I've built a few of these type of rigs. I am working on one right now with a 4x5 RB Super D and a 8" pentac combo. I also have one like that I did with a 3x4 RB Super-D, fitted with a 4x5 Graflok back (Aka Minnicks-style aero liberator), with several different lenses.
Which is yours? (4x5 or 3x4?) I considered shortening the mirror but didn't need to when using the Pentac. That's the biggest pain-in-the-ass part of the AE/SuperD combo. Without having the mirror hit you can only get out to between 6-12ft focus distance with the AE/3x4 SuperD combo, depending on how you have the lensboard set up.
Getting a new mirror cut to specs is not hard, I got a replacement one made for my 4x5 SuperD for $45, cut to a trapezoid, fits great - it's a beautiful thing. The harder part is the swinging support for the mirror would also need modification. Again, not too hard but a bit of a hassle. At that point, you give up the ability for that (the mirror) to be a light-trap. In stock form, the mirror acts as a light trap so that when down, the rear of the camera is light-tight. This allows resetting the shutter (which is not self-capping of course) without exposing any film that happens to be there. If you give up the idea of the light trap, and just make sure to rely on the darkslide of the film holder for light-tightness, then you can shorten the mirror without impairing the function of the camera, really.
I fitted an AE to my Arca Swiss Reflex, which also has the issue of the mirror interference - I can focus it out to about 12-15 ft before mirror issues, which is enough for a nice head-and-shoulders portrait usually. I don't have a solution yet on how to limit inbound focus travel to prevent the mirror from hitting. I was thinking about that too. Maybe some sort of adjustable physical stop that can be turned backwards from the front standard, and prevent it from drawing back into the camera beyond a certain point. Something like a small piece of stiff wire, the right length, screwed to the top of the front lensboard/standard (or the side of the front standard). When using the AE, rotate it (on a pivot, like a screw) 90 degrees so it points back towards the camera body. Make the length correct such that when it gets to that point that it touches the camera, it prevents any further rearward adjustment of focus, thus limiting the focus travel and preventing the mirror from hitting lens.
I didn't bother to hog out the innards of the camera to allow tilt/swing, nor did I built a front standard to allow it, though I have considered it and have the materials (aluminum) to do so. I just haven't had the time/energy yet, and in general, I am not sure I see the need for it. Yes, tilt/swing can add some cool effects (fake miniatures, etc.) but in general the DOF is so shallow on these combos anyway, extra shallowness is rarely needed. I could mainly see a use when doing a shallow DOF portrait, to add some swing to get both eyes in focus when the sitter is not directly facing the camera. Maybe there are other good reasons too... ? Generally the bellows is going to be the limiting factor in those cases anyway, I would expect tilt/swing to be limited to maybe 15 degrees or so, which should probably be plenty.
keep us posted on your efforts. Here's a pic of the 3x4 one I built:
http://www.largeformatphotography.i...rsion-to-4x5&p=1058026&viewfull=1#post1058026
I actually think the RB Super-D is simpler than the Speed Graphic, as far as tweaks and modifications. the Speed has the complex folding front with focus track, etc., the Kalart (or other type) rangefinder, etc. The Super-D is simpler in many regards, once you are familiar with it. I had my 4x5 one stripped down completely (and I mean really stripped - nothing but a simple wooden box left at that point), and even taking the shutter stuff apart was not that bad compared to the SG, I think (which has a shutter governor vs. just the tension adjustment of the RB, for example).