Recording - February 2010 - 48

REAR permanent “set-n-forget” SIDE VIEW TOP FRONT used only as needed Analog audio patchbays Patchbays are a great way to route audio.They allow you to hook up more gear to your DAW, but not necessarily all at the same time. Once you get the ‘gist’ of the terminology and the possiblities, a patchbay can open up a whole new world of flexibility. See Figure 1 and its caption to learn the basic terminology and signal flow, including the idea of a normal—an internal connection that routes a signal from one cable to another without any patching, for “normal” use. In a typical recording setup, you might use normalled connections to run your most-used keyboards to inputs on your DAW interface or mixer. Patching a cable into the top row breaks the normal and lets you send that keyboard’s signal elsewhere, say to an effects processor; patching a cable into the bottom row lets you route a different signal, say a less-used keyboard (or the output of that effects processor we just mentioned!) to the mixer input. A half-normalled channel can split the keyboard’s signal, sending it to an effects processor and sending the dry signal on to the interface or mixer. Open channels can be used to access keyboards, effects, and mixer I/O that you don’t use all the time; just use short patch cables to send them where they need to go. Getting audio around the outside world Routing audio inside your DAW is generally pretty easy: assign an effect insert here, configure a group send there, then out to the master output. But if you plan to route audio to and from external effects processors, your external mixer of choice needs to have the necessary features to do the task, with aux sends and returns and/or channel inserts; either that or use features your audio card allows, like using S/PDIF to route audio out from your DAW and back in. Getting it all under control MIDI (Musical Instrument Digital Interface) is still the way for your synths and your DAW to communicate—not for audio of course, but for the recording and re-triggering of keystrokes and other events. MIDI cables with their 5-pin DIN connectors (only 3 pins should be active) are still the norm, but newer gear can also use USB for MIDI signals. You’ll use MIDI to have the DAW’s sequencer record your actions on keyboards, and the DAW will send that recorded data back to your synth(s) so you don’t have to play the parts again and again. Most of the established DAWs started out as MIDI sequencers, and they still do a great job at it. How elaborate your MIDI hardware system will be has to depend on how many MIDI devices you end up hooking up. Since a MIDI data stream on just one cable can contain data intended for multiple recipients (because each recipient is set to a different MIDI channel), one cable can serve several devices—in series, one after another, using the MIDI In / MIDI Thru daisy-chaining option to passRECORDING FEBRUARY 2010 BOTTOM Patchbay Basics This picture shows one channel of a normalled patchbay. A typical 1U rack patchbay will contain anywhere from 16 to 24 of these channels (each with four patch points, although the naming convention only counts two per channel—a bay with 24 channel modules is called a 48-point bay). Most designs allow the normalling configuration to be set individually for each channel—sometimes with an internal or external switch, sometimes by removing and flipping over a circuit board, and sometimes (on older designs) cutting and moving a solder trace. In this illustration, the left side of the picture is the rear of the bay, where cables are wired in and left alone; the right side is the front of the bay, where cables are easily moved around. In this arrangement, a signal that comes in at point 1 is automatically routed out of point 2 via an internal connection called a normal. This provides an “invisible” connection from one device to another that’s “normally” in place. The patchbay lets you patch in other equipment to the signal path in a variety of ways, and the normal assures that your usual routings are in place when you’re not making use of the bay. In a full-normalled design, inserting a cable into either point 3 or 4 on the front panel breaks the normal. Inserting a cable into point 3 reroutes the signal from point 1 to point 3 and isolates points 2 and 4; inserting a cable into point 4 lets you send a signal from point 4 to point 2, isolating points 1 and 3. In a half-normalled design, inserting a cable into point 4 still breaks the normal, but inserting a cable into point 3 does not. Signal continues to flow from point 1 to point 2, but also to point 3. Other patchbay configurations include isolated or open, and parallel or mult. In an isolated configuration, there is no normal connection. Signal only flows from 1 to 3 or from 2 to 4 when cables are connected front and rear. In a mult, there is an internal routing from point 1 to all three of the other points, allowing the signal to be distributed to three different destinations (e.g. three sets of monitors or multiple recording devices). Some patch bays are designed so that a half-normalled configuration actually operates as a mult, with signal going to point 4 as well as 2 and 3; check the owner’s manual of your bay for specifics.—MM the signal down the line. This doesn’t always work as well as having a MIDI patchbay where each synth is connected to its own MIDI ports (that’s what MIDI connector points are called). You can elect to connect any given device’s MIDI In, Out, or both, depending on what you’re doing with it. A keyboard that only sends control information and doesn’t get anything back from other devices only needs its MIDI Out hooked up (it may not even have a MIDI In port!); an effects processor that can sync to MIDI timing but doesn’t send data to other boxes can get away with only a cable to its MIDI In. Most keyboards need an In to receive notes, program changes, or data storage messages, and an Out to send data like notes and program backup data to other modules or to a DAW.

Recording - February 2010

Table of Contents for the Digital Edition of Recording - February 2010

Recording - February 2010
Fade In
Contents
Talkback
Fast Forward
Recording Lead Vocals—All About Isolation and Rejection
Euphonix MC Control
Avant Electronics BV-1
Avid Digidesign Eleven Rack
Recording’s Vocal Column
PreSonus Studio Channel
KRK ERGO System
Readers’ Tapes
Recording’s Keyboard Column
TASCAM DR-100
Camel Audio Alchemy
Advertiser Index
Fade Out
Recording - February 2010 - Recording - February 2010
Recording - February 2010 - Cover2
Recording - February 2010 - 1
Recording - February 2010 - Fade In
Recording - February 2010 - 3
Recording - February 2010 - Contents
Recording - February 2010 - 5
Recording - February 2010 - Talkback
Recording - February 2010 - 7
Recording - February 2010 - Fast Forward
Recording - February 2010 - 9
Recording - February 2010 - Recording Lead Vocals—All About Isolation and Rejection
Recording - February 2010 - 11
Recording - February 2010 - 12
Recording - February 2010 - 13
Recording - February 2010 - 14
Recording - February 2010 - 15
Recording - February 2010 - 16
Recording - February 2010 - 17
Recording - February 2010 - 18
Recording - February 2010 - 19
Recording - February 2010 - Euphonix MC Control
Recording - February 2010 - 21
Recording - February 2010 - 22
Recording - February 2010 - 23
Recording - February 2010 - Avant Electronics BV-1
Recording - February 2010 - 25
Recording - February 2010 - Avid Digidesign Eleven Rack
Recording - February 2010 - 27
Recording - February 2010 - 28
Recording - February 2010 - 29
Recording - February 2010 - 30
Recording - February 2010 - 31
Recording - February 2010 - Recording’s Vocal Column
Recording - February 2010 - 33
Recording - February 2010 - PreSonus Studio Channel
Recording - February 2010 - 35
Recording - February 2010 - KRK ERGO System
Recording - February 2010 - 37
Recording - February 2010 - 38
Recording - February 2010 - 39
Recording - February 2010 - Readers’ Tapes
Recording - February 2010 - 41
Recording - February 2010 - 42
Recording - February 2010 - 43
Recording - February 2010 - 44
Recording - February 2010 - 45
Recording - February 2010 - Recording’s Keyboard Column
Recording - February 2010 - 47
Recording - February 2010 - 48
Recording - February 2010 - 49
Recording - February 2010 - 50
Recording - February 2010 - 51
Recording - February 2010 - TASCAM DR-100
Recording - February 2010 - 53
Recording - February 2010 - Camel Audio Alchemy
Recording - February 2010 - 55
Recording - February 2010 - 56
Recording - February 2010 - Advertiser Index
Recording - February 2010 - 58
Recording - February 2010 - 59
Recording - February 2010 - 60
Recording - February 2010 - 61
Recording - February 2010 - 62
Recording - February 2010 - 63
Recording - February 2010 - Fade Out
Recording - February 2010 - Cover3
Recording - February 2010 - Cover4
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