Since Panel 3 is in Half-Normal mode, we aren't interfering with uncompressed reverb take. Yeah, this is a tough one to get your hands around initially, but once you do so, it is pretty easy to understand. Each panel here is built like its own little unit, which is cool. This is why we label the jacks! But first you need to understand what one is and the conventions of cabling your gear through one first, because it can be confusing at first. With most patchbays you have to physically unscrew each set of jacks and flip the card over to change the mode. The compressors should not be normaled.
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. Placing a patch cable into the bottom-row breaks the signal path. Let me try to summarize: Normalled: The top and bottom jacks on a patch bay are internally connected so that the signal will pass from the top jack to the bottom jack. All we have to do is run the output of the compressor to Top Back 3 and it drops automatically into the third mixer input. People tend to want to have the output and input of a piece of gear stacked vertically, but that's actually not the most efficient way to use a patchbay. So with the use of a snake or wall mounted input panel, all the mic lines can neatly come into the control room through a single cable and connect directly to the patch bay.
Bascially in a patchbay you have a series of jacks on the front pannel, usually 2 rows, one on top of the other. Uses: Insert points work well normalled, but some can argue that half-normalled works better here so you can monitor this signal. When you learn to control the power of the patch bay, your life as an engineer will become so much easier, as it will allow you to send signals with ease between all the devices in your studio and open up a whole new world of creativity and workflow. This lets you split the signal to send to two inputs. Full-Normal : Each jack on the top-row is connected to the jack under it on the bottom-row. The music industry refers to them in the way we will through this article.
These marks would look like a schematic drawing of a capacitor, except that the line continues thru the two perpendiculars. But there's more ways to rein in that last 10% of disorder. Usually aux's that are pre fader would be normaled to phone amps and post fader aux's would go to reverbs but either may be patched for what ever application your performing at the time. You can also have custom patchbays created for exorbitant amounts of money. Personally, I slap them all in Half-Normal mode and leave it at that, but I didn't at first and you probably won't either. This can quickly clean up a lot of clutter as your setup grows.
Let me screw it into the rack. You press them in to release the cables. Guitar cables will work in a pinch, though. Note: It's not always acceptable to normal two plugs in a pair together. We'll look at why in the next section. The bottom front panel jack becomes the send to the effect and the top jack becomes the return from the effect. Rule 2 - Bottom Jacks are for Inputs So now you have your signal coming out of the top row on the front of your panel.
But at least they're going out of their way! If you're here reading this, it may be the case that you already have access to a bay. If these cables were not connected back together in this way, the signal would not be sent back to the board, and would be interupted at the insert point, and no sound would pass thought that channel on the board. I have no doubt that it will come back into play, because I'm currently lusting after some more compressors. The splitting will be interrupted if a cable is patched into the front input, though. And upon that day shall ye remember this article.
Again, this automatically sends the signal coming into the top inputs to the bottom outputs. When a plug is inserted into the jack, the checkmark shaped connections physically move up, decoupling them from those little arrow shaped connections. Typically they would only be patched when needed. I'm very happy with my Neutrik beast and you would be too. If you want to only have your compressors, reverbs and headphone amps wired to a bay that would work also.
If your console has auxiliary sends or bus outputs, the outputs would also be dedicated to a row on the patch bay. At Vintage King, we offer full turn-key patch bay configuration and layout services, as well as on-site installation if so desired. First, realize that I've thought out which modes to use on which panels. To set this up, you would patch from the auxiliary output on the patch bay to the input of the effects processor. The way it works is easier to understand. We all say that the goal is to bring our inputs and outputs to the front of the rack for the sake of speedy work, but the truth is nobody wants to climb behind the rack and contend with the jungle of cables.
Let's cut to the chase and explain exactly. However, switching equipment that can emulate the capabilities of a given patch bay is much more expensive. The inputs are bottom only, front-to-back. Don't Worry About the Order: When I first started dealing with patchbays, I wanted all of my best preamplifiers to the left, followed by the lesser ones I used for drum mics. From there it's just a matter of being able to think through one signal at a time, and you're ready for a bay of any size. Since a recording studio typically consists of multiple rooms, it would be really hard to run individual cables from each isolation booth or live room into the control room. If you're ready and want a bit more complicated example, check out or expanded version of this topic in the article.
Inserting a plug in the top front jacks diverts the mic signal for use elsewhere, while preventing the mic from being loaded down. As soon as you plug a patch cable into the top jack, this connection is broken, and the signal now flows out of the top jack, into the patch cable, but not back into the bottom jack. It will help increase productivity as your studio grows, allow you the flexibility to try new channel strip configurations and also prepare you to handle a patch bay in a larger commercial facility if you decide to take a client or your project there. The same goes for bottom to bottom connections. Some patchbays allow you to write directly on a dry-erase style strip across the front.