I created a simple Microsoft Word template that I use to print out neat labels for the Behringer PX3000 patchbay. The template will not fit the PX2000 patchbay, the spacing of the connectors is different. Free train simulator for mac.

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

Download the Word file here. And here it is filled out with my own current configuration.

Behringer's Ultrapatch Pro PX3000 is just what you need. The PX3000 returns your attention where it should, to making music, by providing a solution to cable mess and clutter. This 3-mode multi-functional 48-point balanced patchbay with fully balanced, high-quality 1/4 in. TRS connectors will be a welcome addition to every studio. Behringer; Inspired by the legendary Sequential Pro 1 synthesizer, this is Behringer's faithful circuit recreation in a modern desktop unit. Features 3340 VCO chip oscillators, and a 3320 VCF 4-pole filter just like the Pro 1. It also includes a built in sequencer and arpeggiator, and a variety of CV patching options for integration with other. Proper wiring of your patch bay is a vital part of the home recording studio set up. Related Studio Set Up Article: Recording studio wiring for split console. If you look at large recording consoles, they all have a lot of patch bays.

It is basically an image of the front of the patchbay that I captured from Behringer’s PDF documentation, with a Word table overlayed on it. To fit on 8.5″x11″ paper, I split it onto two lines. It actually fits two complete faceplates on one page.

To use it, just click in the table cell above or below the jack, and type in the label. You can optionally use Format/Borders and Shading to colour the cells. I also created some icons to represent the “normalled”, “half-normalled”, “parallel” and “thru” patchbay configurations. They’re kinda cryptic, I guess, but clear enough to me.

I print the labels on my inkjet using photo paper, mainly for the extra stiffness compared to plain paper.

At this point, you can either cut out just the two label strips and attach them to your patchbay, or you can punch out the holes for the jacks and attach the entire faceplate at once. For punching out the holes, I use a 7/16″ Forstner drill bit in my drill press. A regular twist drill will just tear the paper. Start by clamping piece of rigid backing material to the table (I used a scrap piece of FR4 fibreglass circuit-board material). Drill a hole in it. Then drill the holes in the label, using the backing material for support.

I attach the labels to my patchbay using rubber cement. I can remove the labels and rubber cement residue easily later.

Proper wiring of your patch bay is a vital part of the home recording studio set up.

Related Studio Set Up Article: Recording studio wiring for split console.

If you look at large recording consoles, they all have a lot of patch bays. They’re packed with patch bays because they are a way to route an audio signal while also being able to access it at various points in the signal path (example: pre or post EQ or dynamics, inserts, pre or post mic / line amplifier, etc.). The more you use your patch bay, the better you’ll understand signal flow. The more you understand signal flow, the more creative you can when recording and mixing insofar as how you can shape the sound based on where in the signal path you process or access the signal.

Jump To: Basic Recording Studio Patch Bay Set Up.

The most common use of music studio patch bays in home recording studios is for inserting dynamic processors (compressors, gates, expanders, etc.), or effects processors. These are all basically called serial processors because they are inline with the original signal, they “change” the actual signal in the channel, as opposed to parallel processors like effects (reverb, chorus, flanger, etc.) that use aux sends, which do NOT, therefore, have an effect on the original signal.

Important phrase to remember for patchbays: “Outs Over Ins“. This means that the output of a signal is (literally) over the input on the patch bay set up and wiring. So that if you want to access a signal to send to a compressor, you patch from the out (top row) and after you’ve sent it to the compressor, you patch the compressor return back into the in (bottom row). Patch bays “automatically” send signal from the output jack to the input jack (so, for example, your mic tie lies from the live room that are plugged into the back in the top row (in) will automatically be sent to the bottom row (out) that is then sent to your console’s mic inputs.)

So why not just plug the tie lines straight into you console? Because you will most likely want to use an outboard mic pre, or cross patch your mic inputs. If you plug straight into the audio console instead of a patch bay, then you can’t access the signal easily before the consoles pre-amp. With more patch bays, then, you could patch from the mic tie line, into an outboard pre-amp (which is also in a patch bay), then out of the mic preamp straight to your tape machine (or computer’s A/D converter) so that you don’t really use the console at all – makes for a very clean recorded audio signal.

Behringer Patchbay Template

Another phrase to know: normalled (or full-normalled) vs. half normalled. Normalled sends the signals plugged into the back from the input to the output UNLESS a cable is plugged into either of the two jacks (in or out). Whereas half-normalled means the signal will only be broken or interrupted if a plug is inserted into the LOWER jack on the front. For half-normalled, since plugging into the TOP row does not break the signal that effectively creates a Y cable (the signal still goes to the console via the back jack, PLUS it’s in the cable you plug into the top row).

Normalled and half normalled configuration for patch bays is ONLY for places in your signal flow where you want to access the signal AND have it automatically return into the signal path (if nothing is patched into the front). You DO NOT use this configuration for adding outboard gear. Why? Because if signal (say to an effects unit) automatically gets returned… you get a feedback loop. Not cool.

When you plug in all your outboard processors, use the ISOLATED configuration (discrete in and out, no signal from cables plugged into the back automatically get sent back to the source). Click on that image above to see drawings of the patch bay module signal flow that Neutrik always has on the side of their patch bays.)

Assuming you have a 24 channel in-line console: You can do a basic set up of your recording studio with 4 patch bays (24-point like those pictured above).

One patch bay needs to be half-normalled for the studio tie lines. The mic tie lines are plugged into the top row in the back of the patchbay, which, because this patch bay is half-normalled, automatically get sent to the row below: the console mic inputs for each channel, which you plug in on the bottom row in the back of the patchbay.
The image to the right is the built-in patchbay of an SSL4000. The top rows 1 & 2 are the studio tie lines (Mic lines) into the console mic pre-amps (Channel mic inputs). Half-Normalled automatically sends the signal from the ties lines into your console inputs, plus gives you full access to both rows from the front so you can cross patch or “move” a mic from a tie line into a different input on the console. (Example: if you have a vocal mic going into 10 in the in a vocal booth, you can use this patchbay to cross-patch it into any of your console microphone inputs – just because the mic is in 10 doesn’t mean you have to record it on 10.) Alpha zawgyi for window 10 free. download full.
Another patchbay that is set up just like the first one, but this one gets its inputs from your tape returns (A/D converter outputs)