Behringer Ultrapatch PX1000 Bruksanvisning
Les nedenfor 📖 manual på norsk for Behringer Ultrapatch PX1000 (4 sider) i kategorien DJ-utstyr. Denne guiden var nyttig for 2 personer og ble vurdert med 4.5 stjerner i gjennomsnitt av 2 brukere
Side 1/4
Version 1.2 2003 May
Users Manual
ENGLISH
ULTRAPATCH PX1000
2
ULTRAPATCH PX1000
1. PATCHBAY CONFIGURATION
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.
As an owner of our ULTRAPATCH PX1000, you have at your
disposal a 48-plug patchbay featuring only balanced TRS
connectors. It is very easy to use and can be operated in 5
different modes. Based on the kind of connections you are using,
you can decide how individual operating modes function. You
should always ask questions such as what happens when I
connect a signal with the connector (A) at the rear? Where can
I take the signal? Does an additional signal, such as the signal
connected to the connector (B) at the front, change the signal
flow? The following chapters focus on the PX1000 operating
modes.
1.1 Mode 1
Fig. 1.1: Pass Thru configuration (Mode 1)
When you connect a stereo signal (or two mono signals) to
both connectors at the front (A and B), the adjacent audio
signals A and B are separately routed from the front to the rear
of your patchbay. The same is true vice versa: if both connector
A and connector B have a signal connected to them at the rear,
each of these signals is separately routed to the front. For
example, you may use this mode to connect mixer outputs to
compressor inputs or compressor outputs to tape inputs.
Fig. 1.2: Insert configuration (Mode 1)
Fig. 1.2 illustrates how inserts are wired. Lets say, a signal is
connected to the upper rear connector (A). This signal is now
routed to the front via the connector (A) and routed to the rear via
connector (B). Only when the lower front connector (B) is used,
the sketched signal flow is interrupted so that both upper
connectors and both lower connectors have contact. This
operating mode is what we call input break. It also functions vice
versa (see fig. 1.2), whereby the signal flow is interrupted as
soon as connector (B) at the rear has a signal connected to it.
Mode 1 is for example suitable for connecting the master inserts
of your mixing console to the in/outputs of your compressor.
Similarly, channel inserts can be connected to the in/outputs
of your equalizer.
1.2 Mode 2
Fig. 1.3: Split configuration (Mode 2)
If a signal is connected to the upper rear connector (A)
(whereby connector (B) at the rear has to remain free in this
case), the signal is routed to both front connectors (A and B).
However, you can also feed a signal to the (A) connector at the
front in order to take this signal at the upper rear connector (A)
and at the lower front connector (B). This way, a signal can be
split to feed two amplifiers or two recorders.
1.3 Mode 3
Fig. 1.4: Split configuration (Mode 3)
This mode is very similar to mode 2. In this case, the signal is
also being split, but here it can be taken at the connector (B) on
the rear. Thus, in this case you can also split a signal to feed
two amplifiers, but you decide if you prefer mode 2 or mode 3.
1.4 Mode 4
Fig. 1.5: Pass Thru configuration (Mode 4)
Here, the contacts of the connectors A and B at the front are
connected to one another. Prerequisite: both of the connectors
at the rear remain free. What this practically means is that one of
the front connectors (A or B) receives the signal, and the
remaining front connector serves as its output.
1.5 Mode 5
Fig. 1.6: Pass Thru configuration (Mode 5)
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 mixers outputs connected to the recorders 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).
3
ULTRAPATCH PX1000
6. SPECIFICATIONS
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. Thats how the total
grounding picture for your entire studio should look. Dont 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
studios 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.
Microphone inputs operate at a level several orders of magnitude
lower than line levels (+4 dBu or -10 dBV). Therefore, they
should never be routed via a patchbay. In any case, patching in
a field with +48 V DC (phantom power) is to be avoided at all
costs. It is best to plug mics directly into the mixing console or via
special XLR type wall boxes connected to the mic inputs of the
console using good quality balanced multicore cables.
4. LABELLING
With so many patch points in use at any one time, you will
probably never be able to keep track of them without labelling.
Your BEHRINGER ULTRAPATCH PX1000 features white labels
above the upper jacks and white labels below the lower jacks
for the purpose of labelling. When labelling, it is advisable not to
use permanent markers as you may want to re-label, if you
decide to re-configure your patchbay signal routing again.
5. PATCHBAY ORGANIZATION
Attached is an example configuration that shows how you
can use your patchbay. This is only an example to illustrate the
use of your PX1000. Depending on your application, you may
need several PX1000s. It should be noted that patchbays should
be placed one below the other in such a way that the patch
cords dont hang carelessly over the patchbays.
6. SPECIFICATIONS
Height 1 3/4" (44.5 mm)
Width 19" (482.6 mm)
Depth 2 3/4" (69.3 mm)
Weight approx. 1.3 kg (2 7/8 lbs)
Connectors 1/4" TRS balanced
BEHRINGER is constantly striving to maintain the highest professional standards. As a
result of these efforts, modifications may be made from time to time to existing products without
prior notice. Specifications and appearance may differ from those listed or shown.
Produkspesifikasjoner
| Merke: | Behringer |
| Kategori: | DJ-utstyr |
| Modell: | Ultrapatch PX1000 |
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