Abstract:
Musical instrument effects pedals are powered from adjacent pedals by providing electrical connectors between adjacent pedals and by providing tip-ring-sleeve jacks in the pedals and three wire connectors with tip-ring-sleeve connectors, which carry sound signals from an instrument through sequential pedals and electrical power in an opposite direction to the pedals.

Description:
This application claims the benefit of U.S. Provisional Application No. 60/963,530, filed Aug. 6, 2007, which is hereby incorporated by reference in its entirety. 
    
    
     SUMMARY OF THE INVENTION 
     The invention provides and controls phantom power to a chain of pedals from a power supply and audio signal connecting box. 
     A tip-ring-sleeve connector cable provides power from the power supply box to a first pedal. Additional pedals may be connected by tip-ring-sleeve connector cables. A tip-sleeve connector cable connects the last distal pedal to a guitar. Audio signals from the guitar are carried to the last pedal by the tip-sleeve cable. Pedal-modified signals are carried to the power supply and audio signal connecting box through the tip-ring-sleeve cables. The box is connected to an amplifier by a tip-sleeve connector cable. 
     Microphones are currently phantom powered but use a different type of cable and different impedance than guitarists/instrument cables. Multiple microphones are not linked together. Effects pedals can be and frequently are linked together in-line. Each pedal provides a different effect on the audio signals. 
     Electric guitarists and bass players regularly use effects pedals that are placed on the floor in front of the musician and are engaged or disengaged by stepping on a switch that is part of the pedal. These effects alter the audio signal in various ways: echo, distortion, chorus, compression, etc. All of them require internal or external power. At present, these pedals are either powered by batteries (usually 9 volt), or use power adapters (usually the “wall-wart” type that plug into a standard AC wall outlet and then use a transformer to convert the voltage to DC, usually 9 volts). Both of these methods (batteries and adapters) are frustrating to the musician. Batteries can die during a performance and are expensive. Power adapters are cumbersome, messy, and pose a hazard on stages where performers or other people can trip over the extraneous wires. 
     A chain of phantom powered effects pedals solves these problems by supplying the necessary voltage through standard stereo style audio cables among the pedals in the chain and between the first pedal and the box. Currently, guitarists and bassists use ¼″ mono connector cables. All that is necessary to send phantom power back to the pedals is a standard shielded ¼″ tip-ring-sleeve connector/cable, which will work in the existing type of connector jacks. 
     The pedals have simple modifications: tip-ring-sleeve style jacks replace tip-sleeve jacks and/or additional dip switches to allow for various pedal set-up chains. Pedals can be chained together in-line, and the phantom power could power all of them. Additionally, with the proper circuit and switch configuration, DC voltage potentially could be sent to other non-phantom powered pedals by sending the DC voltage OUT through one or more existing DC voltage IN mini-jacks, which would not be in use if the pedal was using phantom power. 
     The power supply unit would be placed near the amplifier, away from the musicians&#39; feet. This is where the audio cable going from the last pedal in the chain of pedals to the amplifier would “pick-up” the required DC voltage. Eventually and optimally, amplifier manufacturers could implement this power supply into the amplifiers themselves, and no external power supply would be needed. A small switch could be placed on the amplifier, either on the front or back, activating the 9 volt DC to send to the pedals. Similarly, this is the way almost all mixing consoles are now built (including the small switch) to power phantom powered microphones. 
     Additionally, since not all pedals will be able to receive phantom power, a small box, appearing much like an effect pedal, could be placed with the other pedals, last in the chain of pedals, i.e. last unit before signal goes to power supply/amplifier, to receive the phantom power, and then to distribute the required DC voltage to the other pedals through the existing/conventional adapter jacks. 
     The power supply unit could have an on/off switch, one or more extra AC receptacles, an LED light to show that there is power present, a fuse and one or more DC plug receptacles. 
     On the phantom power distributor pedal, there are many possible variations as well; for example, the distributor pedal could perform some other function, like the ability to mute the audio signal with the footswitch and to redirect the audio output to a tuner. Also, other various possibilities exist. An LED light on the pedal shows that power is present, which is good and practical, especially for trouble-shooting. The distributor pedal could also have any number of DC outlets of the small, currently existing kind, as well as a reverse-polarity DC outlet. Some older pedals have reverse polarity on their DC inputs. Reverse polarity switches reverse the positive and negative leads on the jacks. Any number of variations of these features could be employed. The distributor pedal would be totally passive, requiring no power itself. 
     Implementing the power supply in an amplifier so that no external power supply would be needed would not require that the power supply be contained in its own box. The amplifier itself would serve as the enclosure. 
     Switching in the phantom powered pedals could be accomplished by any electromechanical means, be it ganged or independent switches, and be of any variety; including toggle, DIP, rotary, push-button, slide, CMOS or similar, or relay or other electromechanical contact, directly or indirectly actuated mechanically or electrically or via software and/or remote control. Whether using separate jacks or switches—the same changes of DC power function are performed. One feature of the phantom powered effect pedal is the ability to send the DC power out through the existing DC-in jack, with the potential of placing additional DC in/out jacks so that a switch would not be needed. 
     These and further and other objects and features of the invention are apparent in the disclosure, which includes the above and ongoing written specification, with the drawings. 
    
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
         FIG. 1  is a view of the system showing a power supply, including an audio signal input, two phantom powered pedals and connectors. 
         FIG. 2  is a view of the connectors and pedals with the foot switches removed to show the absence of batteries. 
         FIG. 3  is a detail of the phantom power supply and cable connections to an AC source, to the first pedal and to the amplifier. 
         FIG. 4  is a detail of two in-line pedals with connecting cables. 
         FIG. 5  is a detail of a distributor pedal with a phantom power input jack and two DC output receptacles. 
         FIG. 6  is an opposite side detail of distributor pedal in  FIG. 9 . 
         FIG. 7  is a schematic representation of the invention. 
         FIG. 8  is a schematic representation of the power distributor breakout box. 
         FIG. 9  is a schematic representation of the power supply. 
         FIG. 10  is a schematic representation of the series of pedals. 
         FIG. 11  is a schematic representation of the series of pedals. 
     
    
    
     DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS 
     The drawings are for the purpose of illustrating the invention&#39;s preferred embodiments and not for the purpose of limiting the invention. 
       FIG. 1  shows the DC power supply box  11 , which includes an AC power input connector  13 , a step-down transformer and an AC-DC converter within the box  11 , a three-wire cable jack  15  for connecting a three-wire cable  17  for audio signal input to the box  11  and phantom power output from the box  11  and a two-wire audio signal output cable jack  21  for receiving a connector  23  on a two-wire audio signal output cable  25  to an amplifier. The three-wire cable  17  has a first end tip-ring-sleeve (TRS) connector  19  for connection to the three wire jack  15  and a second end tip-ring-sleeve connector  20  for connecting to effects pedal  31 , to provide phantom power from box  11  to the effects pedal and to transfer audio signals from the effects pedal through the box  11  to the amplifier. 
     Effects pedal  33  is connected to the effects pedal  31  with tip-ring-sleeve end connectors  47  and  49  on a three-wire cable  51 . Connector  47  connects to the audio signal output jack  53  of the effects pedal  33 , and connector  49  connects to audio signal input jack  55  of the effects pedal  31 . The audio signal output jack  57  on pedal  31  receives/secures the second end connector  20  of the three-wire cable  17 . Phantom power from the power supply box  11  travels through the jacks, connectors, and three-wire cables  17  and  51  to provide power to the effects pedals  31  and  33 . Pedal  33  has an audio input jack  56  which receives a tip-sleeve connector  54  on an audio cable  58  from a guitar. Hinged foot tread switch operators  32  and  34  on the pedals  31  and  33  are moved by foot to turn the pedals on and off. 
       FIG. 2  shows effects pedals  31  and  33  with the hinged foot tread switch operators raised to show that 9 volt batteries have been removed from battery compartments  36  and battery connectors  38 . 
       FIG. 3  is a detail of the connections to the power supply showing the AC input, the jack  15 , tip-ring-sleeve connectors  19  and  20  on cable  17  and jack  21  with tip-ring (TR) connector  23  on audio signal cable  25 . 
       FIG. 4  is a detail of the pedals and their connections as described with reference to  FIG. 1 , showing the tip-sleeve audio connector  59  from the cable  58  to the guitar. 
       FIGS. 5 and 6  show the phantom distributor pedal with one output jack  57  and two input jacks. The DC power outlets  93 ,  97  and audio input  99  are also shown. LED  103  emits a light when power is on. 
     In  FIG. 7 , “On” is down (“ON”) on all four switches  107 ,  109 ,  111  and  113 . Long dash lines  115  and  117  show ganged switches. Deviation from stock: If Ghost Thru A and B  111 ,  113 ,  117  is left on with battery installed, then automatic “unplug=power-off” is defeated, as Ghost Thru B switch maintains battery circuit to ground GND.  FIG. 7  shows the phantom powered effect pedal circuit including a three-conductor ¼″ TRS (tip-ring-sleeve) jack  103  for audio input on the tip  103 T and 9V DC power output on the ring  103 R, and ground on the sleeve  103 S. The tip  123 T of ¼″ TRS jack  123  has audio output; the ring  123 R has 9V DC input, and the sleeve  123 S is ground. The audio signal will always pass from the tip  103 T of connector  103  to the tip  123 T of connector  123 . 9V DC will be present on the ring  103 R of connector  103  only if both the ganged  115  Ghost Power A and B switches  107  and  109  are down (on), and Ghost Thru A and B switches  111  and  113  are down, allowing 9V DC to pass from the ring  123 R of jack  123  to the ring  103 R of jack  103 . Switches  107  and  109  are ganged together  115  in a single DPDT (double pole, double throw) switch, shown by the dashed line  115 , so that they switch simultaneously. The same is true for switches  111  and  113 , ganged together  117 , as shown by the dashed line  117 . When all switches  107 ,  109 ,  111 , and  113 , are in the up (normal) position, the pedal functions in a completely “stock” (normal) mode, so that it can be powered by a battery at  119  through line  129 , or with DC power from an AC adapter/transformer at the DC IN jack  121 , a standard mini-barrel type. With all switches  107 ,  109 ,  111 , and  113  in the up (normal) position, the battery will not be grounded (or discharged) at  113  and  107 , as the ring  123 R at TRS connector  123  will function as a ground if a TS (tip-sleeve) cable is plugged into the pedal at jack  123  when phantom power is not being used. When the “Ghost Power” switches  107 , and  109  are in the down position (on), power is supplied to the pedal regulator at  127 , and the battery is removed from the circuit at  125 , to prevent charging the battery, and allowing the user to safely keep a battery in the pedal if desired. When switch  107  and  109  are in the down (on) position, 9V DC is also sent through switch  107  to the mini-barrel DC IN jack  121 , which allows the pedal to send out 9V DC via a standard two-conductor jumper cable to power additional non-phantom powered pedals. This feature allows the use of phantom powered pedals and non-phantom powered pedals together in-line, without the need for batteries or power supplies for the non-phantom powered pedals. 
       FIG. 8  is a detail of the phantom power distributor unit, first pedal box or breakout box  130  that is placed near the other effects pedals (non-phantom powered pedals). Jack  133  is a ¼″ TS jack with audio-in signal on the tip  133 T, which is sent directly to the audio-out tip  131 T of jack  131 . The sleeve  133 S of jack  133  and the sleeve  131 S of jack  131  are both ground, as well as points  143  and  145  on the DC power output jacks. The ring  131 R of jack  131  supplies 9V DC to the identical DC-outs  135  and  137 , which are standard two-conductor mini-barrel type, or standard mini-phone plug (⅛″), most commonly used in musical effects pedals. Several identical DC output jacks may be added to allow for ease of powering more pedals. A resistor  139  and capacitor  141  are added to each DC output  135 ,  137  to help isolate the power to each pedal. 
       FIG. 9  is a detail of the power supply unit which supplies regulated 9V DC to the ring of a standard ¼″ TRS jack  151 , to be sent out to phantom powered musical effects pedals or the breakout box. 120 VAC is supplied at connector  155 , and supplies power via the black (hot) wire to the power converter  161 , but first passes through a fuse  157  and a main switch  159 . The white-neutral wire from connector  155  is connected directly to the power converter  161 . The power converter  161  supplies regulated 9V DC via wire  169  to ring of ¼″ TRS jack  151 . The tip of jack  151  is audio-in and is wired directly to the audio-out tip of the ¼″ TS jack  153 . The sleeve of jack  151  and the sleeve of jack  153  are both ground. An LED  163  and resistor  165  are added as a visual indicator that the power supply box is active. 
       FIG. 10  shows the system of using the breakout box  171  to power non-phantom powered effects pedals  173 , thereby eliminating the need for new or modified pedals, batteries, extension cords, or individual power supplies to power individual pedals. The ring of a ¼″ TRS cable  191  carries 9V DC to the breakout box  171  from the power supply  195 . An LED  179  shows that the breakout box is active and supplying power to the DC outputs  181 . The power supply  195  may also be enclosed and/or implemented inside the instrument amplifier.  199  and  193  are ¼″ TRS jacks. 9V DC is supplied from the ring at jack  193  and sent to the standard two-conductor mini DC outs  181 , which can then be sent to standard mini DC-in connectors  187  at multiple non-phantom powered effects pedals  173  via standard two-conductor jumper cables  189 . Audio from the instrument  205  is passed through the effects pedals on the tip of a standard TS cable  185 , and further TS cables  185  are used to connect all pedals  173  together and to supply the audio signal to the breakout box at jack  183 . The audio is sent from the tip of jack  183  to the tip of jack  193 , and is then sent to the amplifier through the tips of jacks  199  and  197  and TS Cable  185 . 
       FIG. 11  shows the system of powering phantom powered effects pedals  207 ,  208  and non-phantom powered effects pedals  211  and  212  without the use of batteries, extension cords, or adapters for all pedals, both phantom powered, and non-phantom powered. The ring of a ¼″ TRS cable  209  and  223  carries 9V DC to the phantom powered effects pedals  207 ,  208  from the power supply  220 . The power supply  220  may also be enclosed and implemented inside the instrument amplifier. The phantom-thru switch is engaged (on) at pedal  207 , allowing power to pass through pedal  207  to also power pedal  208 , via the TRS cable  223 . The phantom-thru switch is not engaged (off) in pedal  208 , because the next pedal  211  will not receive phantom power via a TRS cable. When phantom power is turned on in pedal  207  and  208 , 9V DC is sent out from the mini DC power jack  213  (normally used as a DC-in jack when phantom power is turned off), powering the non phantom powered pedals  211  and via mini two-conductor jumper cables  215  connected from jack  213  to jacks  217 . Audio is passed from the musical instrument  221  to the amplifier through the pedals  212 ,  211 ,  208 ,  207  and power supply unit  220  via the tips of the ¼″ TS cables  219  and  222  and TRS cables  223  and  209 . 
     While the invention has been described with reference to specific embodiments, modifications and variations of the invention may be constructed without departing from the scope of the invention.