Behringer ULTRAPATCH PX1000, User Manual

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ULTRAPATCH PX1000
3. CAUTIONS
Welcome to the BEHRINGER family!
Thank you very much for expressing your confidence in
BEHRINGER products by purchasing the ULTRAPATCH PX1000.
The PX1000 is a multi-functional balanced 48-point patchbay for
studio and stage applications.
A patchbay allows you to patch the audio signals of most
components in your studio from a central point and send them to
other units, making your entire cabling better structured and
optimally suited for professional work. If you want to use your
studio as effectively as possible, it is preferable to use a complete
patchbay wiring scheme, but even smaller studio configurations
will benefit from less complex patchbay configurations.
1. PATCHBAY CONFIGURATION
The majority of commercially available patchbays include two
rows of 24 phone jacks in a single 19" rack panel. On the rear,
either a corresponding number of phone jacks or contacts for
soldering signal leads can be found. Each group of four phone
jacks forms one module. The configuration of some patchbays
can be changed by inserting jumpers or turning individual modules.
With the BEHRINGER ULTRAPATCH PX1000 you own an
easy-to-use 48-point patchbay offering 1/4" TRS connectors, that
can be operated in five different modes simply by aligning the
modules manually. For this purpose, simply loosen the two lower
front screws to remove the front panel.
1.1 Mode 1
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In this mode, when all jacks of the module are inserted, the
audio signals A and B will go separately from front to rear. For
example, you may use this mode to connect mixer outputs to
compressor inputs or compressor outputs to tape inputs.
1.2 Mode 2
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In this mode, the contacts of jacks A & B on the front are
interconnected. When you insert a plug into the upper rear jack
(A), the signal routed through the front path is not interrupted.
Only when the lower rear jack (B) is used will the front panel
route be split, so that the two upper and the two lower jacks are
connected to one another. This configuration is called “input
break” and is used mainly for insert applications.
1.3 Mode 3
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Here, the contacts of jacks A & B on the rear are inter-
connected. When you insert a plug into the upper front jack (A),
the signal routed through the rear path is not interrupted and the
audio source of front A is parallel to the rear jacks (A & B).
Thus, two power amplifiers may, for example, share one audio
source.
1.4 Mode 4
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In this configuration, the contacts of jacks A & B on the front
are interconnected. Thus, the upper front jack (A) receives an
incoming signal and the lower front jack (B) sends the outgoing
signal. With this mode, you can take the signal from lower front
jack (B) for recording purposes or the connection to additional
equipment.
1.5 Mode 5
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Here, the contacts of jacks A & B on the rear are inter-
connected. The configuration is the same as in mode 4. However,
in contrast to mode 4, this mode is usually deployed for equipment
in a fixed installation. For example, most recording studios have
the mixer’s outputs connected to the recorder’s inputs most of
the time. It is very convenient to have the signal path through the
patchbay in this manner, with the permanent connections made
at the rear. This also allows you to intercept, divert or replace
the signal easily at the front of the patchbay in a number of ways
by inserting a plug into one of the front jacks (A or B).
2. LOOMING PROBLEMS
Loom wiring is an art in itself, and it is worth the time to get it
right. First, it is important to avoid ground loops (a looped wire
acts like an antenna, picking up hum and electromagnetic
radiation). Think of a tree. Every part of that tree is connected
to every other part, but only by one route. That’s how the total
grounding picture for your entire studio should look. Don’t remove
the ground connection of your mains cable plug to reduce audible
50/60 Hz mains hum. Instead, you should disconnect the signal
shield somewhere (one or several audio cables) in the signal
chain.
It is good practice to ensure that all screens are commoned at
the patchbay, in which case all equipment would be grounded
from this point via a single screen (more than one route = an
earth loop), while mains-earthed equipment would have all
screens cut at the equipment end.
Some equipment has an independent signal and mains
grounding. In this case, at least one screen should ground the
equipment. Sometimes, the only way to find out is “suck and
see”.
Please assure that using the patchbay does not disturb the
studio’s grounding architecture. Always use patch leads that
are as short as possible with the screen connected at both
ends.
After removing the mains hum from the system, make up your
cable looms from the patchbays outwards, and use cable ties,
flexible sheaths, multicores, etc. to keep the back of your racks
orderly.
3. CAUTIONS
Avoid routing digital signals near a patchbay because the pulse
signal used for the transmission of such signals causes heavy
interference in analog signals. Additionally, normal patchbays
change the impedance of the digital cable route, which
causes interference in the digital path. Use the BEHRINGER
ULTRAMATCH PRO SRC2496 specifically designed for this and
other digital signal-related functions.
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