Patch bay rack

Capable of handling most every requirement in both hobbyist and semi-pro settings, this could very well continue to be a useful part of your studio even as your needs grow. An external switch for changing configuration settings would have been preferable, but the ability to pull out the jacks while the unit is racked is admittedly the next best thing. It has a simple and straightforward design, this budget-priced patch bay is reminiscent of classic DBX pieces that have been studio mainstays for years.

However, although the generally acceptable performance places it in the category of other patch bays costing many times as much, some corners have obviously been cut in the design and construction of the PB, as we will explain below. Those that have taken the plunge and purchased this unit report quiet and stable operation, and generally reliable performance and functionality.

However, the open construction of the chassis casts some doubt as to whether or not this patch bay will be able to go the distance without breaking down. Concerns have also been raised with regard to the attachment of the circuit boards to the frame via a single plastic nut. The jacks can be reversed from front to rear and vice versa, providing a straightforward solution to basic routing needs. A simple unit with fairly modest connectivity and configuration options, it is nevertheless a good starter unit for those just beginning to explore the possibilities of patch bay usage.

Most user reviews of the Hosa PDR seem to come from beginner users that are just beginning to appreciate the value of a patch bay. Given their more rudimentary requirements, these users unsurprisingly tended to favor the simplicity, ease of use, and low cost of the PDR Many users have also favorably mentioned the ease by which the jacks can be reversed, which provides a fair bit of flexibility right off the bat.

As far as budget offerings go, the Hosa PDR provides pretty decent bang-for-the-buck. The 12 mic inputs might leave you wanting, particularly if your requirements go beyond that of the hobbyist stage.

Even so, the PDR is a good entry point into the fascinating world of patch bay usage. No bigger than a DI box, this piece has a robust design that can withstand constant use and even traveling gigs. Rugged and simple, its straightforward design can even be used as additional inputs or outputs. Users who prefer their set-ups purely modular will find the MHB perfect for such a set-up. Some users, however, found the activation of the de-normalling function a bit of an issue since users have to take it all apart to reverse the normalling route.

Its charm, however, lies in its modular functionalities which may appeal to modular-heads out there. All of its 48 balanced points are durable. Its uncomplicated design and durable build make the Ultrapatch the best solution for most routing and patching needs.

What the Behringer Ultrapatch Pro PX lacks in terms of bells and whistles, it compensates through its solid build. Users were most impressed with the tight-fitting connections and high-quality jacks.

The top-side switches are also a nice touch as it means not having to thumb through the rear panel when changing modes.

The three switchable modes also make it versatile. Some of the small but practical design choices such as the top-side switches endear this tool to many users. This patchbay is packed with features, perfect for advanced users who have higher workflow demands. The StudioPatch has all the functionalities that most users will need. For instance, users who needed the DB25 rear connections interface were pleased to know that it works for DSUB cables.

But many users loved the availability of a non-normal mode which can be easily switched on through a flathead screwdriver. Usability, after all, is more important than mere quantity. The StudioPatch is a powerful gadget that can be used for studio and commercial contexts. Its variety of jacks makes possible all sorts of routing and connections. Some patch bays, like the Hosa MHB Patch Bay Module allow for you to choose the normalling you need, like half-normal or de-normal.

When setting up your patch bay, the best starting point is to see how many inputs and outputs you will need, then what kind of normalling will be required, and finally drawing out the wire diagram to know how your connections will be made. Some patch bay manufacturers even offer blank templates to help you visualize and plan your signal routing. The purpose of a patch bay setup is to keep your signals clean, but also your physical environment by cutting down cable clutter. Some of the obvious ones are using scribble-strip tape to label the equipment or output assigned to each jack on the front.

You can also label the cables themselves. Cable ties and split looms will keep cable clutter under control behind the desk, as well.

For cables not in use yet, rather than stuffing them somewhere or having them sprawled around, you can invest in a cable holder to keep your space tidy and your cables quickly accessible. To purchase Hosa patch bays and other organization tools, visit our Shop page. Happy patching! What is a Patch Bay?

They are designed to send input from the top and bottom back jacks directly to the front jacks. That is to say The top and bottom jacks do not connect at all internally. Denormalled pairs are often used to give you a pair of patch points for, example, a signal processor such as a reverb unit that is not normally inline with your mixer aux jacks.

Your reverb unit is simply plugged into the back of the patchbay to provide you with convenient patch-in points in the front. This way you can use short patch cords from these points to process a signal from another point in your patch bay. Thankfully, there are many different models of patchbays to fit your needs and wallet. They range from having jacks jacks per row , and the ability to switch these connections between normaled, half-normaled, and denormaled varies on the brand of patchbay you buy.

Some require soldering to set it up initially, while most come pre-soldered for you. Some bays come completely normaled or half-normaled without the option of changing any single connection. On many models, each pair of jacks front and back are connected to a removable PC card circuitboard which allows you to change the orientation of the jacks for different configurations.

In this case, a single colored jack signifies the orientation of the PC card in its slot to make it normaled, half-normaled, or denormaled. This usually requires taking the bay out of your rack and unscrewing the metal cover to move the PC boards. Pretty nice! Another company called Re'an makes a 44 point patchbay that also has a cable tester on it. Just make sure that you study their specs to make sure you're getting what you need. You may also need to buy multiple patchbays to give you all the patchpoints you need to hook up your gear.

Patchbay cables, which are usually about a foot in length, are also easy to buy, and are sold by companies such as Hosa, Re'an, and A. It is also probable that you can buy patchbay cables from most of the same makers of the patchbays themselves. Sometimes, the connections on the cables and jacks may get a little grimy from dust and dirt, and in these cases, I recommend that you insert the cables into the jacks several times to clear off the connections.

This works well, and is a better and cheaper alternative to buying cleaning solvents. One final note about patchbay models. You can also buy patchbays that instead use balanced TT jacks tiny telephone , which are smaller and allow you to have many more patchpoints on each row. As I mentioned before, the way you set up your patchbay is determined by the complexity of your studio, the gear you have, and the frequency of patching you may need for each piece of equipment.

Some gear may never need patching at all. In that case, simply connect it up permanently, avoiding the patchbay altogether. For example, one persons set-up might have a stereo recorder permanently connected to a pair of subgroup jacks on their mixer. You, on the other hand, might want to patch something between your stereo recorder and the mixer, and in this case, it would be easier to use the patchbay. Studying the way you work beforehand can make a big difference when the patchbay arrives, and you begin hooking it up!

Now here is a little dose of reality. You may think that, for a hundred bucks, you can do all this stuff, and greatly ease your signal routing woes. Not exactly. In addition to buying a patchbay, you will need to also nearly double the number of cables you are now using, since every unit now has to go to and from the patchbay. That can be expensive! However, I personally feel that the added flexibility and convenience is well worth the price. Besides, it looks pretty cool when you show your studio off to friends!

As mentioned above, most patchbays have balanced jacks, and I have not seen one that is unbalanced. I suggest that you use balanced cables to connect your gear to the patchbay. Don't let me confuse you though, because you can use unbalanced cables.