The Rack Thread - Who, What, Why?

[KuruPrionz]

Everything you should know about patchbays is in my article right here on my web pate.

 

And incidentally, my avatar here is a diagram of half-normal wired jacks.

 

Nice, I'll bookmark it when I am on my own computer and read the entire thing.

I want to put a quality piece in my last rack space!

[KuruPrionz]

Tonight I did a bit of research (downloading manuals and skimming them).

Presonus Eureka channel strip has TRS send and return.

Focusrite ISA One has TRS send and return.

Blue Robbie has no send or return.

 

I will only need 3 send/return patch points on the patch bay.

 

I have a Samson C Valve with a send return loop (got it too cheap!!!) but there will not be space for it in the rack as near as I can tell.

Plugging a 1/4" cable into the send and return on the C-strip indicates that the jacks are TRS but the diagram in the manual indicates they are wired TS. It is a half rack unit, if the layout for the patch bay is half rack without being cramped then it may be possible to hook it up. I thought it sounded better than it should have and was reasonably quiet considering how cheap it is.

 

I'll probably mount it up top, on a board with the rest of my oddly sized widgets.

[Mike Rivers]

Tonight I did a bit of research (downloading manuals and skimming them).

Presonus Eureka channel strip has TRS send and return.

Focusrite ISA One has TRS send and return.

 

You might want to do a little research on the hardware itself. While there's no official standard, most commonly the tip is the send and the ring is the return, but every once in a while someone will do it the other way. It's easy to check. Put in a signal and plug a set of headphones into the Insert jack. Headphones have been pretty standard for many years with the left ear being wired to the tip, the right ear being wired to the ring, so you can identify which is send and which is return by which ear you hear sound from with the headphones plugged into the send/return jack.

 

If there are separate jacks for send and return, a differential balanced send output will give you sound in both ears and it will sound like your face is about to be ripped down the middle, because the two ears are getting the same sound with opposite polarity, hence 180 degrees out of phase. But it could also be single-ended balanced with the signal (conventionally) on the tip and the ring having no signal, but connected to ground through a resistor equal to the output impedance of the "hot" output so as to make it balanced. This, by the way, is quite common, and is 100% legal and legitimate.

 

I have a Samson C Valve with a send return loop (got it too cheap!!!) but there will not be space for it in the rack as near as I can tell.

Plugging a 1/4" cable into the send and return on the C-strip indicates that the jacks are TRS but the diagram in the manual indicates they are wired TS.

 

For starters, can you feel two clicks when you insert the plug? If so, it's a TRS jack. If the diagram you have is a block or flow diagram without all the circuit details, it's not uncommon to just draw one lead of a differential output or input.

[KuruPrionz]

The units I have all use one jack for the send and one for the return. I've connected various widgets to each one of them using TS cables and all of them worked fine.

Since I am considering putting 3 or 4 pairs of jacks in the patch bay, it would not be a huge deal to change just the send jack at some point in the future if my gear changes.

 

I may very well have 3 TRS switching jacks in my stash already, I have to take inventory to know. I know there is a good variety there, I've found a few pieces of vintage test gear that wasn't particularly valuable in terms of $$$ and full of good high quality parts. Some interesting jacks, switches, knobs, etc. Part of my "scrounge" ish I guess. A long term purposeful style of hoarding if you will.

 

My best mic preamps are both odd shapes and sizes and I am liable to keep them for a while since I am happy with the way they sound. One of them does not have a send and return - the Blue Robbie.

 

If I were to sell both of them, there would be room in my rack for 3 more single space units. I may drill 3 more sets of holes for jacks and even put jacks in them since I have a good stash of them. I'd just hook up 3 sets for now, that's what will get used. Then I would be more or less prepared for whatever the future brings. At this point I am kinda hoping to leave things be, dial in various things I want to record and leave things set up.

 

I get a bit geeky on gear but all I really want to do is make it as easy as possible for ME to record my music. If I can hit the go button and track vocals, acoustic guitar, bass, drums mic'ed guitar amp, etc. without adjusting mic positions, volume, etc., I will happily run out of excuses for why I am not making recordings. At least, that's what I keep telling myself!!!!

[Mike Rivers]

A plain vanilla mic preamp - analog in to analog out - doesn't need a send and return, though some have it anyway. I've never quite understood that. For this case, the preamp output is the send, and the output of whatever you send it to goes to the next link in the chain. Apparently a lot of people haven't figured that out, but they know what to do with a send/return, so it's (sometimes) offered.

 

If it's more than a preamp and incorporates an EQ and/or dynamics section, then you'd probably want a send/return so you could, for example, replace the built-in compressor with a hardware favorite.

 

If the preamp contains an A/D converter, then the send/return is between the preamp output and the converter, and is useful if you're using the digital output. This is why most interfaces with a USB or other computer output have a send/return,

 

Scrounging parts is always helpful, but don't compromise to use a part you have when a different part would be a better choice in the long run - unless it's an expensive part, of course. But jacks are cheap. Every few years I find that I'm running low and order ten or so of whatever I might want and don't have handy. With all the phone and mini-microphone stuff comihg out, I find my stock of mini phone plugs and jacks, including TRRS, running low.

 

And a trader like you can never be sure when the future will arrive.

[KuruPrionz]

A plain vanilla mic preamp - analog in to analog out - doesn't need a send and return, though some have it anyway. I've never quite understood that. For this case, the preamp output is the send, and the output of whatever you send it to goes to the next link in the chain. Apparently a lot of people haven't figured that out, but they know what to do with a send/return, so it's (sometimes) offered.

 

If it's more than a preamp and incorporates an EQ and/or dynamics section, then you'd probably want a send/return so you could, for example, replace the built-in compressor with a hardware favorite.

 

If the preamp contains an A/D converter, then the send/return is between the preamp output and the converter, and is useful if you're using the digital output. This is why most interfaces with a USB or other computer output have a send/return,

 

Scrounging parts is always helpful, but don't compromise to use a part you have when a different part would be a better choice in the long run - unless it's an expensive part, of course. But jacks are cheap. Every few years I find that I'm running low and order ten or so of whatever I might want and don't have handy. With all the phone and mini-microphone stuff comihg out, I find my stock of mini phone plugs and jacks, including TRRS, running low.

 

And a trader like you can never be sure when the future will arrive.

 

I guess I need to make a diagram to document my intended implementation. I need to do it anyway, to make the final layout as effective and efficient as possible.

These are my thoughts in writing, prior to drawing out a plan for a final configuration.

 

Notes:

The thoughts I had about building a mobile recording rig have been put on the back burner, possibly forever. In any case, I would want another, smaller rack with just the required items. And I would need to expand the channel count - Presonus has 2 options for single rack space units that can provide 8 more channels - total 16 inputs. If and when, I will need 2 separate patch bays, one for each rack. So many digital mixers out there now, it would be difficult to compete with what others already own and use.

 

Current project is to improve efficiency of the one rack of gear I do have now. I am here and plan to make the most of the situation as it is now.

 

The interface (Presonus Quantum) has 8 inputs. Channels 1 and 2 are on the front of the box, they have 3 options, mic in, line in and DI in (switchable). Channels 7/8 will be dedicated to stereo inputs - mostly Roland Handsonic - which may also share a MIDI in cable with an Akai MPK25 occasionally. Anything else that has a stereo headphone jack can be quickly hooked up to a single TRS input wired to two TS outputs for Line In on the Quantum. This has been tested with the Handsonic, there are no noise issues. The Handsonic has MIDI In and Out/Through jacks and the Akai has MIDI In and Out jacks, all DIN. So they might end up chained together into the single MIDI DIN input on the Quantum.

 

That leaves input channels 3-6 - 4 channels. I have 4 mic pres. 3 of them have send/return loops. 2 of the mic preamps with send/return are channel strips with compression and EQ that can be bypassed.

I haven't felt a need to use the 8 channel outputs on the Quantum, I don't have a mixer that is nice enough to hook something up for recording, or the space, or the inclination. I enjoy the freedom from cables that working in the box offers for the most part.

I am more focused on getting the inputs dialed in, if a great tone is recorded going in there is much less that needs done later.

 

Since they are al going to be mounted in the same rack, I've chosen to run the outputs of the mic preamps directly to the inputs of the Quantum.

At that point, putting the inputs of the preamps on the front of the patch bay provides all I need to hook up inputs. It has been working well for me. Cable runs are much shorter and less complex than running all the mic pre outputs and Quantum inputs to the front of the patch bay. Sometimes less is more.

 

I have some fun widgets that cannot be conveniently rack mounted and will have run out of rack space in any case, having the send / return loops from the mic preamps routed to the patch bay will provide the simplest, quickest way to hook up those widgets, which will live on a board on top of the rack.

 

Front facing channels 1 and 2 on the Quantum will be handy for the parallel input processing experiments I am planning to conduct and tweak or for any other connections I decide to try.

 

I am considering adding an output jack for the Blue Robbie (which has no send / return jacks) and a dedicated input jack on the patch bay for channel 6. That will allow patching widgets into the signal path of the Robbie to Quantum connection.

 

The current location for all components will be considered and modified to provide the most efficient layout. The power condition will probably end up in the bottom space of the rack, currently it is in the top space. I'd like the patch bay in the top space and the Quantum (currently in the 5th space down) to be in the 2nd space from the top.

 

As to the future, I can easily layout and drill some more mounting holes for jacks and fill them with carriage bolts, ready for more jacks and wiring if and when that contingency arrives. It won't be too difficult to pull the patch bay out (as long as I mark all cables!!!!) and wire in a few more options. If nothing changes I won't have spent much time, money or effort preparing a path to the future. The most difficult thing would have been taking the patch bay apart so it's easy to slap the front panel on the drill press. Pre-drilled holes should make that moot.

 

I know remember that the power supply for the Blue Robbie is a line lump type with long cables on each end, a proprietary contraption. I'll make do, perhaps my one concession to long power cords. I don't think I want to shorten it, at least not yet. There would be two cables need cutting down and re-attaching. If I ever sell it that will affect value.

 

Sir Mike, did I miss anything?

[KuruPrionz]

I checked my jack stash. Quite a few of them and all vintage USA Switchcraft.

 

Not many TRS and none of them are switching jacks. There are a few TS switching jacks. One of them has a switch "spring" on each side of the Tip spring. Looks like a "Break before Make" to me although clever bending could probably provide a "Make before Break" as well.

 

Time to poke around a bit - Mike Rivers you WIN!!!! lol

 

This is an interesting page - https://www.switchcraft.com/Documents/Jack_Schematics.pdf

[Dr Mike Metlay]

Sitting back and letting Mr. Rivers do what he does best on a topic that's probably fresher in his mind than in mine... many thanks, Mike!

[KuruPrionz]

Sitting back and letting Mr. Rivers do what he does best on a topic that's probably fresher in his mind than in mine... many thanks, Mike!

 

Yes, Mike has always been very helpful with my blundering about and I am grateful for his knowledge and willingness to share it with others.

[Mike Rivers]

. . . and I've had help from others here in my blundering about using a computer instead of a proper tape deck and console. I'm glad we're all here and that there are some who know about things that I don't, and can explain them.

[KuruPrionz]

. . . and I've had help from others here in my blundering about using a computer instead of a proper tape deck and console. I'm glad we're all here and that there are some who know about things that I don't, and can explain them.

 

I am very grateful for this community as well, so much to learn and share. I've posted a few dissertations myself, modifying-repairing-setting-up guitars and basses is my How To specialty. I hope it's helped others play better music.

[KuruPrionz]

Will have to briefly interrupt this thread while I wait for a Contractor to complete work on a moisture/black mold intrusion that suddenly appeared in my studio space.

 

I packed it all up and stuck it in the closet, don't want it to be in the way, don't want it exposed to dust and it's just as well if nobody knows I even have such things laying about.

Ugh.

 

I'll be back!

[Dr Mike Metlay]

Get after it now. Black mold is not something you want taking hold in your home. Don't ask me how I know this.

[KuruPrionz]

Get after it now. Black mold is not something you want taking hold in your home. Don't ask me how I know this.

 

 

I live in Bellingham WA and my part time job is Maintenance Coordinator at Windermere Property Management. I know ALL about black mold.

 

But, this time of year is a total nightmare for maintenance. Contractors go on holiday, meanwhile leaks, flooding, moisture intrusion and "organic growth" (our pretty term for black mold") rear their ugly head and it's quite the chore finding somebody who can go fix a leak NOW.

 

The contractor I engaged is a good one and we caught this early. The interior wall is opened up (inspection) and covered with plastic to prevent atmospheric contamination. They are also very aware of the time element, I expect them to come back this week and start in with eradication and repairs. Luckily it is an Association expense since it originated externally. Will be expensive!

[MAJUSCULE]

Well, I'm in this now. Picked up a used 16u rack from a local A/V company that sometimes liquidates a few things. I think this one came from the courthouse. It's a little overkill for now, but it was a good deal, and I'm hoping to fill it up over time.

 

For now, I'm waiting for Long & McQuade to restock Furman products so I can put a power conditioner up top. I also have a Presonus Eureka channel strip which I picked up on a deal a few years ago, but which has mostly remained boxed up until now. I'll add a patch bay sometime soonish. Not really sure when I'll be able to add any outboard stuff beyond those, but the top of the rack will also be a nice extra shelf.

[KuruPrionz]

Cool. I've almost filled my 8 space rack and it is so heavy that my idea of a mobile recording studio is no longer very attractive. It has me pondering an additional, smaller rack with the Furman at the bottom so stuff from the lower rack can be connected, the Presonus Quantum interface and both of my Presonus Eureka channel strips. They are useful units, noise level is low, you can just use the mic pre if you want and there is a send and return on the back if you want to use other sound gear. The compressor is pretty transparent at lower ratio settings, good for tracking. The EQ is good and so is the DI. I can get a very usable bass guitar sound, a good vocal sound, direct acoustic guitar (just the one I have with a K&K pickup, it sounded terrible before I swapped K&K in and replaced the LR Baggs pickup).

 

The patch bay is the final rack space to be filled. Pretty sure I can make room for my Blue Robbie mic pre in the bottom where my Focusrite ISA One lives. Someday, maybe I will replace both of them with more rack gear, they are truly odd ducks with unwieldy form factors. On the other hand, I keep reading good things about the Groove Tube Brick so maybe I just start a studio only box of stupid shaped mic pres with one patch bay.

 

Welcome to the rack thread!!!!!!

[KuruPrionz]

Bouncing this from the bottom of the first page, it's been almost 8 months!!!

 

Today I won an auction for a Focusrite ISA Two, which is the same mic pre/DI as the ISA One but there are 2 of them in a single rack space.

The One is a great sounding mic pre and I really like it but the form factor is cumbersome and unwieldy. It uses half of a 3+ rack space. It also has 2 outputs, one for a mic/line and one for the DI. That's handy but there's a workaround.

 

The Two needs only one power cord, 2 Ones would need 2 power cords. The Two has a switch on the front panel so can use it as a mic pre or a DI but not both - only one output. But there are 2 of them so you can still sing and play guitar or whatever if you want. You could also have 2 mic pres or 2 DIs and it takes up a lot less space.

 

That will leave room below to mount the Blue Robbie I picked up. I like that mic pre a great deal and it's a similar stupid form factor but I can sell the One and still have Two.

And, I've decided to sell both the Presonus Eureka channel strips. They are pretty nice stuff and very versatile but I'm not able to bond with something that has 19 knobs and 10 switches on the front panel.

 

Changes are coming soon, I'll post pix when I have this re-organized.

[KuruPrionz]

The other feature I love on both the ISA One and the ISA Two is the switch for engaging the insert or bypassing it. You can plug something into the insert and just leave it there, that will come in handy.

[Dr Mike Metlay]

The other feature I love on both the ISA One and the ISA Two is the switch for engaging the insert or bypassing it. You can plug something into the insert and just leave it there, that will come in handy.

I love convenience factors like that. Anything to keep me from rummaging around through piles of cables!

[KuruPrionz]

Reconfigured rack is going well, I am looking forward to putting it to work.

Yesterday I called Blue Microphones to see if they can tell me how you remove the chrome pedestal on the bottom of my Blue Robbie Mic Pre.

The last step is to put a 3 space rack in at the top with the Robbie and a Focusrite ISA One "lunchbox" preamp, both great sounding mic pres.

 

I moved the power conditioner down to the bottom of the rack, when I got it I'd already filled the lower section of the rack so I stuck it up top. I think it's better down below, all AC will be running down the left side of the rack (looking at it from the back) and all the audio cables will be on the other side. Most rack gear adheres to this formula, inputs on the right side (again, looking at the back of the unit) and AC power on the left.

 

Shakedown cruise and photos hopefully coming soon! Cheers, Kuru

[Mike Rivers]

Good to hear that you're back at work with the ever-expanding rack. I think every day, and stare at it about every other day, of re-configuring my patchbay, but haven't warmed up the soldering iron yet, My jackfields are surplus telephone company ones and they're all solder terminals. The cable lengths are all tailored to the old Soundcraft console and had plenty of slack to remove a row of jacks and get it into a reasonable soldering position, but with the Mackie console in there some are too short and don't leave me very much working room.

 

If I wanted to do the job right, I'd either dig out my ADC patchbays that have punch-down connectors (the tool only coss about $50 last time I checked, about 10 years ago) and rewire the whole works. The ones I have now are standard long frame 1/4" jacks with 2 rows of 24 while the ADCs are Bantam jacks with 2 rows of 48 jacks. I could save enough rack space with those to move a few pieces in a home made mini rack in the hutch over my desk - because they fit there. But buying a handful of Bantam patch cables would cost a small fortune. So it sits, and when I need to patch in some mic preamps, I have a snake from there to the patchbay resting comfortably behind the rack.

 

But nobody uses patchbays any more.

 

 

It's been a while since you've posted here and, knowing you had a few band gigs scheduled recently, was concerned that you hadn't overworked your leg. Too many pedals? Too many gigs?

[KuruPrionz]

 

It's been a while since you've posted here and, knowing you had a few band gigs scheduled recently, was concerned that you hadn't overworked your leg. Too many pedals? Too many gigs?

 

Saturday will be my third gig since the surgery. I will be sitting in a chair, as I was the last 2 gigs. It's one a week, more or less and I really enjoy them. My foot is healing well, today I will put my boot on and use crutches at home while putting weight on both feet. Soon I'll know if I can just set the crutches aside and walk on my feet again, all of this comes from my doctor, who showed me the X-rays Monday and told me to start putting weight on the foot and walking if it feels OK to do so.

 

As to pedals, I've always avoided have many pedals. I kinda hate them to be honest, it is a stupid form factor. Where are the fingers on my feet to adjust the knobs? What if the knobs get moved from the "sacred location"? If there is an audio problem, which of the many cords or pedals is causing it and why haven't I fixed it instantly since we are on stage performing, not fiddling around with stupid equipment.

 

Last 3 gigs I used a Boss Katana 50 MkII combo. It has 2 "banks" with two presets each, total of 4 programmable sounds. If you plug it into a computer and use the free Boss software, there are 60 Boss pedals available to be programmed into these 4 slots. I did that, have tweaked them a bit after each of the last 2 gigs and I think I've got the sounds down now. The knobs will never move, there aren't any. You can change the knobs on the amp all you want but if you don't press and hold a certain button, all I have to do is switch from the preset and back to it, same as I set it.

 

I'm using a Boss pedal that has 2 switches and plugs into the amp with a TRS cable. Super simple and it works great. I've got a clean tone with a bit of grit to it, a dirty tone, a rotary speaker tone with enough grit to sound kind of like a cranked Hammond and a crazy overdriven tone with a single delay and reverb. For the songs I use that, I just reach down to the front of the amp and click the Tap Tempo so the delay works with the song. Super easy and so far problem free. I gigged a Katana 100 for over a year with no problems but this is lighter, smaller and simpler.

 

I'm also getting a Peavey Vypyr VIP1 ready, I stuffed a Peavey Scorpion 10" into it and it sounds great. The Sanpera pedal has 4 switches, you can access up to 16 presets if you adept at footwork. PLUS it has a pedal with a switch that you select by pressing the pedal to the metal - either Volume or a great sounding Wah. That takes a 7 pin MIDI cable to hook it to the amp, again very easy. Soon, I'll take it out.

 

As to the rack, I pulled 2 units, have made things more compact and easier to use and so far I am please with the progress. Blue Microphones got back to me the second day and solved the mystery of removing the pedestal from the bottom of my Blue Robbie mic pre so that's ready to mount next to the Focusrite ISA One and that's the last rack to go it. I'll be posting photos soon, I want to cable everything back up.

 

I did a better job this time, pretty happy with the progress.

[Mike Rivers]

Good progress with both you and your gear. Always glad to hear it. You'll probably be up and running while new things that make walking more uncomfortable for me keep popping up - some have predictable end points like the scrapes and bruises from the fall I took due to my brain not knowing what my feet are doing due to neuropathy. It's just like troubleshooting electronics but at some point you just can't get the right replacement parts (like a new brain).

[KuruPrionz]

Good progress with both you and your gear. Always glad to hear it. You'll probably be up and running while new things that make walking more uncomfortable for me keep popping up - some have predictable end points like the scrapes and bruises from the fall I took due to my brain not knowing what my feet are doing due to neuropathy. It's just like troubleshooting electronics but at some point you just can't get the right replacement parts (like a new brain).

 

I understand and I'm sorry you are going through that. Today I did five "laps" through my condo with my Hulk Boot on and crutches. The 5th lap I held the crutches up off the floor a couple of inches and "walked". I have some balance issues too, I'l need PT to stretch some of my muscles back out and the boot has an odd "center of gravity" and extends beyond my 15 EEE feet by enough on front and back to make walking again a new and perilous prospect.

Still, it's progress and I wouldn't change a thing.

 

On the Rack Mount front, I've considered all options and come to the obvious conclusion that I should turn my desk around 180 degrees for 3 very good reasons.

1. This will put all AC power behind the desk.

2. Since I've reconfigured the studio rack using the same "pass through" patch bay as before and mounting the Cloudlifter front facing for one mic pre, all of my audio cabling will be on the front side of the desk.

3. When I am recording myself I can just spin around and track into the mics. I've got a stand up storage tub "mic booth" and a pair of mics underneath so recording vocals and/or acoustic guitar is already dialed up.

I have plans to record actual drums/percussion instruments, 6 forward facing mic inputs, 6 forward facing DI inputs, Tech 21 Bass Driver DI, Para Driver DI, Tri-AC and Double Drive guitar pedals (everything from clean to totally off the hook distorted with either even order or odd order harmonics or any blend of the two.I also have a dedicated TRS to Line In for channels 7/8 to accommodate my Roland Handsonic, which has a dead left channel but the headphone out works perfectly. The Korg Wavedrum will use use TR cables into the front DIs.

 

Add in the MIDI keyboards, both 25 key and use one or the other and there isn't much I can't do by myself or with one or maybe two other participants in one small area. I'd LOVE a larger, great sounding room but that's not an option until I win the lottery.

 

Having to get up and walk around the desk after starting the recording is not the worst thing ever but I won't miss it at all.

[KuruPrionz]

Photos attached. Still some work to be done, mostly in the back. For now I plan on pulling the audio cables up using the back of the top rack and tie wraps. This will get them away from the power cables at the bottom of the rack.

 

Eventually if this iteration becomes stable, I may start shortening a few cords so they don't need as much elevation.

 

Next step is to test all channels and confirm function of all devices. I've got a condenser and a dynamic mic lined up for the testing since there is a Cloudlifter in play and the condenser mic won't get 48v from that input.

[KuruPrionz]

Everything tests out, working well. No real noise problems and I haven't brought the audio cables up yet.

 

The Presonus Quantum interface has 2 front facing inputs - 1 and 2. Both of these can run a microphone and provide 48v for condenser mics. Both of them can be run Line In using TRS cables into the 1/4" jack in the center of the XLR jack.

And both can be switched to DI for plugging a guitar or bass in directly.

 

Channel 3 on the Presonus goes to the output of Channel 1 of the Focusrite ISA Two mic pre. The input of the Focusrite is plugged into channel 3 of the "patch through" box I made in the lower left corner of the photos in the post above. It can run a condenser mic or a dynamic mic, phantom power is switchable. You can also plug into the front facing DI on the Focusrite. This is my "normal" Focusrite preamp.

 

Channel 4 on the Presonus goes to the output of Channel 2 of the Focusrite ISA Two, both of these channels are running Line In to the Presonus. This channel has an Art Levelar tube compressor/limiter in the switchable Insert so I can smooth out peaks in vocal or other performances. The Levelars are better than their price would indicate, they run quiet and do the job I want them to do.

 

Channel 5 on the Presonus goes to the back of the second Art Levelar, which is driven by the output of the Blue Robbie mic pre. I've got phantom power on for now, it can be switched off but the switch is in the back of the rack. The Levelar does have a bypass switch but it still imparts a bit of it's sound to the mic pre. I think it sounds fine so I will go with it for now.

 

And Channel 6 of the Presonus goes to the main output of the Focusrite ISA One lunchbox on the upper left. That is running as a microphone input so the preamp is turned way down. The front end of the Focusrite One is driven by the Cloudlifter that is next to the pass-through box - this mic pre is dedicated to dynamic mics and it works fantastic. there is enough quiet gain to be able to put the mic back a little ways and get a full sound with good volume.

 

Last but not least, the pass-through box has a TRS input that splits to channels 7 and 8 on the Presonus. I did this because I have an older Roland Handsonic and the right line output is intermittent but the headphone out works great. I can run a TRS cable straight into the pass -hrough box and record in stereo as Roland intended.

 

My Korg Wavedrum works fine on the left and right outputs but has a fairly low output so I get best results by using Channels 1 and 2 set as DI inputs.

 

That's all 8 channels, available on the front of the rack. That side of the room is audio only. The other side is AC power only, with the exception of the monitor speakers which have both audio and AC power cables. They don't hum so I guess it's OK. I am pleased with this set up so far, slow but surely I've refined it to something I really think I will enjoy using.

[KuruPrionz]

I will add that all three of my Focusrite preamps have an impedance selector switch with 4 options.

Changing impedance changes the output level of the mic and the tone. Not radically but clearly different.

 

To a certain extent you could tame a hot mic or one that is being used up close. You could also go for maximum output on a mic that produces a weaker signal. I only have on ribbon mic and the Cloudlifter is my first choice for that but I haven't tried adjusting the impedance on it either. Sometimes these little things make a difference.

 

More often then not I like to "set and forget" and not spend too much time tweaking knobs. I'd rather spend that time trying different mics, it seems to yield more interesting results and I am learning what I have available to me.

[KuruPrionz]

Yesterday I met a gentleman who had purchased one of the new, compact, great sounding portable PA systems and was clearing out his big, heavy stuff.

He had an 6 space deep molded rack case in great condition and packed with random cords, and a 3 space Peavey "rack sack" listed on craigslist, both for $20. I contacted him, offered him another $5 if he would drop it by and it is all here.

Part of me thinks I could put half my gear in each large case and it would be much easier to move them around for mobile recording gigs. Part of me thinks that mobile recording will be a lot of work for not enough money and mostly music I probably don't particularly care for anyway. And, part of me thinks just put the Lexicon MPX550 and JBL M712 compressor in the small Peavey rack and set it on top of the current rack. That leaves one more open rack space in the smaller rack. That's the part I am listening to the most right now. Sort out the cords, give some away, keep some and sell the 6 space rack to break even or make a few bucks. I might re-rack everything in the "new" 6 space since it is in nicer condition than my current one.

 

Gotta love craigslist but you gotta be swift too!

[KuruPrionz]

The JBL Compressor arrived over the weekend. It is two separate compressors or you can link them for stereo. It is a "soft knee" compressor, quiet and it has a gate at each input. I just wanted something to bring the peaks down a bit while tracking. 2/1 or 3/1 with a light touch on the Threshold control should get me there. Both channels have inserts for side chaining if I want to do that, or you can set it up in stereo and "duck" one channel by using the other. I had an FMR RNC that sounded good but it was not as versatile since it was only linked (stereo) with one set of controls - essentially two compressors but only if you want stereo.

 

I've committed to the 3 space rack with the compressor, the Lexicon effects rack and I've ordered a 3rd rack shelf to stick a couple of cheap mic pres in for evil experiements -a Samson C-Strip and an ART MP/C. The Samson has a limiter and an insert path, the ART has the Levelar opto "tube" compressor built in - can be heavy handed but sounds musical and I like it. If they don't hold their end up I can just flip them, I didn't pay much for either of them.

 

I'll be testing and shortening quite a few of the cables I got on the recent craigslist deal for hook up once I get this sussed out. I'll be done with my rack(s) after that, for now anyways.

[KuruPrionz]

Of course, I changed my mind.

I've got the Lexi MPX550, JBL M712 compressor and the rack shelf with an ART MP/C and Samson C-Valve alll mounted in the 6 space rack.

Access to the back of all gear is much easier with the taller rack. It's on top of the 8 space rack so it doesn't take up more space that I could use anyway.

Busy with other stuff right now but I'll get it cabled soon, I hooked up what I had short cables for, still need to cut a few down and re-solder.

 

I can record without it. Photo coming soon.