Behringer RD6 Modifications

First runthrough of some RD6 mods

Fair use note: This page is intended to get hobbyists and synth nerds going with a soldering iron, which is why they are writen in a hopefully acessible manner with detailed and easy-to-follow instructions. If you use the info here for making commercial modifications or offering paid mods for others, I’m fine with that but need you to donate 10% of what you charge to a charity helping refugees in case you make more than three modded units.

RD6 PCB, instrument sections
Modded RD6 jam with Neutron (triggered by RD6) – post processed (comp, delay)

Playlist with demos of individual mods:

Thanks to Zapman, Budel303 and Sanomat for some pics, and thanks to S_A_P for Hat & Cymbal recordings!

First Impressions

Noise shielding, instrument summing and *no phase inversion*: in comparison to the RD8, Behringer have upped their game as regards instrument summing. First of all, the main out is in the same phase as the single outs, so complaints about the RD8 in this regard seem to have been taken into account. What is also noteworthy, that each instrument is buffered by an op-amp stage before going via the single outs (switched jack sockets) and/or to the main mix, which is, in technical terms, also an improvement over the TR606.

Additionally, there is no crosstalk between the single outs as seems to be frequent in modded 606’s.

A further improvement (over the 606 and RD8) is that in the RD6, all film box caps for the BD/tom/snare T-networks by placing some metal small housings around them, so no hum is to be expected.

Of course, there have been statements that the 606 remains unsurpassed, yet, and this is maybe a lame comparison, I managed to get the RD6 sound pretty close to my modded CR-8000, especially the kick. Here’s a quick A/B with 4 kicks from one machine and then 4 from the other:

CR800 or RD6?


Setting the snappy noise for Snare, Toms, Clap

There is only one trimmer in the RD6 (VR12) for white noise level. Changing this affects snare, toms and clap. While the latter two respond not so much to different noise levels, the Snare does all the more. If you find your snare has too much/little schnapp or decay, just take off the back lid and use a small screwdriver for turning VR12.

noise level trimmer – use little screwdriver and adjust to taste – definitely makes a difference on snare!

Listen how fiddling with it affects instruments:

More guts to Hats

The hats of the RD6 could do with a bit more body. I assume this difference to some 606s (as well as between individual 606s) has to do with part tolerances affecting the cutoff of the highpass filter at the end of the hats circuit. This issue has been covered long ago for the 606 with a suggestion by Plutoniq9 on the old intwerwebs modding pages to simply put a potentiometer across the highpass capacitor (C106 in the case of the RD6). Yet, trying this, I found too much hum creeping in, which is also the case when modding the cymal highpass, so here’s a bit of a workaround that gives you *some* more body. Simply short C102. (for a clearer scroll down to CY/HH section)

More HH body – solder points on back of PCB

HATS and CYMBAL with more guts:

More guts to your Cymbal

In terms of filtering, the cymbal is quite nifty. Two separately bandpass-filtered input sources are decayed and pass then through two separate low-cut filters. As regards the latter, this is also where your cymbal “body” resides. Unfortunately, the “classic” 606 mod of bridging a capacitor (TR606-C73) for letting through lower frequencies introduces at some hum in the RD6, at least in mine. This may differ in other setups, so I describe it here as well: put a 15k-29k resistor across C134.

More fruitful, less noisy, and easier to solder, however, I personally find meddling with the other low-cut (Tr606-Q40). This portion of the sound has the same input as the hats, so it’s not as “low-tuned” by the initial bandpass as the other component, but has enough mids for my taste. For bringing more body, you can either increase the value of C140 or of R206 (22k), yet, in fact the very easiest way is to bridge R218 (33k). You can just use wire, or any small value resistor (10ohm-100ohm), and, if desired put it on a switch. What this does is to increase the  amount with which the decay envelope opens the VCA, driving the signal of that sound component more, which results in a fuller sound.

More Cymbal Body Fix (for a clearer scroll down to CY/HH section)

My kinda final CY/HH tweak:

If you want to take this gut thing a bit further and like the demo below, here’s where I arrived. Bridge C102 and R218 as described above and replace R244 (560ohm) witk a 1K resistor and R301 (560ohm) with a 1,5K resistor (which sets the cutoff of both bandpass filters at the front of the CY/HH circuits lower). Sounds like this:

CY and HH as I like em enough 🙂

Cymbal-Clap-Level Ratio (easy version)

Although the Cymbal and the Clap share one volume pot, they are of totally uneven level (at first I thought I fried the clap circuit when checking on this, so uneven…). Interestingly the dual gang potentiometer feeds audio (cymbal) on some pins and control voltage on others. This is because clap level is regulated by a VCA (IC6) [more about this below] – which is maybe unusual but allows for some cool things I’ll develop/describe later. As for clap level, you can easily increase the CV for the VCA and bring clap volume up to speed with that of the cymbal. Both are going to be very loud, but you can then just dial back the pot. For doing this, just wire a 15k-25k resistor across R123 (74k?). Connecting the two points on the back of the PCB marked on the picture below is the most convenient method (“CPL OUT” via 10k-15k to “CP MIX CV IN”):

Solder points for increasing CP level to match that of CY

[Please Behringer, change this in future production runs.]

Independent Cymbal and Clap Level Control

This is a more elegant solution than the fix described above but requires you to put an additional pot somewhere. Since the Clap output level is regulated by a VCA which responds to control voltage, we can just override the CY-CP pot. Wire the right hand point marked above to a 50k potentiometer (I just had a 100k linear at hand but that had too much of a dead zone). The middle pin goes to the CP CV point. The right hand pin goes via a 10k resistor to TP8 (+6V) and the remaining pin via a 82k potentiometer to TP1 (-15V). This gives you fully independent volume control and an overall louder clap (which you want anyways).

Sounds like this:

A slightly different way of doing things that uses passive mixing and frees the VCA for other stuff is described in the Clap section.

Louder Bass Drum

On the 606, the bass drum volume is rather moderate in comparison to the other instrument levels (maybe techno music simply changed our listening habits). What you can do for compensating this would either be to reduce the value of the 47k resistor after the BD volume pot (R189 on the RD6) to around 30K. Alternatively, if you don’t want to disassemble the whole unit, you can also raise the BD level on the main mix by wiring up the following:

BD volume boost on main mix
BD volume boost off/on


Like in the TR808, there are individual instruments triggers and a common accent trigger in the Tr606. The volume and timbre of individual instruments are affected by the sum of the voltages of individual instrument trigger pulse + common accent pulse. The addition of these two voltages is accomplished by a pair of transistors for each instrument, with the resulting pulse ranging between +5V and +15V.

If you are interested in using your RD6 with a trigger sequencer, trigger interface or something like the Cirklon Drum-Mux, you can easily implement individual trigger inputs by wiring up a jack socket via a diode and small-value resistor to the points indicated below. One advantage of this is rock solid timing and another is that you have accent per instrument (if your interface is capable of sending pulses of variable voltage).

BDCollector Q15TOP (i.e. collector) of T36
SDCollector Q18TOP of T41
LO TOMCollector Q304TOP of T49
HI TOMCollector Q302TOP of T51
CHCollector Q22TOP of T11
OHCollector Q27TOP of T17
CYMBALCollector Q29TOP of T45
CLAPCollectorTOP of T20(??)
Instrument trigger points RD6

All points tested with 1ms triggers at +5V via Expert Sleepers module. Trigger length also affects timbre of sound. Demo soon (for an impression how this can sound, check the respective section on my RD8 mods page.)


Like on the 808/RD8, you can activate accent manually with a push button or switch. This should be a button/switch between the collector (upper leg) of T29 and ground. Tested and working well! (If you want to play safe while testing this one, put a small-value resistor (100ohm-1k) between ground and your switch/button).

Accent trigger point (collector T29) on back of PCB.

Triggering accent manually sounds like this.

Accent Trigger CV Input: You can also engage the internal accent on the RD6 by means of an external trigger/gate input. For doing so, wire up the following circuit, which you connect to ground and the collector of T29 (this is basically an adaptation of Nordcore and Bartleby’s improvement over my nincompoop TD3 accent trigger suggestions).

External control input of accent trigger

What this does is that positive voltage triggers short the collector of T29 to ground, which engages accent.


Will still need to test this properly, but since a couple of questions came in concerning additional trigger outs, here we go… The labelled points on the picture below carry trigger signals from the sequencer to the individual instruments. Sure, LT and HT already have trigger out sockets, but turning the RD6 into an 8-part trigger sequencer is not too difficult. If you want to be very crude, just wire a diode between these points (anode to point) and an output socket. NB that for CP, BD and SD you only need to connect one of the points, not both. For more safe operation than just using a diode, see the two suggestions by synthnerd here: With six additional trigger outs, I’d personally go for op-amp buffers with positive power supply from the +9V rail. If the same (rather high +15V) output as the existing LT & HT trigger outs is desired, use the +15V rail. All power rails are found in the rightmost part of the RD6 PCB and are labelled.

Solder points for trigger outs (of course, LT and HT have already trigger out sockets)

Did a quick trest with the transistor based version for BD and SD (RD6 triggered in these two examples per midi from an MPC One). I upped WAV files, so you can nicely check transients and stuff…

BD to external trigger
SD to external trigger

Using the accent track as a trigger out track: Yup, this is maybe unconventional, but you can twist the accent track also to spit out triggers. This won’t affect the internal accent workings. Wire the collector of T29 (see manual accent trigger above) to a 47k resistor. This resistor goes to the base of an additional PNP transistor. The emitter of this transistor goes to the +9V rail. Its collector goes to a 47k resistor and a 1k resistor. The 47k resistor goes to ground and the 1k resistor to a jack socket, which is your “accent as trigger” output (check the synthnerd link above – what you do is basically the right-hand half of the transistor baesed version). The only caveat here is that when you have teh manual accent trigger mod too, internal accent will trigger on every step but not your trigger out (since the base of your PNP stays on ground. Better version might follow though.. Sounds like this:

Behringer Neutron triggered by RD6 accent track


The amplitude of the noise components (WN for Snare, Toms, and Clap; Metal Noise for Hats and Cymbal) is regulated by so-called single-transistor “swing type VCAs” (cf. TR808 Service Notes, p.5, fig. 12). A concise and easy-to-follow description of how these work is here.

Instead of just controlling the VCA levels by means of the inbuilt envelopes, you can also send CV voltages to the collectors of the respective transistors (best with a diode and a resistor in between for protecting the circuits).

Snare SnappyCollector Q30TOP of T54
HatsCollector Q37Base of T23 (lower left leg)
CYMBALCollector Q38, Collector Q39Anode D27 or D28, with release
Anode D29 without release
ClapTop of T19
VCA CV points RD6

Here’s how these sound:


Valuable sources for modifying the RD6 are of course classic Roland TR606 mod pages, some of which are:

Geoff Waterston, Part1

Geoff Waterston, Part 2


Confusedmachines (via Internet Archive)

Mungo Enterprises

Stereoping (in German) (in German)

As for finding your way around the circuits, the Roland TR606 Service Notes are helpful, and for convenience I transfered most of the instrument bits and put them at the bottom of this page.

In addition to the 606 instruments, Behringer implemented a hand clap based on the one of the DR110. An excellent tech source on the latter is here.

The following is still work in progress (I’ve had the RD for a week now). Part numbers are all behringer unless sated otherwise. Some values may need fine-tuning.


A word on T-Bridge networks: BD, and partially SN and Toms are based on so-called bridged T-Network oscillators that make the plonk sound when excited. They are called this way on account of the circuit (an op-amp, two capacitors and some resistors) looking a bit like the letter T:

Lower T-network oscillator for RD6 BD

A trigger spike on the op-amp (“IC”) excites the capacitors that are connected by means of a feedback loop (the 608k resistor on the pic). The caps discharge through another resistor (the 3.3k here) to ground. Now, in T-Bridges, resonance (the length of plonk), pitch, and level interact (higher pitch is louder, self-oscillates quicker), which you will soon hear when modding variable tuning. So if your T-Bridge starts to “vroooooooom”, just increase resistance in your mod. Tuning them can be done in different ways: replace caps (not cool for variable tuning), changing the feedback path resistor (often done, also in the yocto mods) or, which is what most folks do AFAIK, changing the discharge resistor. When playing with variable tuning you’ll note that there is usually a point where tuning lower makes the circuit lose volume. If the range you want is beyond this point, think about enlarging your caps. At any rate, in the mods I describe these values are adjusted so they work together.


The RD6 kick is a no-frills solid instrument that sits well in the mix and sounds good when you drive it a little bit hotter into your preamp. I’d personally use it when I want a kick that’s there but doesn’t eat up a lot of space. Nevertheless, I tweaked mine for variable decay, and variable tuning, and pitch envelope (mungo version). Additionally, I have modified the trigger signal a little bit.

Solder points for BD mods on back of PCB
Relevant resistors on PCB front for BD mods
BD mods installed on back of PCB

Bass Drum Decay Proper (Waterston): This is a cleaner and more consistent than my simple version posted earlier (which works better in the CR-8000, where there is an additional op-amp buffer after the T-Bridges). What you do is: wire a 330k resistor each to the two right-hand capacitor legs in the “T1 CAPS” box (pink circle, turquoise circle). Wire the other ends of these two resistors together and solder one leg of a 62nf-100nf capacitor (film box or mylar) to their junction. The other leg of your cap goes to a 100k pot. The pot wiper goes to a 47k-100k resistor, which then goes to ground. Test around for the exact value of that last resistor: lower values give more decay, and if too low, make the circuit self-oscillate (don’t freak out if there’s vrooooomm).  

Also NB that your additional resistors wired to the pink and turquoise circles are in parallel with R280, which can raise the overall pitch of your kick. If that happens and you don’t like it, try using higher values (for instance, in my RD6 I replaced R280 with a 1,5M resistor and use two 560k resistors instead of 330k for this mod).

BD tune: With this mod, you can have variable tuning for the lower BD oscillator. In order to have a nice range, you first need to lower the genral pitch of the oscillator. For doing so, For doing so, unsolder R280 and wire your new 1.5m (I lazily use a 1M + 560k soldered in series) pink circle and turquoise circle in the “T1 CAPS” box.

Then, on to the proper tuning mod:  remove R337 (3.3k). Don’t worry, you will not need to resolder anything here at these tiny pads. Then wire a 1k pot and a 2.2k resistor in series. These go between the pink square on the picture [T1 caps] and ground. How the pitch range works here: the sum of pot + resistor is your range, and the resistor is your highest possible pitch. If you want higher pitch, use a smaller value for the resistor and higher value for the pot (say, 2k/5k pot and 1k resistor). Experiment a little for finding what you like best.

Louder fundament: on the CR800 I found this mod so efficient that I want it here to. Bridge R318 (10k) with a 1k resistor, which makes the lower T-bridge louder. For doing this, simply wire a 1k resistor between the yellow square and the white square on the pic. (NB mungo have lowering this resistor down as lowpass filtering but C194 and C220 are for AC coupling; for lowpass see mod below).

Sounds like this (together with tune mod):

Pitch envelope (adapted from mungo): For this you need two germanium diodes (silicon diodes give a nasty short spike, germanium diodes are the biz sweet sweeps here). Wire the diodes to ground: one with cathode to GND, one with anode to GND. Then wire their other terminals to a 100k pot, the wiper of which goes to a 2.2K resistor, which, eventually, goes to the pink square in the “T1 CAPS” box. Mungo suggest doing this with a switch, but using a pot gives you control over the amount of pitch sweep. NB that these diodes break easily, and they are more expensive than silicon diodes, but I really like the sound of this mod (more than the Waterston version below).

Pitch ENV mungo version

BD pitch envelope (adapted from Waterston): For this mod you first build a simple RC envelope (a trigger spike goes through a diode, followed by a capacitor, which, when the spike has passed, can only discharge “away from” the diode). This envelope then regulates how much a transistor takes voltage from the T-Bridge to ground (resulting in a falling pitch). Waterston suggests using the tom trigger out as a trigger for the envelope, but I want the BD circuit to trigger this by itself. So: solder the point in the big green circle next to the switch on the pic to the anode of a diode a diode. The cathode of the diode goes to the base of a NPN transistor. The diode *also* goes via a 100k pot to ground (with this pot you regulate the decay time of your pitch sweep). The base of your transistor also goes to the anode of a 330uf electrolytic cap (yes, this large!), and the cathode of that cap goes to ground via a 220ohm resistor. The emitter of your transistor also goes to ground. The collector of your transistor goes to a 100k pot (pitch sweep amount), the wiper of which goes to a 4.7k resistor (Waterston write 47k, but that’s too much). Finally, the 4.7k resistor goes to the junction of R377-T1 Caps (again, the pink square in the “T1 CAPS” box). This is flexible, but on account of the 330uf cap also responds a bit sluggishly.

Pitch ENV Waterston version

Pitch CV Input (adapted from Waterston):

BD Pitch CV Input (adapted from Waterston): this accepts CV in a range from 0V-+5V and is cool for BD tuning and/or feeding envelopes and LFO or other stuff affecting the pitch of your kick. Wire a jack input socket (via a small-value resistor) to the base of a NPN transistor (2N3904 or similar). The emitter of that transistor goes to ground and the collector via a 4.7k resistor to the junction R377-T Caps (pink square on pic). Increasing voltage on your in socket will have the transistor pull more voltage from the T-Bridge to ground, which results in a higher pitch. (the two resistors at the base of the transistor shown below are optional – Waterston omits them – but make sense)

In the example below I triggered an envelope from the Neutron with the LT Trigger out and send ENV out to the bass drum:


If you have the BD pitch envelope mod also installed, you don’t need a second NPN transistor but can go to the base of the same as in the ENV circuit. Just put a diode in between your CV voltage and transistor base (cathode to transistor base) in order to prevent voltage drop from pitch envelope output when CV is plugged.

Lowpass filtering: C215 works as a passive lowpass filter that nicely takes of the highest frequencies of the initial BD “click.” If you think that this filter could sit even a bit lower, just increase the value of C215 by adding another cap. I personally don’t liek clicky his too much, so I have an additional 100nf cap there on a permanent basis. Easiest solder spots: white square on the pic and ground.

Here is a demo of C215 increased by 100nf.

Modified trigger: this might be debatable, but hey, I like how it sounds. Inspired by the 808 pulse shaper (a little circuit that shapes the trigger pulse exciting the bass drum sound in the 808), I inserted a 0.1uf cap between ground and the solder point just above the one labelled “BD TRG” on the picture. What this does is lengthening the trigger pulse a little bit, which has quite some effect on the onset of the kick in particular. I have it as a fixed mod, but this could, of course, be on an on/off switch also.

Pulseshaper off/on


Snare mod point on back of PCB

T-Bridge pitch: as the entire T-Bridge section of the snare is under the hood of a metal shield, you’d need to  take off the latter first that first and then find a 680ohm resistor, which you’d replace with a 470ohm resistor + 1k pot in series. I tried this type of mod on my Rd8 and my CR-8000 and eventually didn’t implement it in either. RD6 snare sounds really well tuned to my ears anyways.

T-Bridge pitch sweep amount: replace R378 (27k) with a 5k resistor and 50k pot, so you can dial in the initial pitch sweep of the snare. Lower resistor values give you some disco piuu style, while higher resistor values make the snare sound flatter, like on the 808. I keep things as they are in my unit, however.

No pitchsweep switch (808-style flat snare): tried this spontaneously and like it enough to have it in my current unit. When you ground the anode of C262, the pitch sweep on the T-Bridge is deactivated and your snare sounds more 808-ish “flat”.

T-Bridge boost: if you want to give your snare a tad more body, wire a resistor across R273 (68k) – I find 68k-100k sounds nice.

808-style Snappy Level: This is a super easy mod for controlling the level of the snappy component of your snare. Simply wire a 500k pot between the cathode of D30 and ground. See also this solder point on the back of the PCB pictured below. This mod nicely affects the volume and also a little bit the decay time of snappy, so it’s more interesting than just an output level mod.

Longer snappy decay: for longer snappy decay, you need to extend the value of C212 (0.47uf). For doing so, wire any capacitor between 220nf and 2uf (depending on your preference) across cathode D30 (green square in picture above) and ground. With a switch between ground and your cap, you can turn this on and off.

Snappy drop: turning the system noise trimmer up will result in more snappy but also prolongs the decay of snappy a bit. You could reduce this either by reducing C212, I like the results of the following better: bridge R313 (27k) with a 2k2 resistor (for point on back of PCB just connect the green one with the orange one). This way, you have pronounced snap but the noise doesn’t oodle on but decays more abruptly.

Variable Snappy final hipass cutoff: Wire a 50k pot + 390ohm resistor in series across R 281 (22k). Soldering this directly may be too fiddly, so best solder one terminal to the emitter (right hand lower leg) of T43 and the other one to the back of the PCB (see turquoise “R281” on pic above).


Tom circuit points back of PCB

Playing with the tom noise level didn’t sound cool enough to pursue this further at the moment. As it happens, increasing one element in the mix (say LT T-Bridge) reduces the level of the other elements (Noise and HT T-Bridge in this example), so results are meh, unlike on my CR-8000 or RD8. Hence, I’ll focus on some basics here (and two crazies) that play well with this particular machine.

Variable LT pitch: The easiest way would be to remove a resistor (in the 606 that’s R313) and replace it with a pot + resistor in series just like in the BD tune mod. Since the relevant resistor sits behind the metal chassis soldered onto the PCB, however, I worked on a solution that’s a bit of a roundabout way of doing things but saves you unsoldering that chassis thing. Basically, you’ll first lower the tom pitch by adding some capacitors to the existing ones and then install a potentiometer in parallel to the resistor you’d normally remove. The pot action has a log curve (lower half not much happening, then increasingly more) but this I don’t even find half bad since it gives you more room to fine-tune lower toms.

First, add a 4nf film capacitor each to the two T1 cap legs (NB they are placed horizontally; see also HT pic below). Then put a 10k pot + 100ohm resistor in series between ground and the right hand leg of one of your additional caps.

Variable HT pitch: Here we do basically the same thing: lower pitch first, so we can nicely tune up. First, add a 2nf film cap each to the two T2 caps (again, these go horizontally). Then just put a 10k pot with a 100ohm resistor in series between the point in the green box and ground.

additional caps for lower HT pitch

Changing the pitch sweep amount for LT: replace R342 (356k [680k in original] – apologies, had a typo here first) with a 100k resistor and 500k pot – this should give you a range from “flat” to “disco piu”. No point on back of PCB.

Changing the pitch sweep amount for LT: replace R347 (356k [680k in original] with a 100k resistor and 500k pot. No point on back of PCB.

TOM EXTERNAL IN (adapted from RD8 mods): the T-Bridges in BD, SN; TT can be creatively misused as resonating filters into which you can send external audio. I have this on the HT, which has variable tuning too. Send audio via a 10k-47k resistor to the “inner side” of the T-Bridge, i.e. where bots caps are connected (on HT pic above indicated by a black line).

Sounds like this:

Externa audio into HT T-Network

Tom clampulator (revised version): this idea I got from the Hi Conga circuit of the CR-8000. Sounds a bit like a strange koto and plays very well with variable tuning. The fuzzy part of the sound will only be present on the main mix out, not the TT single out, but I see if a more elegant version is possible in the future. You can do this for LT/HT togther (in this case use anode of C65) or LT (in this case use anode of C224) and HT (in this case it’s anode of C238) separately. Wire the respective anode of your tom(s) to a switch, which goes to a diode, the cathode of which goes to ground.

HT “clampulator” mod


As far as I have traced the circuit, the clap is that of the DR110 (as is known) bar the CPII trigger part. As written elsewhere, the clap in the RD6 is too low in volume, so in the “fixes” and “VCA” sections there are mods to amend this. Here, I will also describe modifying the clap to have a dedicated volume knob that bypasses the post-clap VCA entirely, freeing the latter for other duties.

As for Clap mods themselves, I find variable decay and variable “tuning” the most appealing ones. My descriptions are adapted from this here:

Solder points for decay and tune mod, back of PCB

Variable clap decay: replace R69 (68k) with a 100k pot. For doing so, unsolder R69 from the PCB and solder 100k pot between the two turquoise squares on the picture of the back of the PCB. NB that with pot on zero, the decay is zero to, so if you want a “minimum decay time”, put a resistor in series (try 4.7k and then take it from there to find what you like best).

Variable clap “pitch“: This makes the fixed filter cutoff of the clap variable, resulting in a different “pitch”. For doing so, unsolder R70 (68k) from the PCB and solder 100k pot between the two yellow squares on the picture of the back of the PCB. (Magnuson uses a 50k linear pot, I found 100k fine.)

Here’s how both sound:

Clapp modded for variable pitch and decay

Rewire clap from post-clap VCA (see also VCA leftovers section at bottom): on danger of being redundant and obsessive, the clap passes through a voltage controlled VCA with the CY-CP pot sending CV to open the VCA. This is unusual in that for all other instruments, a classic passive mixing setup is chosen, as per 606 schematics. If you want the clap to join that crew and also free the VCA for other duties (more on this below too), do the following.

First, lift C43 to disconnect clap out from VCA in. (C43 sits between the CY-CP and HH level pots). Then wire CLAP OUT point on the back of the PCB to a 10uf electrolytic capacitor (anode to PCB point), the cathode of which goes to a 1k resistor, which goes to the middle pin of a 100k pot. The left pin of the pot goes to ground. For the re-entry of the signal, first lift the anode of C7 (blue 10uf cap over the distrotion section). It’s easiert to take C7 out conmpletely and then resolder the cathode. The right pin of your new pot goes to the freed anode of C7. This way, the clap is not suuuper loud but the signal is clean (thanks to Ral9005 for pointing me to noise issues with an earlier suggestion!). Everything works as normal with CP in the main mix and on the single out.

CP rewire points on back of PCB

CV control for Clap volume: the level of post-clap VCA (I call it that way just in order to avoid a mix-up with the clap swing-type VCA) can be accessed easily. Just wire a resistor (try 47k) to the yellow box “CP MIC CV IN” and connect to a CV in jack socket. If you don’t cut any traces, the CY-CP level pot will still send its CV to the VCA too. If you want to avoid this, remove R123. The latter would make sense if you also want a dedicated independent CP volume pot (described in the “FIXES” section). As for values, your CV voltage needs to be between 0V-5V.


Solder points for HH and CY mods on back of PCB

Like the hats, the Cymbal draws from the so-called metal noise as a basic sound source. The cymbal sound consists of two components: a short, higher-sounding portion (the sizzle) and a lower-sounding porting with longer decay. Especially that lower portion is great material for modifications, such as variable decay and variable cut-off of how the sound is filtered.

Variable metal noise bandpass cutoff (inspired by Waterston): replace R244 (560ohm) with a 2k pot and 100ohm resistor in series. The best procedure is to take R244 out and then use the solder spot on the back of the PCB (black square, labelled R244) for wiring in your pot + resistor. Update: after some initial hype I went back to a 560ohm fixed resistor. Modding the HH bandpass (see below) also affcets the cymbal and is more effectful.

Lo decay: C130 determines the decay time of the lower sounding component (also a wee bit of the higher sizzle bit). If you put a potentiometer between the anode of C130 (the “upper” leg, facing the top of the PCB) and ground, you can shorten the discharge time of the capacitor and hence the decay. A 25k pot works fine. If you have your pot at zero, only the shorter bit of the higher sizzle remains. If you put a 100ohm-1k resistor in series between your pot wiper and ground, then your minimum cymbal decay is like a closed hat.

Final highpass filter cutoff: (see “CY body fix” above).


Variable metal noise bandpass filter cut-off (adapted from Waterston): replace 301 (560ohm; NB typo in Waterston for OG location) with a 330ohm resistor and 2k pot in series (originally I has 100ohm + 5k but that gave some dead end on the bottom of the pot travel). Best procedure is to take R301 out and then use the solder spot on the back of the PCB marked R301 (white square) for wiring in your pot + resistor. This mod also affects the timbre of CY, which shares this part with HH.

Here’s open hat decay and bandpass mod together:

Variable OH decay: for the 606 mungo recommend replacing a resistor (606-R167; 1M) with a pot, but on the RD6 this is too fiddly. So we do a workaround by putting a 1M potentiometer between the anode of C116 (that’s the envelope discharge cap, an easy to reach electrolytic capacitor) and ground. When your pot is at zero, so will your OH decay be, so if you want to retain a minimum shortness of the sound, just put a resistor (10k or higher) between your new pot and ground.

This is cool in combo with variable CH decay and lets you nicely invert OH-CH patterns by shortening OH and prolonging CH on the fly.

Enlarging OH decay: if your find OH decay not long enough (infinite wooooossssh, here we go!), just add another electrolytic capacitor on to the terminals of C119 on the back of the PCB. Try 1uf-4.7uf. You can also have this on a switch with the switch between the cathode of your added cap and the cathode of C116 *or* ground. I use an addition 1uf cap and have variable decay mod installed.

Enlarging CH decay: for enlarging maximum CH decay you first need to add another capacitor to C119, which is a SMD cap you can only access from the component side of the PCB. The values you need to add are relatively large – in the demo below I added a 10uf electrolytic cap. The anode of your new cap needs to go to the left-hand terminal of C119 or, if that’s easier to solder, the right-hand terminal of D21. Cathode of your new cap needs to go to ground.

Making your (now longer longer) CH decay variable (adapted from mungo): we use the same trick as for variable OH decay by putting a 1M pot between the anode of C119/your new cap and ground. If you don’t want the minimum setting of your pot make CH disappear, just put a 10k resistor or higher between your pot and ground.

Alternative Noise input : this mod is a piece of cake and gives you some good sonic variation. Yes, the 606 hats are loved for their metallic sound, yet feeding white noise into them instead of metal noise also sounds wicked! In order to do this, simply lift the anode (upper leg) of C36 (close to the mini jacks on the upper part of the RD6). If lifting just one leg is too tricky, simply take the entire cap out and just solder in the cathode from the back of the PCB. Now, connect an A/B switch to the solder pad where the anode of C36 used to be, to TP9 (white noise) and the middle lug of your switch goes to the anode leg of your half-lifted C36. You don’t need any resistor between TP9 and the switch since the noise level is incidentally just right.

External audio into hats: now, why send only noise into the hat circuits when you’ve lifted C36 anyways? Like with WN input, the soiurce audio is only affected by the final HH hipass, but there’s some cool sounds to be had nevertheless. Put a resistor between you external input socket (10k were fine for my boog vco’s but way too little for drumloops from my expert sleeper’s ES module, which needed more like 100k) and put that on a rotary switch for selecting metal noise, white noise, “mystery sounds”…

Boog VCO & audio sampled fed into the HH circuit.

NB if you feed alternative noise into C36, your alternative sound source is not affected by the BP filter mods since C38 comes after the BP. Maybe not so cool but easier than fiddling with the tiny SMD caps.

Multi-noise mod for HH and CY: as just mentioned, feeding an alternative noise source into the hats/cymbal before the bandpass filters at the front of the instrument circuits is a bit tricky in that the caps (C142, C146) are fiddly and adjusting values for something that sounds reasonably well is fiddly too. However, curious about whether some multi-noise stuff can be had like on the DR110 cymbal (a mix of metal noise and white noise) I came up with this, which affects HH and CY (NB the filter sweep in the demos is a different mod – R301):

Multinoise on HH (sets in in second half)
Multinoise on cymbal (sets in in second half)
Little HH/CY multinoise jam

Implementing this mod is super easy: Wire TP9 (white noise) to a 330k resistor, which goes to a switch, which goes to the junction C146-R296, i.e. the yellow circle on the HH/CY PCB backside pic (see big pic in Cymbal section).


TBH, I am not interested in modifying the Boss DS-1-based distortion section. I think the distortion sounds okay in very small amounts but too many things annoy me here. Long-term plan is to cannibalise the 2164 VCA section used for clap volume to something like compressor pumping – let’s see. In the meantime some other wicked things…

Wrecktifier FX: With this mod you do something nasty – you route the main audio sum (post-volume knob) back to a “preamplifier” via a switch, resistor and diode, which results in rectifier-style overdrive. You can also use a pot instead of a switch, but I find the value described below just right.

Connect the solder point in the black square on the picture below to an on/off switch, which goes to a 80k resistor (anything between 74k-100k is okay, I just like 80k best). The other terminal of your resistor goes to a diode (anode), the cathode of which goes to the solder point in the black circle. (Demo at top of page but will record a more detailed one soon).

Solder points for rectification effect on main mix.

Any instrument taken out of the mix via the single outs is not affected by this mod and the amount of “wrecktification” also depends on your main volume setting.

CV-controlled VCA on main sum: still not sure how worthwhile this is, but out of curiosity I repurposed the 2164 VCA (see below) as an insert effect on the main sum. Since this VCA is on the clap “channel,” one needs to decouple the latter in order to prevent feedback, so I used a dual switch (A – send main sum to vca in; B – send clap channel out to main out). What this mod is good for is using external CV to control the amplitude of the main mix. In the example below you hear first the normal pattern, then the same with the VCA as an insert and controlled by an external envelope as triggered from the low tom.

Master VCA sidechained experimenting


IC 5 (op-amp) and IC6B+D (V2164 VCAs) are used for clap volume control. I still need to trace this properly but at first glance it looks like the linearized attenuator control described in this paper here. As to why this implementation was chosen over a simple resistor voltage divider (i.e. pot between signal and ground) eludes me, yet this comes with some benefits too. Firstly, you can CV clap level (hm… maybe not so interesting), you can piggy-back an external audio input to this circuit, and a couple of nastier things more (just testing some 🙂

Secondly, IC6 has two unused VCA stages, which can be creatively used and even easily accessed via unpopulated resistor places on the PCB. In short, if verified , we have two VCAs available for fun! (for instance voltage controlled resistance for things that would otherwise need a potentiometer as described here).

RD6, IC6
Post-clap VCA solder points on back of PCB

External Audio Input pre-VCA: this is cool – audio signals sent to “PRE VCA IN” (black box) share the audio path with clap. Volume control for clap also affects external signals. For modular level signals I find a 560k-680k resistor between input and PRE VCA IN point best. Line level signals need less attenuation. This mod, of course, is sweet with CV control. If you don’t cut any traces, the CY-CP level pot will still send its CV to the VCA for level control, so if you want to avoid this, for instance because you have decoupled the clap entriely from this VCA, then remove R123. (Need mor etesting but removed R123 and foudn that the CV for VCA has some negative offset; also, as seems typical of the 2146, if CV is on 0V/ground, the VCA gets bat-crazy loud – will probe for values when R123 is removed and update accordingly.)

Here’s how this can sound:

Neutron synthesizer triggered by LT trg fed into VCA – first volume control per pot then per external CV

External Audio Input post-VCA: signals sent into this point (white box) also share the audio path of the clap but are not affected by VCA control (the point of entry here is between VCA out and OPAMP IN). For modular level signals, use a 100k-220k resistor in between input jack and PCB point (values may need more fine-tuning ). Since you send the signal just before an op-amp, you can get the latter to crunch nicely when sending a hotter signal. (The wrecktifier sound clip at the top of this page uses this entry point).

Placing new controls

Extensive 606 mods are traditionally a matter of using a breakout box for all them pots and switches. Yet, the RD6 is not a TR606 and I personally don’t like breakout stuff too much. Given that the TD3 and the Rd6 have an almost identical case, I did some probing on a TD3 test case (I should start clling it the Swiss cheese unit…) as for placing pots on the sides and having two rows of pots on the front. Thight stuff, but if it fits, it sits, eh?

double trouble pots on front
big knob for moar bass


In the following, you find template instrument schematics with original part numbers erased in order to make mapping the RD6 components easier. Judging from previous Berhinger releases, most parts of the circuits can be expected to be faithful to the old schematics.

Mapped BD schem (preliminary)
Mapped SD schem (preliminary) – Tbridge network is under chassis
Mapped tom schematic (preliminary)
RD6 HH schems preliminary
Updated CY schems (some parts stillf off-ish probably)
Very preliminary and partly incomplete clap schem (traced from PCB pic- still needs measuring to verify)