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Post by jethro on Oct 28, 2015 12:08:18 GMT -6
Pleasure to 'verse w/ y'all, been reading these posts for a couple of months now. I'm attempting to build a front end capable of future repurposing. I got a 6 space rack w/ a bla 173, bla red sparrow, wa eq, dizengoff d864 (waiting on), and an ashly cl 100 for a limiter. So I only have a half space left, and I want a patch bay. The only half rack one I can find is a Hosa mhb-350. I am seeking 'up to snuffness' re: the patch bay. I read on Amazon that the outside is great and the inside is crap. Any instructions on how to replace the guts whilst retaining the normaling behavior or better yet, to just do it for a fee or direct me to someone would be enthusiastically appreciated.
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Post by ragan on Oct 28, 2015 14:20:04 GMT -6
Would a decent full rack bay, some clamps and a Sawzall work? Mostly kidding.....
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Post by mdmitch2 on Oct 28, 2015 15:58:17 GMT -6
That hosa only has 8 patch points...... 1/6 of the typical 48 pt TRS patch bay, which doesn't seem worthwhile to me. Maybe try emailing this guy to see if he can make you a 1/2 space 24 point bay. www.misterpatchbay.com/ |
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Post by mulmany on Oct 28, 2015 17:23:01 GMT -6
Switchcraft makes modular patchbay units, I think they are in banks of 16.
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Post by Deleted on Oct 29, 2015 11:51:25 GMT -6
I would get rid of the Ashly, taking this place for the patchbay and look out for a 1/2 19" compressor/limiter unit. Might be easier and perhaps an upgrade. In the meantime i tend not to use a limiter at all at recording time. 24bit...
Although, there exist different recording philosophies, americans often try to use effects and processing right at the recording time, while european/german oldschool tradition is to record as clean, pure and uncolored signal as possible and do the main coloring and effects exclusively at mixtime. Both philosophies have their own advantages and disadvantages. American style makes mixing a breeze because the recording engineer and producer generally set the aesthetic way to go already. European style leaves more options for different sonics and decisions at mixing time.
Modern converters leave enough room to skip a limiter at recording time, which i consider a good thing, providing all transients in the recording. Whatever your taste is.
In this case i think the Ashly is the weak point in your chain so it could be worth to think about dropping it....
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Post by jethro on Oct 30, 2015 0:26:48 GMT -6
Thanks for the replies fellas.
So I wanted something like the Manley Core, and figured if I got separate components, later on after I get something like a 1248 I could double up on the outboard stuff for mixes. I guess I should have gotten a dbx limiter and forgotten about the patchbay. I do hate seeing that light turn red on my converter, and it does sometimes. The ashly was cheap though so I am willing to get rid of it.
However, it only takes up a half rack space, and it has a side chain. What I was trying to do with the patchbay a) have the option of putting the eq before the compressor, b) de-essing with the side chain and c) unleashing my creative genius in ways never imagined by anyone who has preceded me in the world of music production. But seriously, I'm not aware of all the potential uses.
Switchcraft does make a modular 16 point patchbay (thanks mulmany(in fact,thanks everyone)) that uses d-subs that are expensive and most of the breakout connectors will not be put to use at all whilst I'm just employing a mono front end. Are they gonna be hot? Does this sound like a smart thing to do or just get a aphex or dbx 1u limiter?
Full disclosure I just have a home studio I still have to send everything out for mixing and mastering but I'm hoping to use this same stuff for those things after I build a room and get a dedicated/better dac.
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