!

Speaking of eyes, and of not hurting them... Does anyone else here prefer coding on a black background? I miss my old IIe...

Sweet! Looks like a robot puked!

Illusion, nothing! You must be saving upwards of 24 seconds per group of 4 sids! Seriously though, my calculations suggest you'd save about 50 minutes per batch of 500 sids. Top work. Hermes Conrad would be proud.. :P

Which pub? I live in Collingwood...

Yes, and no. You want to tame reflections in appropriate amounts across the audio spectrum so as to create a room which has minimum reflections, but not excessive absorption/diffusion, either. So while you might find that the lows are fine and the highs need work, it all depends on the room. You want a room which will allow you to create mixes which "translate" well into the "real world", whatever that is. If your room has too much bass, too little bass, a weird flutter in the upper midrange, you will subconsciously adjust your mixes to compensate. You basically want a room that will get you your slippers and a nice cup of tea, but won't keep telling you that everything is fine when it is not. And above all, you want to be able to trust what you are hearing.

64 pots is totally cool. 64 faders would be totally huge... One long row of 128x16mm faders, even with no spacing makes a metre long board... But if you did 2, 3 or 4 tiers deep it could be more reasonable. - 2 tiers would be (minimum) 256 x 512mm, - 3 tiers (total 63 faders) would be 384 x 252mm... Spacing these would of course make it more user-friendly, at the cost of making a bigger controller. I think I was just panicking because my LC will have approx. 38mm fader spacing, and with 64 faders this would be a board more than 2.5 metres long. This would be a bit of a pain to take to gigs. Perhaps you could do a MB64/64e as a combination faders/pots type controller, using (say) 8 faders for group masters (DrumMSTR, BassMSTR in previous example), with a column of up to 7 pots above each fader for mixing drum parts together in each group...? Looking at those graphs on a better monitor, I wonder if they might be the old 'fixed-resistor-in-parallel-with-the-pot' type graphs. When doing analog audio control, some folks have been known to strap a fixed resistor across two terminals of a pot (one of the terminals being the wiper), in order to modify the pot's taper.

Have I just swerved my car, narrowly avoiding... the Scary Door? This thread just got weird.

Totally understandable, when mixing, more faders can be good. Perhaps you could consider a MB LC type box, with motorised faders, or without... whichever is better for you. With an LC, here's what I would do... Say for example you have 7-8 drum parts, all bounced down as stereo feeds, same for bass, others... Set up a 8 or 16 channel MBLC. In your DAW software, set up all your Drum tracks next to each other. ie tracks 1-8, or 1-16. Do the same for all your other tracks. keep them in banks of 8 tracks if you can. - ie, If you have (say) an 8-channel LC, pad out your tracks with empty tracks so that you have 8 drum tracks, full or not. 8 bass tracks, etc. Then assign these tracks to groups, so all your Drum tracks master to a group called "DrumMSTR" or similar. Do the same with all your other banks of channels, ie BassMSTR, GuitMSTR etc. Now, you can cycle through groups of 8 drum tracks, 8 bass tracks, etc, so as to adjust levels there, mute the ones you don't want, etc. And at the end of your "virtual" desk, you get to your groups, where you control the master level of drums to bass, guitars, etc. This gives you all the same control, with a few button pushes involved to get from one end to the other, and you won't need to buy 64 faders... But, do you really want to take a 64 Fader controller to a gig? That sucker is gonna be big! This is correct. For all applications within MBHP, you want to use Linear or B taper pots/faders. As for the graphs, I'm just not sure what they are. :-\

Wow! No-one answered this in how long? Anyway. if you're on eBay, there's a user named 'familygate'. they do a lot of Alps faders, including some of the motorized faders. The non-motorized, 100mm 10k faders are about 4 or 5 British Pounds each. Power rating isn't really an issue, as the PIC is simply taking a voltage reading from the pot. There is virtually no current taken from the fader by the pic. Therefore the amount of power dissipated by the fader being accross the main power rails is V^2 /R = (5^2)/10000. So the wattage :P per fader is 25/10000 = 0.0025 Watts. Yes, you want linear. 64? What are you building with 64 FADERS??

Sorry, didn't mean that as a threat or anything... I thought that you were doing a P301 order, too...

Check my "quote"... No, I don't have a degree. Unless you count my "Gradute Diploma in Asking a Real Expert, then Pretending to Be a Real Expert". ;) But I'm thinking I might study for a degree, or at least finish the one I started. Does that count?

Done. By the way, here's the link: http://www.midibox.org/dokuwiki/nebula_bulk_orders_rean Any news on the other re'an order? Edit: BTW neb, and others, to prevent this becoming another "me too" thread... I'll delete this post if we don't need the link...

Jaicen is onto something, but I didn't want to be the first. ;) In a small room, you are better off going after the low-bass overhang resonances. Especially if you make music which is supposed to have a fair bit of bass in it. These resonances will fool you into thinking your track is seriously rockin, and then when you play it in the real world, it will suck. Your best hope to remove these resonances is through absorbing them, not reflecting them. The easiest way to do this is with a floating room, with airgap walls, ceiling, floor. (No really, it is the easiest way, to actually do it...) I seriously believe that the main reason people use egg containers is because they seem to look the part. They bear a passing resemblance to anechoic foam. They don't work anywhere near as well. And yes, I have tried it. At the end of high school I converted an old shed into a rehearsal studio. We stuffed the walls with scrunched up newspaper, nailed 9mm plywood to the studs, stapled foam underlay to that, and finally attached carpet on top of the underlay. We also attached foam underlay and egg cartons to the ceiling. Total outer thickness (so not including the newspaper, but including the ply) was about 40mm!! The end result? A slightly smaller room ::) that passed almost all of the low bass through, apart from the stuff which reflected back into the room. - And the neighbours still complained.

Man, doing that on VeroBoard must have been a chore! Nice work!

The display you describe is a standard display for the MB64e. (Subbing ? for []) [tt] Int.1 ???????? 1|CC# 7 [127]? [/tt] Are you saying that this display does not change, even with all the Core board AINs grounded? I assume that your DIN/DOUT assignments are correct? P.S.: I'm from Melbourne, too.

This is not a special case. Normally-open switches (NO) are the standard. For the record, if you were using normally-closed switches (NC), you would still need the pull up/pull down resistors.

I bet it sounds even better with the aggregate front panel. I wonder if FPExpress will ever do stone? Just the thing for my "car with very small steering wheel"... P.S: Warning - To prevent the possibilty of being vaporized, do not attempt to operate this unit in the presence of audiophiles.