A configuration for input channels on a mixing desk, where the tape returns are connected via a parallel and additional line input to the channel. This obviates the need for a separate tape monitoring section on the desk, hence the tape returns are said to be in- line. The advantage is that, during remix, the input channels are all available as inputs, allowing all available tape tracks to be mixed from all available tracks of audio from synthesizers. Thus, in- line operation effectively doubles the number of inputs on a mixer. The opposite of a split console-type mixer.

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