Classical analog console wiring

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gilwe

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What is the "classical" way of wiring an analog studio ?

I know there are few ways to wire a multitrack+console+effects
but what is the most common method ? is there any classical wiring ? (Such that exist on most analog studios)

I'll be happy to have some general directions to this or a nice link.

Thanks
 
Through patchbays. Then you can normal anything to anything, and still be able to reroute what ever you please to what ever you please.
fitz
 
So it is all re-patching between the units?

I mean you patch for recording, than re-patch for mixing than repatch the desired effect units for mastering .... It seems there's no other (easy) way doesn't it ?

This is actually what I usually do, but I thought there might be some way to configuire the system in such a way that minimum use of patch bay is required ...
 
No, not at all. Proper patchbays allow "normalling", which basically establishes a default configuration. When I do a room, I always configure the patchbays so that the default, normalled setup is ready for tracking. With that, you walk up to the patchbays, _pull out_ all the cables on the front (user) side, and you're ready to track. Then when you need an _exception_ to that default setup, you can plug in a patch cable or two- breaking the normal connection, and allowing you to reroute anything to anywhere.

Normalling is what makes the world work in any studio, which is why you need to think long and hard about what the default setup should be. For example: console direct outs to tape machine inputs, tape meachine outputs to console tape monitor inputs, console master outs to 2-track inputs, and so on. You take all the channel inserts and bring them to the patchbay, and use the normalling contacts to short the out to the in when there's no patch installed. That way, you can insert gear into a channel path with just a pair of patch cables. The list goes on.

The most important thing in any patching setup is to decide what the normal configuration will be, so that you can get the majority of your work done with no patch cables on the front of the bays at all. Patches are only for exceptions: but everything goes to the bays, so that any set of exceptions you might need would be possible.
 
gilwe said:
So it is all re-patching between the units?

Between points on the patchbay, actually. Pretty darn easy to do.

I mean you patch for recording, than re-patch for mixing than repatch the desired effect units for mastering .... It seems there's no other (easy) way doesn't it ?

You can do a fair amount of routing with your mixer, depending on how it's set up, but you'll be pretty limited in how you use stuff if you don't repatch. For example: if you often use a particular compressor on an insert, you might connect that insert to the compressors in and outputs. But then you'd better make sure that what you want to compress is always on the same track!

This is actually what I usually do, but I thought there might be some way to configuire the system in such a way that minimum use of patch bay is required ...

There's not a big problem with "more than minimum" use of patch bays in my mind ... other than (i) you have to buy them and (ii) you wind up with twice as many cables: to buy and to form nests for local rodents.
 
"Skippy" makes a good point: you may have 96 patch points (or 960), but the bulk of the time you might only have, say, 0-8 patchcords in use.

Maybe more if you own lots of equipment, work in varied and unpredictable ways and/or didn't think things through very well when you decided what to normal to what.
 
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