Behringer PX3000 Ultrapatch Pro
Behringer·Model PX3000·behringer-px3000
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Behringer PX3000
The Behringer PX3000 provides 48 TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. patch points in a single rack unitThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. at an unbeatable price, with switchable normallingA patch bay default path: the top jack feeds the bottom with nothing plugged in. Inserting a cable breaks (full) or taps (half) that path. modes that give you flexibility in how signals route by default. It is a practical and affordable way to add patching capability to a playback or IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rack where you need to re-route signals on the fly. While the build quality is not as robust as premium alternatives, it handles the job well for stationary or light-touring applications.
The PX3000 is a 48-point TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. patch bayA panel of front-facing jacks wired to everything behind it — re-route any signal with a short cable instead of climbing behind the rack. — 24 front-facing jacks mirrored by 24 rear jacks — squeezed into a single rack unitThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one.. Its job is routing flexibility: instead of hard-wiring every connection in your rack permanently, the patch bay becomes a hub where you can redirect signals without touching the gear itself. In a playback rig or IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rack, that means you can swap a failed device out of the signal chain, add a last-minute piece of outboard, or hand off a monitor mix to a different output path in seconds rather than minutes.
The switchable normallingA patch bay default path: the top jack feeds the bottom with nothing plugged in. Inserting a cable breaks (full) or taps (half) that path. modes are what make this more than a passive breakoutA cable that splits one multichannel connector (like a DB25) into individual plugs — the octopus that turns 8 channels into 8 XLRs. panel. Full-normal means rear-connected signals flow through automatically unless interrupted by a front patch cable; half-normal lets the rear signal pass while also making it available at the front without breaking the connection; open means no default routing at all. At load-in, you set the normalling mode per channel to match your rig's default state, so your standard signal flow requires zero patch cables. At show time, a single cable inserted front-panel overrides whatever you've pre-configured. The 130mm depth is shallow enough to live comfortably in a shallow rack or case.
This is the right call for a stationary install, a rehearsal-room rack, or a fly-date IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig that doesn't get thrown into a truck every night. At $49 and 1UThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. with no power draw, the value proposition is hard to argue with for anyone who needs basic patch capability without budget for a Neutrik or Switchcraft-built bay. If your rig does serious touring — nightly packing, road cases with gear shifting around, connectors getting yanked regularly — the plastic construction and lighter-duty jacks will eventually show it. In that context, step up to a steel-chassis alternative. But for the working musician's in-ear rack that lives in a foam-lined case and gets set up with care, this does the job cleanly.
In the rack
- Label every rear jack before the first show — a strip of white gaff and a marker takes five minutes and will save you significant grief when you're tracing a signal path under pressure at soundcheck.
- Set normallingA patch bay default path: the top jack feeds the bottom with nothing plugged in. Inserting a cable breaks (full) or taps (half) that path. mode per channel to match your default rig signal flow before closing the case; that way your standard routing requires zero front-panel patch cables and the bay stays clean until something actually needs rerouting.
- Mount it toward the front of a shallow rack or case — with only 130mm of depth it won't fight for space, and keeping rear connections accessible matters when you need to re-patch behind the panel.
- Use it as a deliberate failure-recovery point: route the outputs of critical playback devices through the bay so that if a unit dies mid-show, you can redirect to a backup source with one cable pull rather than reaching behind the rack.
48-point TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. patch bayA panel of front-facing jacks wired to everything behind it — re-route any signal with a short cable instead of climbing behind the rack. with normal/half-normal/open modes.
I/O Ports (2)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| TRS 1-24 (Front) | TRS QUARTER | bidirectional | analog audio | 24 |
| TRS 1-24 (Rear) | TRS QUARTER | bidirectional | analog audio | 24 |
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