Abstract:
An audio monitoring and mixing system comprising a portable monitoring circuit, a breakout box, and a distribution circuit. The portable monitoring circuit includes a mixer for mixing audio signals to provide a mixed audio signal to an individual musician and a feedthrough for patching out an instrument effects signal. The breakout box includes a feedthrough circuit for distributing the first plurality of audio signals to the portable monitoring circuit and a second feedthrough for patching through the instrument effects signal from the portable monitoring circuit and providing the signal to an instrument effects processor. The distribution circuit receives audio signals and providing selected ones of the audio signals to the portable monitoring system. The system also includes a single, multi-signal cable connecting the monitoring circuit to the breakout box and a single, multi-signal cable connecting the breakout box to the distribution circuit.

Description:
FIELD OF THE INVENTION  
         [0001]    The present invention relates generally to audio mixers, and more particularly, to a portable audio monitor and mixer for musicians.  
         BACKGROUND OF THE INVENTION  
         [0002]    It is known in the art to provide in-the-ear monitoring systems to allow musicians to monitor audio signals as the musician is performing. Such a system may include a mixing device that is worn by the musician, for example, on a belt around the musician&#39;s hips, and includes an audio output for providing an audio signal to the musician through headphones or an ear bud. However, conventional systems of this type require the use of multiple cables and wires to accomplish in-the-ear monitoring. For example, signals from a microphone, an instrument, and a house mix may need to be provided to the musician for monitoring. As a result, the musician is encumbered by multitude of cables for providing each of these signals to musician monitoring audio signals. The resulting cabling requirements can limit the movement of the musician, and may become a tripping hazard, such as when a musician is performing on stage. Moreover, the ability for each musician to have control over the monitor mix he hears can only be accomplished by a remote mixer box. Currently, it is believed that this can only be accomplished by using multiple cables or radio transmitters and multiple mixing devices that are not worn by the musician. Furthermore, if a musician requires the use of an external effects processor, such as a guitar effects pedal, yet another cable is required to be run from the guitar to the effects pedal.  
           [0003]    Accordingly an improved method and system for providing a portable audio monitor and mixer for musicians is needed.  
         SUMMARY OF THE INVENTION  
         [0004]    A portable audio monitoring and mixing system is described herein as including a portable monitoring circuit, adapted to be worn by a musician, for receiving and mixing audio signals and patching out an instrument effects signal. The invention may also include a breakout box for distributing the mixed audio signals and patching through an instrument effects signal. The invention may further include a distribution circuit for receiving a second group of audio signals and providing selected ones of the second group of audio signals to the portable monitoring system.  
           [0005]    In another aspect, the invention may include a common cable comprising wires for coupling the audio signals and the instrument effects signal between the portable monitoring circuit and the breakout box. The invention may also include a second common cable comprising wires for coupling the audio signals between the distribution circuit and the breakout box. 
       
    
    
     BRIEF DESCRIPTION OF THE DRAWINGS  
       [0006]    The features of the invention believed to be novel are specifically set forth in the appended claims. The features and advantages of the present invention will become apparent from the following detailed description of the invention when read with the accompanying drawings in which:  
         [0007]    [0007]FIG. 1 is a block diagram of an embodiment of the invention.  
         [0008]    [0008]FIG. 2 is a detailed diagram of the components of the invention depicted in FIG. 1. 
     
    
     DETAILED DESCRIPTION OF THE INVENTION  
       [0009]    [0009]FIG. 1 is a block diagram of an embodiment of the invention. Generally, the system  10  comprises a hip pack  12 , a floor breakout box  14 , and a distribution box  16 . The invention also includes a single multi-signal cable  18  connecting the hip pack  12  to the floor breakout box  14 , and a single multi-signal cable  20  connecting the floor breakout box  14  to the distribution box  16 . Accordingly, the invention resolves the problems associated with multiple cables connected to the musician&#39;s in-the-ear monitoring system, and eliminates the need to have a separate mixer box to allow the musician to control his music mix. The invention combines all audio signals, such as the musician&#39;s instrument, microphone, effects processor, and stage monitoring signals, into the single multi-signal cable  18  that attaches to a hip pack  12  worn by the musician. The hip pack  12  allows the musician to mix the audio monitoring mix that he hears, independent of other musicians, and provides connections for microphones and instruments. If a musician is utilizing a floor stand type microphone or an instrument that is stationary, the invention may include a floor breakout box  14  to allow the monitor mix to flow up the single multi-signal cable  18  to the musician&#39;s hip pack  12 .  
         [0010]    [0010]FIG. 2 is a detailed diagram of the components of the invention depicted in FIG. 1. The hip pack  12  serves several purposes. First, it serves as the volume and mixer control for in-the-ear monitoring. Second, it serves as an amplifier for an in-the-ear monitor mix. Third, it serves as a connection point for the musician&#39;s microphone and instrument. In one embodiment, the hip pack  12  contains four separate volume controls  110 ,  120 ,  130 ,  140  that allow the musician to independently mix into his headphones (not shown) two channels of monitor mix. In one aspect of the invention, the musician may select from four signals  301  coming from a House PA board (not shown) via the distribution box  16 , as well as his instrument, and his microphone. The hip pack  12  may include a ¼ inch jack  141  for the musician&#39;s instrument that both sends the signal to the invention&#39;s monitoring feature in the Hip Pack  12  as well as back over the single multi-signal cable  18  to the floor box  14  and then to the distribution box  16  to be sent to the House PA. The hip pack  12  may also include an EFX output ¼ inch jack  171  to by-pass the hip pack  12  to send an instrument signal to a floor breakout box  14  for Effects Pedals, and an XLR mic jack  131  that sends a mic signal to both a monitor feature of the hip pack  12  and the distribution box  16  to be sent to the PA. All of these signals run thru a single multi-signal cable  18  from the musician&#39;s hip pack  12  to the floor box. No other mic or instrument cables are needed. For example, the single multi-signal cable  18  may include a shielded bundle of twisted pair wires, each twisted pair carrying a respective signal, the cable  18  including  25  pin “D” style connectors to connect to mating connectors on the hip pack  12  and breakout box  14 . The hip pack  12  includes an amplifier  150  that amplifies the audio mix to a jack  160  into which the musician can plug in headphones, ear buds, or mini speakers etc.  
         [0011]    The Floor Breakout Box  14  may be a pass thru box on the floor, positioned, for example, by the musician&#39;s feet. This box  14  serves several functions. First, it allows the musician to use a mic on a floor stand and still utilize the mic monitoring feature of the hip pack  12  without needing to plug the mic directly into the hip pack  12 . The mic plugs into the floor breakout box  14 . The floor breakout box  14  sends the mic signal to the single cable  18  going to the musician&#39;s hip pack  12  so that the musician can adjust the volume of his mic in the monitor mix as well as send the mic signal to the Distribution box  16  through the single cable  20  to be sent to the PA Board. A second function of the floor breakout box  14  is to allow the musician to utilize an effect processor, like a guitar pedal, and still only have one cable going from his hip to the floor. The hip pack  12  has a bypass jack  171  into which the musician plugs his/her instrument. This bypass goes directly to a ¼ inch efx out jack  271  on the floor breakout box  14 . The musician then plugs his effect unit (not shown) into the ¼ inch efx out jack  171  then connects a cable (not shown) from the effects unit into the ¼ inch instrument jack  241  on the floor breakout box  14 . The ¼ inch instrument jack  241  on the floor breakout box  14  is wired in parallel to the ¼ inch instrument jack  141  on the hip pack  12 . Thus, floor breakout box  14  sends the ¼ inch instrument signal to both the hip pack  12  for monitoring, as well as the distribution box  16  to be sent to the PA Board. A third function of the Floor breakout box  14  is to allow the musician to plug an instrument (such as a keyboard) directly into the floor breakout box  14  instrument jack  241  to be sent to both the hip pack  12  and distribution box  16 , and yet only have one cable  18  coming up to the hip pack  12  rather than have the keyboard&#39;s output cord plugging directly into the hip pack  12 . The overall benefit of the Floor Breakout Box  14  is to offer the musician an input source on the floor rather than his hip pack for microphone and instrument input, as well as a way to utilize an EFX unit.  
         [0012]    The Distribution Box  16  serves several functions. First, it receives input of, for example, four separate monitor mixes from the PA board. Second, the Distribution Box  16  distributes those four monitor inputs to eight separate switch units  302  located in the Distribution Box  16 —one for each of up to, for example, eight musicians. Third, it allows each musician to select any two of the four monitor inputs to be bused to the two monitor channels in his hip unit. It should be understood that the above-described configuration is not limited to a specific number of signals, switches, or musicians. One skilled in the art could provide any number of switching and signal configurations to provide monitor signals to any number of musicians. Fourth, the Distribution Box  16  provides a regulated 15 volt plus minus power source to the hip packs  12 . Fifth, it provides both balanced ¼ inch output jacks  332 ,  342  and balanced XLR outputs  331 ,  341  for both the musician&#39;s instrument and the mic to the PA system.  
         [0013]    In an aspect of the invention, the Distribution box  16  has provision for the house PA to provide, for example, four independent audio signals  301 . Each musician can then select, via switch units  302 , two of the four house PA audio signals to be utilized as channel A and Channel B in his personal audio mix. The signals of Channel A and B then travel to the musician via the single multi-signal cables  18 , 20  that all the audio signals utilize. The musician can then independently control the audio mix of the house PA signals by adjusting volume controls  110  and  120  on the hip pack  12 .  
         [0014]    Once the musician adjusts the audio mix in the A and B channel using volume controls  110  and  120 , the audio signal then goes to a amplifier  150  in the hip pack  12  where it is combined with signals from volume controls  130  and  140  (described in following paragraphs) and then on to, for example, a {fraction (3/32)} inch head phone jack  160 . From there, the signal travels to the musician&#39;s headphone or ear buds, etc.  
         [0015]    In another aspect, a third source of the musician&#39;s monitor mix comes from volume control  130 . Volume control  130  receives its input from one of two XLR type microphone jacks  131 ,  231 . The first XLR jack  131  is located in the hip pack  12 . The second XLR jack  231  is located in the Floor Breakout Box  14 . XLR Jacks  131  and  231  are wired in parallel via the single multi-signal cable  18  that all audio signals utilize. The Jacks  131  and  231  allow the microphone to be plugged into either jack  131  on the hip pack  12  or jack  231  on the Floor Breakout Box  14 . Because the signal from  131  or  231  travels to both volume control  130  as well as to output jack  331  or  332  located in the Distribution Box  16 , the musician can mix the volume of the microphone signal via volume control  130  to his in-the-ear monitor even if a floor mic is used. Transformer  334  converts the unbalanced signal to a balanced signal before it exits the Distribution Box  16  via  331  or  332  to the House PA. Once the musician adjusts the audio mix by adjusting the volume control  130 , the audio signal then goes to a amplifier  150  in the hip pack  12  where it is combined with signals from volume controls  110 ,  120 , and  140  and then on to the {fraction (3/32)} inch head phone jack  160 . From there the signal travels to the musician&#39;s headphone or ear buds, etc.  
         [0016]    Another source of the musician&#39;s monitor mix comes from volume control  140 . Volume control  140  receives its input from one of two ¼ inch jacks  141 ,  241 . The first jack  141  is located in the hip pack  12 . The second jack  241  is located in the Floor Breakout Box  14 . Jacks  141  and  241  are wired in parallel via the single multi-signal cable  18  that all audio signals utilize. The jacks  141  and  241  allow an instrument to be plugged into either jack  141  on the hip pack  12  or jack  241  on the Floor Breakout Box  14 . Because the signal from jacks  141  or  241  travel to both volume control  140  as well as to output jack  341  or  342  located in the Distribution Box  16 , the musician can mix the volume of the musical instrument signal via volume control  140  to his in-the-ear monitor even if a floor type instrument is use. Transformer  344  converts the unbalanced signal to a balanced signal before it exits the Distribution Box  16  via  341  or  342  to the House PA. Once the musician adjusts the audio mix by adjusting the volume control  140 , the audio signal then goes to a amplifier  150  in the hip pack  12  where it is combined with signals from volume control  110 ,  120  and  140  and then on to the {fraction (3/32)} head phone jack  160 . From there the signal travels to the musician&#39;s headphone, ear buds, etc.  
         [0017]    An important aspect of the invention is the utilization of single cables that contain multi-signal signals to connect all components of the system. In another embodiment, an EFX Patch  22 , utilizing ¼ inch jacks  171  and  271 , is included between the Hip Pack  12  and the Floor Breakout Box  14 . The EFX Patch  22  is a simple single channel connection. The EFX patch  22  allows a musician to plug an electric guitar into hip pack jack  171 . The signal from the guitar travels to the hip pack  12  jack  171 , then to the Floor Breakout Box  14  via the single multi-signal cable  18  to jack  271 . The musician then can attach the input cable from an EFX unit to jack  271 . Then, the output cable (not shown) of the musician&#39;s EFX unit would be plugged into Floor Breakout Box  14  instrument channel jack  241 . The signal from the musicians EFX unit then would travel in two directions. One direction is up the single multi-signal cable to the Hip Pack  12  to volume control  130 . The other direction is down the instrument channel in the single multi-signal cable  18  to output jacks  341  and  342  in the Distribution Box  16  to then be outputted to the House PA.  
         [0018]    The Distribution box  16  utilizes a transformer  311  to remove any Phantom Power source coming from the house PA. Phantom power is an industry acceptable way for a House PA to supply up to 48V on an audio cable to power some microphones that require a battery power source. This invention removes any incoming Phantom Power via transformer  311  so the House PA supplied 48 volts does not overwhelm the audio signals flowing through the system. In an aspect of the invention, the house PA Phantom Power is replaced with an independent Power supply  390  for powering the system. Power for Amplifier  150  in the hip pack is supplied via the single multi-signal cables  18 ,  20  from the power supply  311  in the Distribution Box  16 . Accordingly, the Distribution Box serves as the input and output from the invention to the House PA equipment as well as a location to house the Power Supply  390  and the Musicians Channel selection switch  302 .  
         [0019]    While only certain preferred features of the invention have been shown by way of illustration, many modifications and changes will occur to those skilled in the art. It is, therefore, to be understood that the present claims are intended to cover all such modifications and changes, which fall within the true spirit of the invention.