The real meaning of “breakout box”
In theatre and live sound, a breakout box is most often the box at the end of a multicore (snake) that lets you plug many microphones or lines into one place on stage. TheatreCrafts defines a breakout as a connection at the end of a multicore cable that allows the connection of many items to it, such as plugging microphones into a breakout box on a sound multicore. A stage box is similarly described as an interface device used to connect microphones and instruments on stage to a multicore cable that goes back to the mixing console.onelook+2
In other words, the breakout box or stage box:
- Groups many inputs in one place so multiple microphones and instruments plug into the box instead of running individual cables all the way to the booth.fullcompass+2
- Sends all those channels down one multicore or network cable to the console, which simplifies cabling and reduces trip hazards.wikipedia+1
- Often also provides returns (lines coming back to stage for monitors or other sends), especially in analog systems.fullcompass+1
What it is not:
- It is not the same thing as a patchbay. Patchbays are usually in racks and bring gear inputs and outputs to one convenient panel for flexible routing.bittree+2
- It is not a power distribution unit. Power distros are covered by NFPA 70 (NEC), OSHA, and ESTA safety guidance and must be designed, listed, and installed as electrical equipment, not as simple signal boxes.tsp.esta+2
For documentation, drawings, and training materials, use “stage box” or “breakout box” when you mean the snake head on stage, and “patchbay” when you mean a routing panel in an equipment rack.bittree+3
“Break out”: fanning out multi-channel connections
Technically, to “break out” is to fan out a multichannel or multipin connection into individual lines. In practice, that looks like:
- A breakout box at the end of a multicore cable: one big cable from the console, many XLRs at the box.theatrecrafts+1
- A DB25-to-XLR loom that breaks out 8 balanced audio channels from one multipin connector.rubberbox+1
- A digital stage box that breaks out a network audio stream into individual mic pre inputs and line outputs.erard+1
This is different from normal routing at the console. Assigning Input 1 to Channel 1 on the mixer is just standard signal routing. The breakout happened earlier, when the multicore or network line was turned into separate connectors the console can use.fibermall+2
For crew training and paperwork, that distinction matters:
- On drawings, label the multipin end as “multicore” or “trunk” and the panel or box with many connectors as the breakout.theatrecrafts+2
- When you say “break out that connection,” you should mean “use a breakout box or cable to separate the channels,” not just “put that mic on its own fader.”rubberbox+1
Clear terminology reduces mistakes when someone is trying to troubleshoot under show pressure, especially when multiple multicores, digital stage boxes, and patchbays are in play.bittree+1
“Break in”: what it is (and what it is not)
In everyday audio and AV language, “break-in” is almost never used to mean “adding a new signal to the system.” Instead, it usually means one of two things:
- Breaking in equipment, especially loudspeakers or headphones, by running them for some hours so the drivers loosen and stabilize. Manufacturers and audio writers routinely describe “speaker break-in” in this sense.thehouseofmarley+2
- Break-in points or jacks in some circuits, where you can interrupt the normal signal flow and insert a new device (for example, an insert jack that breaks the signal to feed a compressor). This is more of an electronics term than a standard theatre slang.bittree+1
When a theatre technician connects a new source, the typical language is:
- “Patch in another mic on channel 9.”
- “Add the playback computer to an input on the console.”
- “Route that camera feed into the switcher.”
Describing that as “breaking in” a signal is non-standard and risks confusing students and volunteers who later read AVIXA or manufacturer documentation where “break-in” means something completely different.avixa+1
For training materials, use:
- “Patch in,” “connect,” or “add a source” for new inputs.
- “Insert” or “insert point” when you are actually cutting into an existing signal path with another device.
This keeps your house vocabulary aligned with broader AV practice and with AVIXA and manufacturer documentation.avixa+2
Safety and code context around these devices
Even though breakout boxes and stage boxes carry low-voltage audio or network signals, they live in the same spaces as power distribution, dimming, and temporary wiring. It is easy for people to blur the line between “signal gear” and “power gear,” especially if both are just “a box with a bunch of connectors.” That is where codes and standards help.avixa+1
Key principles:
- Signal gear is not power gear. Stage boxes and audio breakouts should only be used for their intended low-voltage circuits. Power distribution must comply with NFPA 70 (NEC) and relevant OSHA regulations for wiring methods and temporary wiring.docinfofiles.nfpa+2
- ANSI E1.19, which addresses the use of Class A GFCI devices in the entertainment industry, specifically references theatres and stage areas and emphasizes proper personnel protection for temporary and portable electrical equipment.abtt+1
- OSHA’s general industry wiring standard 1910.305 requires that temporary wiring be installed as safely as permanent wiring, with specific rules on protection from damage, strain relief, and removal when the project is done.osha+1
For a performing arts center, that translates into some practical rules:
- Do not use a signal breakout box as a “handy power strip” or allow unqualified staff to drill or modify enclosures to add Edison outlets or IEC sockets. This creates unlisted equipment and can violate OSHA and NEC requirements.entertainingsafety+2
- Label signal boxes clearly (“AUDIO STAGE BOX,” “DMX BREAKOUT,” “NETWORK STAGEBOX”) so no one mistakes them for power gear during a rushed load-in.tsp.esta+2
- Ensure any power distro, feeder, and temporary cabling in the same vicinity meets NEC requirements and is installed by qualified personnel, per OSHA expectations and guidance from organizations like ESFI.motionlabs+2
Aligning language with function makes it easier to apply the right parts of NFPA 70 and OSHA 1910.305 to the right pieces of hardware and to follow ESTA guidance on GFCI use in wet or high-risk locations.docinfofiles.nfpa+2
Actionable recommendations for theatre teams
To tighten up practice and improve safety culture around this topic in a real venue:
- Standardize vocabulary in your documentation.
- Use “stage box” or “breakout box” for the snake head that microphones plug into.wikipedia+2
- Use “patchbay” only for rack-mounted routing panels (audio, intercom, video, or network).bittree+2
- Teach “break out” as a specific function.
- Explain that breakouts fan out a multicore or multipin into individual channels and are part of the system design, not just a casual synonym for “route.”fibermall+2
- Avoid “break in” for signal connection.
- Use “patch in,” “connect,” or “add a source,” and reserve “break-in” for discussions of equipment conditioning or circuit insert points.audioengine+3
- Separate signal and power in both hardware and training.
- Make it explicit that no one modifies breakout boxes or stage boxes to carry mains power. Stress that power systems follow NEC / NFPA 70 and OSHA 1910.305 rules, and must be installed or supervised by qualified personnel.tsp.esta+2
- Incorporate standards into your safety program.
- Reference ANSI E1.19 for GFCI and personnel protection practices in stage areas.docinfofiles.nfpa+2
- Bring AVIXA terminology into your staff training so your crew’s language matches broader AV industry glossaries and project documentation.avixa+2
A short “signal and power vocabulary” page in your tech handbook, reviewed during student or overhire onboarding, goes a long way toward preventing misunderstandings that can become both audio problems and safety problems.avixa+1
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