Neutrik 16-Port XLR Pass-Thru Panel
Neutrik·Model NYS-SPP-16·neutrik-xlr-panel-16
About the Neutrik NYS-SPP-16
A purely passive 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. rack panel with 16 Neutrik feedthrough XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. connectors — one side on the rack face (labeled stage patch points), the other inside the rack (pre-wired to the stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized.). Used to keep stage-box connectors protected inside the rack while giving crew easy, labeled XLR access on the rack face. Colored tape or dust caps on each port identify the role ("M GTR 4", "B VOX", "Song Trax 2") — per-instance port rename on these ports turns the panel into a rig-specific stage map.
The NYS-SPP-16 is a purely passive 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. panel that does exactly one thing: it gives you 16 labeled XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. connection points on the rack face, each passing straight through to the back of the rack where your stage-box tails or internal wiring terminate. There is no active circuitry, no power draw, nothing to fail. Its job is to move the chaos of a tangled stage-box multicore off the venue floor and into a structured, protected interface — so every input and output on your rig has a named home that crew can find quickly, patch correctly, and unplug without disturbing anything behind the panel.
At 60 mm deep and 1.2 kg, this panel fits in even a shallow tour rack without fighting for space, and the Neutrik feedthrough connectors are the same D-series hardware found throughout professional touring infrastructure — they handle repeated plug cycles without the latch slop you get on cheaper panels. Because everything is passive, there is no distinction between input and output at the connector level; signal direction is determined entirely by how you wire the back. That bidirectional nature means one panel can carry sends, returns, and commsProduction intercom — the wired or wireless party line connecting FOH, monitors, stage managers, and lighting during a show. lines side by side, as long as your labeling makes the routing obvious to the person patching at load-in.
This panel earns its place in a dedicated IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rack, playback rig, or monitor worldThe side-stage domain of the monitor engineer — console, IEM racks, and everything feeding the band’s ears instead of the audience. where you want a clean, repeatable interface between your internal gear and the stage. If your show only needs four or six analog hand-offs, a smaller panel or a few chassis-mount XLRsThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. will do the job for less money and less rack real estate. And if your primary connections are digital — DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes., MADIA pro digital format carrying 64 channels on one coax or optical cable. Point-to-point — one sender, one receiver, no network required., AES — this panel does nothing for those; pair it with an appropriate digital breakoutA cable that splits one multichannel connector (like a DB25) into individual plugs — the octopus that turns 8 channels into 8 XLRs. or keep it as a strictly analog complement. Where it truly pays off is in a touring rig that moves every day: one panel means one place to patch, every city, no guesswork.
In the rack
- Label every port before the first show using engraved or printed legend strips in the panel's label windows, then back that up with colored heat-shrink on the internal wiring — color matches port, so a sub or local crew member can re-patch correctly without reading.
- Wire the back of the panel with a short, dressed loomSeveral cables bundled and run as one — keeps rack interconnects tidy and makes load-in one grab instead of eight. of pre-made XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. tails rather than bare wire soldered to the feedthroughs; when a connector eventually needs replacing, you unplug a tail rather than re-solder inside a live rack.
- Mount the panel near the top of the rack so it stays accessible when the rack door is open and crew are kneeling at stage level — a panel buried at the bottom invites incorrect patches under show pressure.
- Cap any unused ports with Neutrik dust caps at the end of every show; the feedthrough connectors are robust, but debris in a rarely-used port can cause intermittent contact exactly when that line gets called up as a spare during a failure.
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. rack panel with 16 Neutrik feedthrough XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. (male-female pass-thru) connectors.
I/O Ports (16)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Stage Patch 1 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 2 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 3 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 4 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 5 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 6 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 7 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 8 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 9 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 10 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 11 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 12 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 13 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 14 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 15 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 16 | XLR FEMALE | bidirectional | analog audio | — |
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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