Patchbay

[Kurt]

To go with the desk I'm getting (Soon!) I think I need to get a patchbay. What the hell does "normalled" "half normalled" etc mean? What do I need to get?

[Junction]

Ok, equipment outputs are wired to the top row of jacks,the equipment that it is to plug into (the inputs) are wired to the bottom row of jacks. When there are no patch cords inserted the top row jacks are connected (normalled) internally to the bottom row of jacks.

With Half Normalled, you can take a patch cord and plug into the top row and take a split of the output of the gear wired there and connect to the input of another piece of equipment, the normalled connection to the bottom row input is still maintained. If you plug a patch cord into the bottom row, you will break the internal normalled connection from the top row, you are now inserting another source of audio into the bottom row input.

With Normalled, plugging a patch cord into the top or the bottom row, will always break the normalled connection. So a patch cord in the top row takes the output and the connection to the bottom row is broken. Plugging into the bottom row similarly breaks the normalled connection.

Half Normalled is the most common configuration, most jackfields have the normalling connections made by jumper wires soldered on the back, therefore it is possible to change the normalling later if required.

Understand?

Michael

[waitup]

Hi Kurt,

Your patchbay layout is something you are going to want to sit down with and really nut out. A good patchbay layout in my opinion can make or break the workflow and usability of a studio. I've used a few places where whoever laid out the bay clearly didn't understand the concept and the bay became more of a problem than a help! Take the time to get your head around it and lay it out in a spreadsheet until you're happy. It will be time well spent!

Normal, half-normal and isolated modes are all about how you use you studio on a regular basis. I'll outline what they each mean, then I'll give some practical examples of how they work in the real world. For the time being let's assume as a rule of thumb you connect outputs to the top row of the bay, and inputs to the bottom row.

Normal: With no patch cable connected to the top OR bottom jack on the FRONT of the channel, the top and bottom jacks on the rear are connected together. If you patch a cable into the top OR bottom row on the front, the connection between the top and bottom row on the back is broken.

Half-normal: With no patch cable connected to the bottom jack on the FRONT of the channel, the top and bottom jacks on the rear are connected together. If you patch into the bottom jack of the channel, you will break the connection between the rear top and bottom jacks. If you connect a patch cable to the front, top jack of the channel, you will take a split of the rear top jack (remember, it's probably an output), but not break the connection between the top and bottom rear jacks.

Isolated: The rear jacks are not connected to one another unless you make a patch between the top and bottom jacks on the front.

Real World Applications

Normal: Things that are normally connected together, but you would never want to split the output. Control room outputs to speaker/amp inputs would be a common one. If someone wants to bring their own speakers in and connect them to the patchbay, you don't want the signal going to both their speakers and yours!

Half-normal: Probably the most common one. Insert sends to insert returns, channel outputs to Pro Tools inputs, Pro Tools outputs to tape returns. Anything that you would normally connect together by default. The 'half' part of 'half-normal' will allow you the luxury of splitting outputs when called for. I use it every now and then for recording a compressed and an uncompressed version of something. It does come in handy quite often.

Isolated: Things you wouldn't usually connect together, like the inputs and outputs of compressors.

Most importantly, my best advise is do it once, do it properly (yeah, hahaha, I know no one will ever 'do it once' but it's a nice idea). Connect up all your gear, even if it means spending a bit more time on the iron. Where it might normally take digging through the random cable box to connect that drum machine with RCA outputs to that preamp with XLR line inputs, if you've hooked it all up already, it will be two patch cables away.

In terms of what sort of patch bays you go for, it really is up to you. B-gauge jack feilds are dime-a-dozen and auctions and on ebay, but the patch cables less so. Bantam or TT patchbays are great where space is at a premium. I am a fan of bays with TT on the front and DB25 on the rear so I can sit comfortably at the bench and make the cables and then plug them all in at once. Punch-down or solder bays might require doing work in awkward positions under/behind a rack. TRS jack (front and back) bays might seem pretty appealing but remember they mean as many TRS jacks on the back as there are on the rear! I'll leave that decision up to you.

Best of luck on your quest.

Nick.

[waitup]

Whoops. Someone answered your question while I was typing

[Kurt]

Thanks guys!

I guess one could get ridiculously complex with patching but in a live situation I guess it would pay to keep it simple.

[waitup]

Oh sorry I just assumed it was for a studio! For live I would probably just connect the insert sends/returns and your outboard compressors.