For instance, console channel outputs 1-8 connect to the patch bay using a single cable, instead of 8 separate TRS cables. The other has an 8-channel “whip” of XLR or 1/4” TRS connectors. One end of the D-sub cable has a single DB-25 connector. The rear typically uses DB-25 connectors to save space, but some units use 1/4” TRS or XLR.ĭB-25 (or D-sub) cables are multi-pin connectors that can carry 8 analog audio signals simultaneously. Although, some patchbays use 1/4” TRS or even XLR connectors. Most modern patchbays use tiny telephone (TT), or bantam connectors on the front. They handle both input and output for each channel, which makes 48 “points” or connections. Typically, patchbays have 24 channels per unit. Just be prepared to spend 10-20% of your gear investment for all the cabling you’ll need. If you have a studio with analog equipment, you’ll benefit from a using a patchbay. It’s all about reducing the amount of time you spend setting up, and increasing the amount of time you spend making music. It’s kind of like that sometimes, but instead of routing phone calls to New Mexico, you’re routing a kick drum to a compressor.Įven hybrid studios with only a few pieces of outboard gear can benefit from a patchbay. You know those old movies where people would make phone calls and speak to an operator? There were usually a bunch of women sitting in front of a wall of cables, smoking cigarettes and patching calls to Albuquerque. But the more gear you have, the bigger your patch bay needs to be. It allows you to quickly connect different pieces of gear together without having to crawl behind them and physically run cables from one unit to the other. It’s the central nervous system of the studio. Most commercial studios use a patchbay - especially those with a console. As long as you understand how they work, there’s nothing to panic about. They’re used to connect one piece of equipment to another. And one wrong move can bring things to a screeching halt. Everything is color coded in some cryptic language. It almost feels like you’re Jack Bauer disarming a bomb. The outboard merger can be thought of as in additional processor that is accessed simply by changing the patchbay's routing configuration.Patchbays can be intimidating. By connecting a patchbay's outputs to a merger and then looping the output of the merger back into the patchbay, you can effectively add more merging capabilities to the patchbay. This enables you to free up inputs of your MIDI interface which otherwise would have been used by the individual outputs of each sound module.Īnother novel application for mergers is expanding the merging capabilities of MIDI patchbays that allow merging of only two MIDI inputs at a time. Mergers can also be used to merge System Exclusive data from sound modules back to computers running editor/librarian applications. For example, if you are using a few MIDI keyboards and need to connect them to a sound module with a single MIDI input, a merger can be used to merge the keyboards' outputs to that input. MIDI Solutions MultiVoltage products are compatible with both the original 5V and new 3.3V MIDI specifications, for more information read the MultiVoltage FAQ. A MIDI indicator LED lights up when the product is powered and flashes when MIDI data passes through it. The Merger is MIDI-powered, and requires no batteries or power supply to operate with most MIDI products (for more information read the Power FAQs). A fast merging algorithm ensures that all MIDI data is processed accurately with the minimal possible delay. All MIDI message types are merged, including System Exclusive, MIDI Clock, and MIDI Time Code messages. The MIDI Solutions MultiVoltage Merger merges all MIDI messages appearing at its two MIDI inputs to its two MIDI outputs. Return - mint condition, all original contents and box.Īs of July 2016 it is compatible with devices that follow the 3.3V and 5V MIDI Specification and includes 2 MIDI Out ports
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