I am so sick of my patching system. I could fricken burn it all and be happier. Please give me some ideas guys. I rarely find info on professional patchbays and proper terminations and use of normalling...
Heres where Im at with gear. I have a bunch of outboard that I almost always use to complicate things.
I think my gearlist is probably alot like the common studio would have. Therefore this post can probably help more than just me.
Gear List
Console. 70's Souncraft Series 2 16 channel and a 24 channel.
8 buss, strip has fixed eq, pre, aux send * 4,
transformers throughout, I use one for tracking the other for
monitoring.
Medium. 24 track 2 inch, or 24 tracks of ADA
Outboard. 16 channels Mic PRE (api, tele, trident...)
14 channels Compression (spectra, dbx, urei, G, ..)
12 Channels EQ (api, G, aphex, ...)
REverbs, delays and other racked toys...
4 Different rooms in the barn are wired for players. Whole bunch of ins- outs.
So some things are obvious like signal flow. I usually go to my racked pres before the console pres so they are almost always patched. My latest thought are to have an either or for the medium choice plus an elco to connect them in a chain. I don't go for the lock up the 2 inch and most people understand why so I dont think I need both on the patchbay. If using two inch connect it, If digital connect that. If recording tape, mixin digi, connect together and dump.
How should I be connecting an unbalanced line out from a channel to a balanced recorder. Im sure the busses are balanced but not the channel outs. Also some of the various inputs are unbalanced as well. things like aux ins and echo returns...
If Im right I should ground pin 3 on the unbalanced side?
How do most people go about interconnecting Outboard Pre's?
Its not to convienient to be patching them when I know Ill use them every session. I suppose I could normal them to the console line inputs but that seems like overkill as far as signal path. However Its not convinient as far as organization goes to have them off the console entirely.
How does everyone approach using outboard pres. Take for example my API 512's I know Im gonna use them on the tracking everytime.
Who uses Mult's out there? I have some set up but would like to hear what everybody uses them for.
Who has a boom box or cosumer stereo in their studio and how do you compensate for the +4 , -10 difference? (Im assuming a pair of resistors?)
Cableing. Whats your favorite multipair and why?
How are people driving instruments levels through the walls and long cable runs? For example , Musician in control room, amplifier in 1st story live room. about a 100 ft balanced run.
Since my first console, Trident 24, Ive redone the bays many times, each time uping my knowledge and piecing together little bits of knowledge from across the internet. But they still suck! Ive read that the word normal means that the patchbays are preset to the way your studio would"normally" set up.
If you can contribute a bit it would certainley make for a good thread.
Will
Heres where Im at with gear. I have a bunch of outboard that I almost always use to complicate things.
I think my gearlist is probably alot like the common studio would have. Therefore this post can probably help more than just me.
Gear List
Console. 70's Souncraft Series 2 16 channel and a 24 channel.
8 buss, strip has fixed eq, pre, aux send * 4,
transformers throughout, I use one for tracking the other for
monitoring.
Medium. 24 track 2 inch, or 24 tracks of ADA
Outboard. 16 channels Mic PRE (api, tele, trident...)
14 channels Compression (spectra, dbx, urei, G, ..)
12 Channels EQ (api, G, aphex, ...)
REverbs, delays and other racked toys...
4 Different rooms in the barn are wired for players. Whole bunch of ins- outs.
So some things are obvious like signal flow. I usually go to my racked pres before the console pres so they are almost always patched. My latest thought are to have an either or for the medium choice plus an elco to connect them in a chain. I don't go for the lock up the 2 inch and most people understand why so I dont think I need both on the patchbay. If using two inch connect it, If digital connect that. If recording tape, mixin digi, connect together and dump.
How should I be connecting an unbalanced line out from a channel to a balanced recorder. Im sure the busses are balanced but not the channel outs. Also some of the various inputs are unbalanced as well. things like aux ins and echo returns...
If Im right I should ground pin 3 on the unbalanced side?
How do most people go about interconnecting Outboard Pre's?
Its not to convienient to be patching them when I know Ill use them every session. I suppose I could normal them to the console line inputs but that seems like overkill as far as signal path. However Its not convinient as far as organization goes to have them off the console entirely.
How does everyone approach using outboard pres. Take for example my API 512's I know Im gonna use them on the tracking everytime.
Who uses Mult's out there? I have some set up but would like to hear what everybody uses them for.
Who has a boom box or cosumer stereo in their studio and how do you compensate for the +4 , -10 difference? (Im assuming a pair of resistors?)
Cableing. Whats your favorite multipair and why?
How are people driving instruments levels through the walls and long cable runs? For example , Musician in control room, amplifier in 1st story live room. about a 100 ft balanced run.
Since my first console, Trident 24, Ive redone the bays many times, each time uping my knowledge and piecing together little bits of knowledge from across the internet. But they still suck! Ive read that the word normal means that the patchbays are preset to the way your studio would"normally" set up.
If you can contribute a bit it would certainley make for a good thread.
Will