Audio Engineering

In-Line (Series) Patching

The Music Telegraph | Text 2019/08/14 [12:33]
Audio Engineering

In-Line (Series) Patching

The Music Telegraph| 입력 : 2019/08/14 [12:33]

▲ Figure 1: Signal Flow of an In-Line Patch before Input to Mixer Channel

© The Music Telegraph



 

In-Line (Series) Patching

 

In-Line signal patching means that you are taking a processor and placing it in between two other processors. For instance, we will be inserting the effects processor in between the output of the CD player and the input to the mixer channel and later between the output of the mixer channel input preamp output and the channel equalizer input.

 

 

In-Line patching breaks the signal path (Figure 1)

When you patch a processor in-line in a signal path, the original signal is no longer available in the output of the processor. The output of the processor is the only signal that will be available.For instance, if you have undesirable problems on a track like say snare drum leakage on the kick drum track, you would certainly want to eliminate the offensive leakage before doing any processing of the kick. In this case you are not interested in retaining any of the original signal soan in-line patch of a noise gate here is completely appropriate. Another example of useful in-line patching occurs when you want to use an equalizer to alter the timbre of a signal. By definition you do not want the unequalized signal, so an in-line patch is just the ticket here.

 

 

Recovering the use of the unprocessed signal

But what if you do want to use the original signal as well as the processed one? Many processors have a feature that allows the original input signal to be mixed with the processed output signal. This is called the "blend" or "mix" or "wet/dry" control, depending on the manufacturer. Itis a convenient feature for those project studios whose mixers are input challenged, as it does not require an additional channel path to process the effects signal. The addition of reverb to a signal in a guitar amplifier is a good example of the use of this blend feature. It is not however generally used in professional situations because it does not offer enough control over the individual signal paths, and the quality of the reverb circuit is not as high as the mixer's.

 

 

 

 

 

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