User's Manual

6 ULTR APATCH PRO PX300 0 User Manual
The main left & right outputs of the mixer are connected, in this example
conguration, 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) )
2.3 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 conguration also allows
you to position the inputs and outputs of eects devices, compressors, equalizers,
etc. directly above each other.
In the example conguration 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.
3. Wiring & Grounding
Looming the wiring is an art itself and it is worth the time to get it right.
First, itis important to avoid ground loops. Don’t remove the ground connection
of your mains cable plug to reduce 50/60 Hz mains hum. Instead, systematically
disconnect the signal shields in the signal chain until the hum ceases.
It is typically best to connect only one end of each shield to a central point and to
connect this single point to ground. Then all equipment will be grounded via a
single path (more than one path can lead to ground loops which can cause hum).
Some equipment has isolated grounding for the signals and the mains. In this
case, at least one screen should ground the equipment.
Please assure that the patchbay is installed so that it does not disturb the studio’s
grounding scheme. Always use patch leads that are as short as possible and have
the shield connected at both ends.
After eliminating the mains hum from the system, make your cable looms from
the patchbays outwards and use cable ties, exible sheaths, multicores, etc. to
keep the back of your racks orderly. It is also wise to keep low level/line level
signal cables away from high voltage/mains cables.
4. Cautions
Avoid routing digital signals near a patchbay because the pulse signal used for
the transmission of digital signals causes heavy interference in analog signals.
Do not use standard patchbays for digital signals. Use the ULTRAMATCH PRO
SRC2496—it is specically designed for routing and matching digital signals.
Microphone inputs are for very low level signals and should never be routed via
a patchbay. Plus, the +48 Volt phantom power from the mic input could damage
other equipment. It is best to plug mics directly into the mixer or via a wall box
using good quality balanced multi-core cables.
5. Audio Connections
strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.
Balanced ¼" TRS connector
ring
cold (-ve)
tip
hot (+ve)
Fig. 5.1: ¼" TRS connector
strain relief clamp
sleeve
tip
sleeve
(ground/shield)
Unbalanced ¼" TS connector
tip
(signal)
Fig. 5.2: ¼" TS connector
6. Specications
Connectors ¼" TRS, balanced
Dimensions (H x W x D) approx. 3 ⁄ x 1 ¾ x 19"
approx. 93 x 44.5 x 482.6 mm
Weight approx. 4 lbs / 1.8 kg
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 illustrated.
REAR FRONT
A
B