Neutrik 32-Port XLR Pass-Thru Panel
Neutrik·Model NYS-SPP-32·neutrik-xlr-panel-32
About the Neutrik NYS-SPP-32
A 32-port 2UThe 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. feedthrough panel — enough stage patches to 1:1 map every input of a 32-channel 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. (DL32 / S32 / Rio3224). In practice users colour-code and tape-label each port to the instrument / mic it carries ("KICK", "SNARE", "MATT VOX"), turning the front face into a rig-specific stage plot.
The NYS-SPP-32 is exactly what it looks like: a 2UThe 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 of 32 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 with nothing in between. No active circuitry, no transformersA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed., no power draw — signal goes in one side and comes straight out the other. Its job is to give every cable coming off a 32-channel 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. a clean, labeled home at the rack face, turning what would otherwise be a tangle of fanoutA cable that splits one multichannel connector (like a DB25) into individual plugs — the octopus that turns 8 channels into 8 XLRs. cables at the back of your rack into a front-panel patch field you can actually work with during a show. At 60mm deep, it barely intrudes into the rack at all.
Thirty-two ports maps perfectly to a full DL32, S32, or Rio3224-D2 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. — one connector per channel, no compromises. Because these are Neutrik feedthroughs, the locking mechanism and contact quality are the same you'd expect from any Neutrik chassis connector, which matters when a local stagehand is yanking cables in a hurry at load-in. The panel draws zero watts and weighs 2.3kg fully unpopulated, so it won't stress your rack's weight budget. What it will do is add a complete layer of wiring behind the panel — plan for that depth behind the rack before you commit the position.
This panel earns its place in any analog or hybrid rig where you're running a full 32-channel 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. and want a reliable, repeatable front-panel interface — monitor worldThe side-stage domain of the monitor engineer — console, IEM racks, and everything feeding the band’s ears instead of the audience. rigs especially benefit, since the engineer needs to swap and re-patch quickly between changeovers. If your inputs are predominantly networked via DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. or AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. and you're only landing a handful of analog lines, 32 ports is overkill and a smaller 8- or 16-port panel will serve you better. Likewise, if you need 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. or attenuation between points, a true patchbayA panel of front-facing jacks wired to everything behind it — re-route any signal with a short cable instead of climbing behind the rack. replaces this — the NYS-SPP-32 is a feedthrough, not a signal router.
In the rack
- Label every port before the first show using laminated tape flags or a label printer — front-face labels should match your stage plot exactly (instrument name, not just a channel number) so a sub engineer can work the rack without a handoff.
- Run your fanoutA cable that splits one multichannel connector (like a DB25) into individual plugs — the octopus that turns 8 channels into 8 XLRs. cables from 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. to the rear connectors during pre-rig with the panel pulled slightly forward on its rack earsThe flanges that bolt gear to the rack rails. Desktop boxes without them need a shelf, tray, or drawer to live in the case.; at 60mm deep it's tight work in a dense rack and you want slack to solder or terminate without fighting the frame.
- Color-code by signal group — vocals one color, drums another, commsProduction intercom — the wired or wireless party line connecting FOH, monitors, stage managers, and lighting during a show. a third — using colored cable boots or colored heat-shrink on the rear tails. At a dark monitor worldThe side-stage domain of the monitor engineer — console, IEM racks, and everything feeding the band’s ears instead of the audience. position this distinction is faster to read than any label.
- Position this panel immediately adjacent to the stage-box input on your console or interface so the patch path is as short as possible; excess cable looped behind the rack is a noise and strain-relief liability on a touring rig.
2UThe 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 32 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 per stage-box channel.
I/O Ports (32)
| 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 | — |
| Stage Patch 17 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 18 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 19 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 20 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 21 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 22 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 23 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 24 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 25 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 26 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 27 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 28 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 29 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 30 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 31 | XLR FEMALE | bidirectional | analog audio | — |
| Stage Patch 32 | XLR FEMALE | bidirectional | analog audio | — |
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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