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#Dmc mx8 midi patchbay Patch
Digital Music Corp MX-8 MIDI Patch Bay and Processor - $80 (Patterson)ĭigital Music Corporation MX-8 MIDI patch bay and multiplexer.6 in's 8 out that can be programmed and merged.Rack mountWorks fine, come with a printed manual.If you have a bunch of MIDI devices you need to manage consider this.$80. Good, intuitive routing and processing capabilities. This 6-in, 8-out unit served me very well in my initial foray with a DAW-less MIDI setup, but I have moved on to a different MIDI interface and am back to using a DAW. Digital Music Corp MX-8 MIDI patchbay / processor - $85 (Columbus)įor sale is a Digital Music Corp MX-8 MIDI patchbay / processor. Pretty cheap too, and 145 punds or so, I think. There is no delay, though, and they use small buffers on all outputs meaning that you can use them as MIDI splitters. You can't do any advanced stuff like routing two MIDI channels to different outputs, and you can't do MIDI merge. Then there is the type that only does an electrical connection, and you patch it with standard trs cables. Very practical of course, but induces a slight delay, and you have to program them. The smart ones understand the MIDI-data and can route in in more or less complex ways. There are two types of MID patchbays: smart and stupid. It's definitely a bad idea to mix audio and midi in the same patchbay, you'll probably end up with some serious bleed-through. You could probably do it with a balanced patchbay though, although I'm quite sure it's a bad idea. Nono, it's current loops, you can't ground one of those pins, is could seriously damage something. Hope all that made some sense - cable ain't always cable. But the most sensible thing to do, as brought up earlier, is to get MIDI connectors and the CORRECT cable and wire it up to avoid confusion. So, your idea of using XLR cables for MIDI might work IF, and I mean IF, the DMX cables are really low capacitance and you use only that type cable. If you used such a cable for audio, assuming it's shielded, the only possible difference you might hear is an increase in treble response since most balanced line connectors on gear today are NOT low impedance, just balanced. If DMX uses special XLR cables for their lighting protocol, they most likely are using low capacitance cable. A commercially made MIDI cable can go about 20 feet before you're asking for problems, so if you use a mic cable with 7 times the capacitance, you will probably get about 3 feet before you encounter the same problems. This makes a HUGE difference in how far you can run these cables before the capacitance takes its toll on pulse shape. MIDI cable, as is 110 ohm DIGITAL (AES) cable, typically has below 12 picofarads per foot, and sometimes as low as 7 or 8. Normal mic cable, since it is expected to be used as a low impedance transmission line, doesn't pay as close attention to cable capacitance and is typically around 30 to 75 picofarads per foot. At that point, what you send is NOT what you recieve.ĭecent MIDI cables are built with very low capacitance cable, so that the inter-electrode capacitance of the wire doesn't round off the edges of the MIDI pulses. 
When this reaches a point where the slope of the rising and falling edges of MIDI pulses aren't steep enough to reliably trigger the pulse input of your MIDI device, you get errors. Almost ANY mic cable will pass audio satisfactorily - but when you start transmitting MIDI, you're dealing with a SQUARE wave, which takes TEN TIMES the bandwidth to properly transmit as its highest frequency - otherwise, leading and trailing edges of the pulses get rounded off.
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