WHAT IS 500 SERIES? (Part 2/2)

2. HOW TO INTEGRATE THE 500 SERIES MODULES IN YOUR SETUP?

In this section we will explain the ways to integrate the various types of 500 series modules in your setup. During the creative process, recording, and/or mixing, the way you integrate the 500 series modules into your setup determines how easily you can record and process audio signals. The idea is to facilitate the workflow without having to puzzle your head over how you are going to connect the devices to get the result you want.

2.1 TYPES OF 500 SERIES MODULES

To begin with, we must make a distinction between the types of 500 series modules:

A) Mic/Line Preamps

B) Compressors, equalizers and other line level modules.

The microphone preamps always have to be ready to record any signal, that's why, in a professional studio, the preamp outputs are always connected to the audio interface inputs. On the other hand, processors such as compressors and equalizers, you can decide if you want to use them in your recording or mixing chain, and therefore, they need more flexibility in their connections.

2.2 THE PATCHBAY AND AUDIO INTERFACE.

For everything explained in the previous point, a connection system that makes it easy for us to route the audio input and output signals, from our instruments, to the DAW recording input, or from an audio interface output, to external processors, and back to the DAW, will be a system that makes it easy for us to connect and reconfigure the signal paths to our liking. And this is where the PATCHBAY comes into play.

2.2.1 WHAT IS A PATCHBAY?

A patchbay is a set of ¼ inch (6.35mm) Jack connectors, (in the most common models), located in two rows, both on the front and the back. On the top row, the audio outputs of the devices are connected. In the lower row, the audio inputs of the devices we have, are connected.

2.2.2 BACK OF A PATCHBAY

At the back of a patchbay, this is where the audio inputs and outputs of devices are connected. In the upper row, the outputs of the devices are connected, and in the lower row, the inputs of the devices are connected. Except the mic preamps. In this case, the preamp inputs are connected to the microphones through an XLR patch or XLR boxes.

2.2.3 FRONT OF A PATCHBAY

On the front of a patchbay, it's where we RECONFIGURE the connections we made on the back. And how do we reconfigure them? Well... With cables!... A lot of cables!, like in the old telephone switchboards, where an operator connected a subscriber (origin of the call), with another subscriber (recipient of the call) , through a PATCH cable.

2.2.4 TYPES OF CONNECTIONS THAT A PATCHBAY ALLOWS.

Most patchbay models on the market can be configured in various ways. These configurations each have their name and we will explain them below.

Before starting to describe the types of connections, it must be said that, depending on the models on the market, these connection configurations can be done either manually, by disassembling the patchbay and turning the connector cards, or with switches, either on the front panel or on the top cover. Needless to say, the more easily reconfigurable models tend to be more expensive.

2.2.5 SEMI-NORMALIZED CONNECTION (HALF-NORMALLED)

In a half-normalled connection (half-normalled), the signal that arrives at the top row, (Output) is directed to the bottom row (Input). When we insert a patch cable in the front, in the upper row (output), the audio signal is not interrupted, it is divided into two: One part continues its way to the input of the lower row, and the signal that arrives to the patch cable you inserted in the top row, it is available to take it...to the input of another processor!, a compressor, an EQ, etc. This configuration is very useful to record a version of a take with dry signal and another processed version.

But when we insert a jack into the bottom row as well, then the connection between the top and bottom row is broken, and the two rows are isolated from each other. Then you can take the cable that goes to that input... To another output, from another processor!

2.2.6 NORMALIZED CONNECTION (FULL-NORMALLED)

A normal connection works exactly the same as a semi-normal connection, when there is no patch cable in front of the patchbay.

But when we insert patch cables in the front, the situation changes: Whether you insert the patch cable in the bottom or top row, the connection between the two rows is broken, and the two rows are isolated from each other.

2.2.7. ISOLATED CONNECTION.

In an isolated connection in a patchbay, both rows are totally isolated from each other. And plugging patch cables into both rows from the front keeps the two rows isolated.

This configuration is very useful for processors such as compressors and equalizers, because it allows you to chain processors to your liking, and also allows you to take advantage of all the inputs and outputs of a patchbay where the processors are connected.

2.3 SUMMARY DIAGRAM TYPES OF CONNECTIONS WITH PATCHBAY

2.3 THE SPECIAL CASE OF MICROPHONE INPUTS

In many forums you will find the typical question of how to connect a microphone through a patchbay. This is an important issue especially in the case of condenser microphones, which require 48v phantom power. This is to prevent damage to other equipment. Therefore, to avoid problems, the microphones in a studio are connected to the preamps, through an XLR patchbay. These types of patchbays also allow you to connect line level devices such as drum machines, grooveboxes, samplers, etc...and with a few patch cables you can reconfigure the signal path to use your preamps and record a drum machine through them.

2.4 USE OF 500 SERIES MODULES IN A MIX.

It is very interesting to be able to insert 500 series modules, preamps, compressors, equalizers, in a bus, a group, or a channel, in the DAW. Simply configure the inputs and outputs in the DAW, so that group of instruments, or that particular instrument, receives the treatment and warmth of a microphone preamp or EQ.

Sometimes, an interesting technique to add warmth or a particular tone to a final mix is ​​to insert a pair of 500 series preamps, in the master bus, as if they were a plugin. This is configured in your DAW, perhaps via an External FX channel. Simply configure inputs and outputs for that FX channel, the DAW itself will automatically compensate for latency.

The possibilities are very varied: You could use a couple of J.A.K. AUDIO 9K242, on the bus master. You could also use just one unit on an External FX channel, and use the high-pass and low-pass filters in real time and record them. Or use them as a tonal tool. As transparent as the 9K242 preamp is, it also imparts its character, and that character can be imparted to the different channels of your mix via an effects send. Was anyone asking about hybrid mixing? 

Well, that's it for the second part of this introduction to the 500 SERIES format. In the next article, I'll talk in detail about the 500 J.A.K. AUDIO 9K242.

2.5 SUMMARY DIAGRAM OF CONNECTIONS