![]() Take the imaginary mic preamp -> compressor -> converter set-up we used to explain full-normal mode. When you plug a cable into a top-row port, the signal gets split, which gives you the option to create parallel signal chains. The difference is that the connection between the top and bottom ports isn't terminated until you plug a patch cable into the bottom row. Half-normal mode is a lot like full-normal mode. In short, the advantage of a full-normal configuration is that you can create a default preamp-converter setup without the need to do any patching, and you won't need any more patch cables until you decide to add more gear to the signal chain. Now, take another patch cable and plug one end into the output of the compressor and the other end into the bottom-row port of the first channel. The other end of the cable needs to be plugged into the input of your compressor. If you want to run the microphone signal through a compressor before the signal is sent to the converter, you'll need to plug a patch cable into the top-row port of channel 1 to 'break' the connection between the top and the bottom port. So, in this example, the microphone signal that you send to the preamp goes directly to the converter. In the case of a full-normal patchbay, the top and bottom rows are connected until you plug in a cable. You connect the output of the preamp to the first channel on the top row of the patchbay and the input of the converter to channel 1 on the bottom-row port. Say you've got a microphone preamp and a converter. ![]() To ease life in the studio, patchbays can often be set to one of three different modes: full-normal, half-normal and non-normal. On either side, the upper row is made for linking up outputs while the lower row of ports can be connected to inputs. Patchbays come with two rows of ports on both the front and rear. That said, Bantam patchbays are generally a little more expensive. This means that Bantam/TT patchbays can be equipped with more ports - in some cases as many as 96. Also, note that Bantam plugs are a bit smaller than 6.3mm TRS jack plugs. ![]() While this is not a problem for line signals, it is for any phantom-powered microphone. Since the contacts of both TRS jack and Bantam plugs basically brush past the wrong pins when they're plugged in, it's best to use an XLR patchbay for microphones and microphone preamps. XLR vs TRS Jack vs TT/Bantam Studio Patchbays Patchbays provide you with a clear overview of the inputs and outputs of your gear, which can then be easily hooked up using short little patch cables. No other MIDI interface offers this much value and performance at such an affordable price.If you have a considerable collection of hardware and want the option to quickly create signal chains, then it's time to get a patchbay. And the Express XT’s internal international power supply delivers reliable performance and professional operation. Just add another MOTU USB MIDI interface via any available USB port. Need to connect another sound module or synth? No problem. The MIDI Express XT takes full advantage of USB, giving you high-speed MIDI throughput, sub-millisecond timing accuracy, support for “hot-swapping” and plug-and-play expansion. For example, you could send MIDI patch changes to synths and sound modules during live performance. The Express XT can distribute MMC transport commands to all other connected MMC devices.Ĭonnect a foot switch to the convenient front-panel pedal input and then program it to generate MIDI data when pressed. The Express XT also supports MIDI Machine Control (MMC), with the ability to serve as either an MMC master or slave. SMPTE “jam sync” with adjustable freewheeling provides glitch-free sync. The included ClockWorks™ console software for Mac OS X and Windows provides comprehensive MIDI routing, merging and muting.Īs a professional-grade SMPTE time code synchronizer, the Express XT converts and stripes SMPTE in all frame formats (23.976*, 24, 25, 29.97 drop and non-drop, and 30). Sixteen convenient, one-touch presets (8 factory and 8 user programmable) give you instant front-panel access to multiple operational configurations. The Express XT provides 8 MIDI IN, 9 MIDI OUT, 128 MIDI channels and compatibility with all Mac and Windows software. Built with MOTU’s award-winning MIDI interface technology, the MIDI Express XT is a professional MIDI interface and SMPTE synchronizer that provides plug-and-play connectivity to any USB-equipped Mac or Windows computer.
0 Comments
Leave a Reply. |