Behringer ULTRAPATCH PRO PX3000, Quick Start Manual

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ULTRAPATCH PRO PX3000 Quick Start Guide
9
ULTRAPATCH PRO PX3000 Controls
(EN)
Controls
REAR FRONT
ULTRAPATCH PRO
MULTI – FUNCTIONAL 48 – POINT 3 – MODE BALANCED PATCHBAY MODEL PX3000
REAR FRONT REAR FRONT REAR FRONT REAR FRONT REAR FRONT REAR FRONT REAR FRONT REAR FRONT
HALF NORMAL
THRU
NORMAL
CONCEIVED AND DESIGNED
BY BEHRINGER GERMANY.
MADE IN CHINA
型 号: PX3000 平衡式接线槽
NORMAL THRU HALF NORMAL
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
A
B
制造商: BEHRINGER Holdings (Pte) Ltd
中国制造
NORMAL HALF NORMAL THRU
NORMAL MODE
In NORMAL mode the rear A & B jacks of the channel are
connected together (pos.
(1)
). The connection between the
rear jacks is disabled when you insert a cable into jack A or B
on the front panel (pos.
(2)
and
(3)
).
In the example above, top-row channels 1 to 4 are from the
outputs of a keyboard and a MIDI sound module. They are
connected, in this example configuration, to input channels
1 to 4 on the mixer.
Channels 5 and 6 are from the subgroup outputs of a mixer
and are connected, in this example configuration, to the
inputs of a computer audio card. Audio sequencer software
records the music signals directly onto the hard disk of
the computer. Channels 7 and 8 connect the soundcard
outputs to the 2-track inputs of the mixer. Since the
rear-panel jacks are connected together in the Normal mode
(pos.
(1)
), the subgroup signals can be recorded directly
onto the PC and played back via the 2-track input of the
mixer (playback/monitoring), without a single patch cable
having to be plugged in! In this way, you can build up a basic
configuration for your studio, which can be easily modified
by simply patching signals via the front-panel jacks
(pos.
(2)
) or by feeding in external signals via patch cables
(pos.
(3)
). You could, for example, connect the keyboard
signal to channels 3 and 4 by patching 1A to 3B, and 2A to
4B. So, before wiring your studio, it is advisable to identify
the connections that will be used most frequently and set
them up, as your basic configuration, one above the other
on the patchbay. Then you will have a clear overview of all
connections and still be flexible.
HALF-NORMAL MODE
In HALF NORMAL mode, the rear A & B jacks of the channel
are connected together (pos.
(1)
). Unlike NORMAL mode,
the connection between the rear-panel jacks is not disabled
when a 1/4" plug is inserted into jack A on the front panel
(pos.
(2)
). This allows you to take the signal from a mixers
channel strip in parallel—without interrupting the
signal path on the channel strip. Like NORMAL mode, the
connection between the rear-panel jacks is disabled when a
1/4" plug is inserted into jack B on the front panel (pos.
(3)
).
When 1/4" plugs are inserted into both jacks A & B on the
front panel, the front jacks will be connected separately
to the corresponding rear jacks (pos.
(4)
). This is called
an “input break” and is used mainly to insert an effect or
processor into the signal path.
In the example above, top-row channels 9 to 14 are the
sends (tip contact of insert points) from mixer channels 1
to 4 plus the main left & right sends. They are connected,
in this example configuration, to their respective returns
(ring contacts of insert points) of the mixer.
Outputs from the mixer sends can be taken from jack A
without disabling the connection to the returns (pos.
(2)
).
The mixer returns can be used as external line inputs,
by patching cables to jack B (pos.
(3)
). External effects or
processors can be inserted into the send-return loop by
connecting their inputs & outputs to jacks A & B (pos.
(4)
).
The main left & right outputs of the mixer are connected,
in this example configuration, to a mini-disc recorder.
However, they can also be connected in parallel to another
recorder (pos.
(2)
). The mini-disc recorder can record other
sources when they are connected to jack B of channels 15
and 16 (pos.
(4)
)
THRU MODE
This mode is for sound modules or playback devices (e.g. CD
players) that only have output signals. You can save space
by routing the left and right outputs to one channel (jacks
A & B) of the patchbay. A more typical setup is to connect
the left and right outputs to adjacent channels (jacks A & A)
and then connect another device to jacks B & B of the same
channels. This configuration also allows you to position
the inputs and outputs of effects devices, compressors,
equalizers, etc. directly above each other.
In the example configuration above, the outputs of the
playback devices (CD and mini-disc) plus the four individual
outputs of a sampler are connected to channels 17 to 20,
while channels 21 to 24 are used for the inputs & outputs of
a compressor and an EQ, which are usually connected to the
inserts of a mixer.
REAR FRONT REAR FRONT REAR FRONT REAR FRONT
A
B
A
B
A
B
A
B
(1) (2) (3) (4)
REAR FRONT REAR FRONT REAR FRONT REAR FRONT
A
B
A
B
A
B
A
B
(1) (2) (3) (4)
REAR FRONT
A
B
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