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Old 17th June 2019
  #15
Lives for gear
 
tdot's Avatar
 

Oh my, this thread is SO old.

The only piece of gear in this thread I still have is the RME MADI FX, and it still works flawless. Can't believe I've had it for 7 years.

Ended up buying a console, needed more than 16 I/O, sold the Ferrofish A16 (great unit), bought a Ferrofish A32 to replace it (another great unit). Ended up selling the Burl B2 - I had always planned to use it as my 2bus input, but after working with the setup for a few years, I decided I'd never be good enough to mix OTB, and my preferred workflow became producing OTB and mixing ITB. Didn't see the need for 2 channels of absolutely brilliant input at 10 times the price of other perfectly decent inputs.

Obviously with a console and 32 i/o I had to switch to TT. I still actually have a few of my TRS patchbays where my TT patchbays terminate to - just so I can have some TRS racks in my "producer area" to jack instruments and other gear directly in.

I bought all the TT patchbays used, but they're definitely repairable as long as the TT jacks themselves aren't too wore down (which are also replaceable, but also expensive). They're usually actually wired together rather than printed on a cheap PCB, and I think they're far more robust as said before.

Obviously once you reach a certain number of connections (I use most of my 384) TRS becomes impractical/impossible.

I will say though, fully wiring a studio with TT patchbays is NOT for the faint of heart. It takes a lot of time, practice, patience and dedication and you should understand what you're getting yourself into. Unless you're willing to drop $4000+ on custom made E## connectors, you're most likely wiring it manually (to solder terminals and/or building your own cables).

But - if you're really not interesting in learning about building an OTB studio - why not just stay ITB?