Behringer Patchbay Template
Behringer Patchbay Templates
Behringer Patchbay Labels
Behringer Patchbay Template

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So you finally got sick of climbing behind your desk or wiggling under your rack to change your audio signals' path through your now giant recording gear collection. I don't blame you.

The dust, the spiders, the cat hair, and other surprises aren't worth the trouble, especially when there's an affordable and genius solution on the market.

Take into account that most of us end up unplugging three cables by accident for every one we successfully add and you can understand why a patchbay is a non-negotiable piece of equipment.

It doesn't matter if you manage to wire up your own bay or you bought one new (of all of the gear out there, this is the one you don't want to buy cheap or used due to the million parts that someone else likely broke), you will still need to know how to use it.

And it's not just a matter of being able to use one. You want to learn it right, because there is a correct way and this is the way all of the other professionals you'll encounter learned it.

Patchbays are becoming increasingly important due to the increased popularity of structured wiring, where commercial buildings and homes are built with cabling within the walls and flooring.

There is no rewiring in these cases so even the casual user is beginning to be confronted with the issue of using a patch panel.

Since collaboration and communication are critical for efficiently recording high-quality music and audio while the creative juices are flowing, nothing is more important than unraveling this mystery and putting it back together in our heads in the same way others have.

Before we get started, let me say that any newcomers to the concept of a patchbay should also read our article called The Best Patchbay for Studio & Live Audio.

The reason is that, before we review any specific models, we give a summarized run down of everything you need to know about these miracle machines, including how to use one.

In this article we're going to take a deeper look at the methodology. While still accessible for all levels of recording engineer skill, the examples and explanations will be far more involved, and we're going to assume you know what patchbays, patch cables, and jacks are as well as recording studio cable types such as TRS, XLR, TS, etc.

We'll proceed by narrowing down the possibilities (and reducing confusion) by laying out some ground rules, then give some tips to further help stay organized, explain the three modes each series of jacks can use, and then finally lay out an example with a walkthrough.

The Three Patchbay Rules

The first way to wrangle in all of the possibilities is to setup your patchbay in a manner that greatly reduces your options. In the same way, it brings you into alignment with other professionals and also keeps you organized.

This is done through observance of the three fundamental rules to setting up your patchbay:

Top jacks are for outputs
Bottom jacks are for inputs
Connections only occur top-to-bottom

Let's discuss each of these in depth, even though they're self-explanatory, because it sets the stage for understanding the tips and discussion on modes below.

Rule 1 - Top Jacks are for Outputs

Always envision the audio signal going into the top back jack and coming out of the top front jack. The top jacks are called output jacks because the top back jack receives the output from whatever piece of gear you're using and spits it out of the front top jack.

If you follow this rule (as do all professionals) you will only be dealing with the outputted signal when you're patching the top row. In most cases (keep it simple for now), the signal comes out of the keyboard or microphone, goes into the top back, and comes out of the top front.

The outputs are top only, back-to-front.

Rule 2 - Bottom Jacks are for Inputs

So now you have your signal coming out of the top row on the front of your panel. You plug in a patch cable and route it to the bottom row, which is the exact opposite of the top row.

It is only for inputs on your gear. The signal flows into the cable, into a bottom front jack, and out of the bottom back jack and into an input in another piece of gear.

The inputs are bottom only, front-to-back.

Rule 3 - Connections Only Occur Top-to-Bottom

Since outputs are on top and inputs are on bottom, you will never need to or want to patch a cable from a top jack to another top jack. The same goes for bottom to bottom connections. They don't happen.

Patch cables only ever connect a top jack to a bottom jack.

These three rules set the stage for making a patchbay useful. Otherwise it'd be pure pandemonium.

Never stray from these three rules or you'll defeat the purpose by having to climb behind your rack to figure out how the heck you cabled all of your gear in. 3d train simulator games online, free. The above rules and the tips below will make sure you never are stuck wondering what goes where.

Patchbay Organization Tips

By restricting the top jacks to outputs and bottom to inputs, you've minimized the chaos big time. But there's still a lot of room for confusion and lost time. Here's a few more tips that will ensure your patch panels are doing what they're meant to do: save you time.

Label Your Jacks: Before all others, this is the most important. The smallest patchbay you'll use is likely a 48-point panel, meaning you have that many jacks to try to remember. You won't be able to remember, so you need a labeling system. Some bays have dry-erase strips you can write on across the front.

If not, you can write on the top part of sticky notes and stick them on there. My favorite method is to create a software spreadsheet I can easily re-label. I keep mine printed out in a desk drawer, ready to be referred to at any time.

Behringer Patchbay Template

Only Patch What You Use: If you don't mind buying several bays, then you can disregard this but for those who only have one or two, it's important to only connect what you use regularly. This reduces the options in the bay, which in turn reduces mistakes

It's better to have your most frequently used recording gear together than spread out amongst a ton of crazy effects pedals and other stuff you never use. If you do purchase more than one, designate one as your main patchbay and then have a secondary and tertiary one.

Forget About the Order: This tip may seem like it contradicts the one above, but it doesn't. You'll have your gear grouped by frequency of use, but other than that don't worry about concepts like keeping your preamplifiers together.

Because what happens is you'll get a new piece of gear.. are you really going to rewire your entire bay just to slide everything down by one jack so your compressors can be next to each other? This is why we label the jacks! Group by how often you use them, not by type.

Don't Match Top-to-Bottom: This is a typical rookie mistake that stems from not knowing how to use the three main modes (as discussed next). People tend to want to have the output and input of a piece of gear stacked vertically, but that's actually not the most efficient way to use a patchbay. We'll look at why in the next section.

Use Short, Color-Coded Patch Cables: The next best thing you can do for organization is to use short, color-coded p