Discussion in 'Patchbays' started by audiokid, Apr 17, 2010.
The New AT5047 Premier Studio Microphone
I think it was Ruth Buzzi ( Lily Tomlin) >Rowan & Martin's Laugh-In
Missed that one! I guess a La Boheme performance and a couple of microbrews aren't good for the little grey cells.
wow... interesting thread so far.....
The "operator" character was definitely Lily Tomlin... what a GREAT show it was too!
Back OT though...
Nada, I didn't EVEN seriously look at digital patchbays... more of a philosophical thing for me.
I prefer straight forward shortest/simplest path wiring.
Route to to the converter, then the external device, then, back in.... no sync or clocking issues beyond the converter... just delay compensation.
I chose the Mixbay for a coupla' reasons... first, it's grouped in 8 channel db25's. For some, that's a hindrance. For others, it's a logical progression/extension of your converters. I'm in the latter logical group. Second, at the time, it was the only viable db25 patchbay on the market. Third, it seems to be seriously industrial strength build quality. Fourth, it's a high density configuration... 96 points in in 3RU's.
So, my tracking path is mic panel-> (PB) pre Input -> (PB) pre Output -> (PB) A/D converter -> (PB) DAW... then DAW... [where (PB) is the patch bay] I have 24 channels of converters normalled for tracking input.
I have 7 tie panels in the tracking areas configured for input... (soon to be 8... maybe.) Six of the panels are 8 channels, and the main panel is 16.
The main panel is the shortest route to the converters by 10 feet or more, and I try to use my shortest cables to the drums. (or whatever is closest to that main panel)... and that main panel is normalled to the 1st 16 channels of conversion. The other 8 channels are normalled to the hallway panel. When I have stuff in the Iso booth or any of the other tie panels, I just patch into the mic pre input and I'm normalled from there, into the 24 input converters.
I use 16 of those D/A channels (on the 1st Aurora 16) to come back out to the mains/alt speakers, and to the 16 channel Furman headphone system... of which I use the first 2 channels (it's a PT thing) for the mains output. Leaving 14 channels for monitoring; 8 mono sends and 3 stereo sends.
With patch cables, I can use those same 14 channels of converters for additional mix down I/O as inserts or auxes.
I have 24 channels of A/D & D/A non-normalled on the 2nd patchbay. The top two rows of the first 24 points are the D/A and A/D. All the rest of the outboard gear is non-normalled to the rest of the patchbay as In/Out on the matching rows. e.g. Just like an analog console.
Of course, I'm an old analog road warrior, who's used to running FOH and Mon Beach... so while my configuration makes sense to me (and most old road dogs and analog console guys), it ain't gonna be for everyone.
The way I view it is like this... if you are going to use any outboard gear, you GOTTA be on a patch bay system... no matter whose you buy into. The one thing I don't care for are solder type of wire wrap bays.
There's several manu's who make TT db25 now, and a couple who make plug in terminal type. Those are the only two types I would actually look at, unless you can get a seriously wicked cheap deal on the other types.
I am using my patchbays as my insert points only right now. I still have my elderly Switchcraft self-cleaning TRS as my insert points from the outboard gear. They are normalled. These are high-end patchbays. Came out of a famous (around here) radio station rack. I have two and I only use one. These are the heavy solid brass military style connectors. And the loom in the back makes it very easy to lay the wiring in a neat way. The other bay that comes from the inserts on the console is a Hosa with the normalling switches on each insert. I dont really like it that much although it is quiet. The switches are crap though and require the "jiggling" mentioned before. One of these days I'm gonna stick the other Switchcraft in there and call it good.
I have at least five other patch bays collected over the years of different studio configurations. I still have two with TRS through to RCA for the Tascam stuff......38....32....520 board etc....
Missed it by that much!
You bet your sweet bippy you did!
this is all "Very interesting, but not very sophisticated" ...
Man, my heart feels a bit lighter, thanks guys.
....And what about "violins" in schools ----Gilda Radner SNL
she thought she talking about "violence" in schools.....hilarious!
Well... that was about a generation or so later... but yeah... a really funny bit.
im a big fan of patch-bays. each I/O o f my console, converters, outboard, tie lines to the iso boths/live room, recorders, headphones, and extra gear that a client may bring in as well, GOTTA HAVE IT. it speeds up your sessions....do you want to be crawling around the floor with a flash light plugging in xlr's??? if you keep all things hardwired to your mixer/converters you limiting yourself with your instrumentation, some instruments benefit from a different pre/comp/eq than others. the advantage is this, what if you have a piece of outboard gear thats on its "period".....inside of 2 seconds you can bypass that piece and move on.
my PB choice is Switchcraft with the adjustable Normalled/half normalled/open switch. soldered to mogami 24 wire cable.
it has been a labor of love
Yeah... they all are.... if you do it right.
Ditto's though... nice digs!
your place is doing the wood too, not to many studios are going that route nowadays, ive heard that it makes them feel as if they were in the 70's!!!. your back wall is very different??
racks..... how does that work on bass trapping?? what kind of standing waves are you getting or not??
I dunno about the 70's... but so far, everyone has come in and been very appreciative of the wood. They seem to relax and get a bit of a "cool" groove.
The racks are actually great for trapping!
AFAIK, I've not got any standing wave issues at all... very diffuse and even across the spectrum.
I'm tracking a 7 piece band, and the sax player is tracking in the CR with me. They sound about as good as his final tracks in the big room, actually. So, believe it or not, the CR's not a bad tracking room either! :biggrin:
i get that too, clients feel the warmth of the wood tone (color) and it makes them chill better. i have always felt that a wood room translates better..well i was just wondering about the trapping in the back since most studios i have worked inover the years and mine included all have a minimum 4 foot thick back wall with hanging 3 inch thick wood slabs loaded with insulation on each side to absorb the bass. i also noticed, and i may be wrong, is your control room raised and floating?
Nada on the raised CR... although the whole room actually floats... as does every room. All rooms are on 8" thick independent concrete slabs. Slabs are all on at least 16" of compacted sand. (CR's on at least 30" of compacted sand.)
You can check the build thread here at RO for detailed info. I wanna say it was about 2.5 years ago that I poured the slabs??? I know I started in November of some year... yeeesh...
But right now, I'm 3 days away from my grand opening... so, I'm just a tad insane scheduled right now to dig it up. Gimme a few days and a reminder and I'll suss the dates/images/etc...
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