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| 1 | +# Connections & Patching |
| 2 | + |
| 3 | +Patching is where the magic happens. MICRORACK uses a simple, color-coded system to make signal routing intuitive. |
| 4 | + |
| 5 | +## The Pin Header Standard |
| 6 | + |
| 7 | +Instead of bulky patch cables, MICRORACK uses standard **2.54mm male pin headers** for all inputs and outputs. This allows you to use: |
| 8 | + |
| 9 | +| Cable Type | Description | |
| 10 | +|------------|-------------| |
| 11 | +| **Standard Jumper Wires** | Cheap and widely available from electronics suppliers | |
| 12 | +| **MICRORACK Patch Cables** | High-quality, flexible cables designed for the system | |
| 13 | +| **Breadboard Wire Kits** | Pre-cut lengths in various colors | |
| 14 | + |
| 15 | +> **Tip:** For firmer connections (especially for frequently-used interfaces), double-row male pin headers can be used per the mechanical specification. |
| 16 | +
|
| 17 | +## Color Coding |
| 18 | + |
| 19 | +MICRORACK follows a strict color-coding standard for pin headers: |
| 20 | + |
| 21 | +| Color | Function | Description | |
| 22 | +|-------|----------|-------------| |
| 23 | +| **Blue** | **Input** | Audio or CV signals entering a module | |
| 24 | +| **Red** | **Output** | Audio or CV signals leaving a module | |
| 25 | +| **Black** | **Utility / GND** | Ground, clock sync, power extension, stylus voltage | |
| 26 | + |
| 27 | +### I/O Placement Convention |
| 28 | + |
| 29 | +Per the MICRORACK specification, inputs are typically placed on the **left side** and outputs on the **right side** of modules, at the top edge of the board. |
| 30 | + |
| 31 | +## Patching Best Practices |
| 32 | + |
| 33 | +### Basic Rules |
| 34 | + |
| 35 | +- **Outputs to Inputs:** Always connect a Red pin (Output) to a Blue pin (Input) |
| 36 | +- **Never connect two Outputs:** Connecting two Red pins together can cause electrical contention |
| 37 | + |
| 38 | +### Splitting Signals (Mults) |
| 39 | + |
| 40 | +To send one output to multiple inputs: |
| 41 | + |
| 42 | +1. Use "stackable" jumper wires that allow multiple connections |
| 43 | +2. Use a small breadboard area to create a passive mult |
| 44 | +3. Connect multiple wires to the same output pin (up to 2-3 destinations) |
| 45 | + |
| 46 | +> **Note:** Per the electrical specification, each signal should have at least two output pins that duplicate the signal. This makes it easier to patch one signal to multiple destinations. |
| 47 | +
|
| 48 | +### Input Summing |
| 49 | + |
| 50 | +Many MICRORACK modules sum multiple inputs together: |
| 51 | + |
| 52 | +- Each input typically has 2+ pins that are summed internally |
| 53 | +- You can connect multiple sources to create complex modulation |
| 54 | +- This is useful for mixing CV signals (e.g., LFO + envelope → filter cutoff) |
| 55 | + |
| 56 | +## Improve Cable Management |
| 57 | + |
| 58 | +- Keep cables tidy to avoid accidentally pulling modules out |
| 59 | +- Use consistent color coding for different signal types (audio vs CV vs gate) |
| 60 | +- Write complex patches down to recall them later |
| 61 | + |
| 62 | +The color coding makes it easy to trace signals: follow Red to Blue connections through your patch. |
| 63 | + |
| 64 | +--- |
| 65 | + |
| 66 | +## Module Chaining |
| 67 | + |
| 68 | +MICRORACK modules can be chained together in various ways to create complex signal paths. |
| 69 | + |
| 70 | +### Signal Patching Across Breadboards |
| 71 | + |
| 72 | +Signals can be patched between breadboards just as easily as within a single board. For long runs, we recommend: |
| 73 | + |
| 74 | +- Keeping the boards physically close together |
| 75 | +- Using shielded cables for sensitive audio signals |
| 76 | +- Maintaining the color-coding convention (Red output → Blue input) |
| 77 | + |
| 78 | +### Chaining Techniques |
| 79 | + |
| 80 | +| Technique | Description | Use Case | |
| 81 | +|-----------|-------------|----------| |
| 82 | +| **Serial** | Output → Input → Output → Input | Effects chains, filters in series | |
| 83 | +| **Parallel** | One output to multiple inputs | Modulation distribution, audio splitting | |
| 84 | +| **Feedback** | Output looped back to earlier input | Self-oscillation, complex timbres | |
| 85 | + |
| 86 | +### Clock & Gate Chaining |
| 87 | + |
| 88 | +For sequenced and rhythmic patches: |
| 89 | + |
| 90 | +- Use **Black (Utility)** pins for clock signals |
| 91 | +- Chain clock from master sequencer/clock module to all slaves |
| 92 | +- Gate signals follow the same Red → Blue convention as audio |
| 93 | + |
| 94 | +> **Tip:** When building large patches across multiple breadboards, sketch your signal flow on paper first. This helps plan module placement and minimize cable lengths. |
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