Wiring a Stereo Pedalboard
Wiring a stereo pedalboard requires a little more planning than its mono counterpart. Depending on the pedals involved, you'll need some combination of TS, TRS, and splitter cables, in lengths determined by where everything ends up on the board. And since pedalboards have a tendency to evolve, it's worth considering what you might need when the inevitable rearrangement occurs. Let's figure out what connects to what, and how to get there.
1. Identify Your Pedal Connections
Before deciding which cables you need, take a look at the input and output jacks on each pedal. Most use standard 1/4-inch connections, but what those connections carry isn't always obvious.
A mono pedal typically has one input and one output, each using a TS (Tip-Sleeve) connection. Stereo pedals are a little less consistent. Some have separate left and right jacks, while others use a single TRS (Tip-Ring-Sleeve) jack to carry both channels. Some use a combination of the two.
It's worth noting that TRS doesn't necessarily mean stereo. The same connector can carry a balanced mono signal, serve as an expression pedal connection, or perform other functions entirely. The number of metal contacts on a plug doesn't tell you exactly what the pedal expects.
Check the labels around the jacks, particularly markings like L/Mono, R, Stereo, or TRS. If there's any ambiguity, consult the manual. Manufacturers have each developed a remarkable number of different ways to accomplish what is essentially the same task.
Once you've identified the connections on each pedal, you're ready to figure out how they should connect to one another.
2. Arrange Your Signal Chain
Now that you know what each pedal can do, decide what order you want them in. There's no single correct arrangement, and experimenting with pedal order is half the fun. But for now, we're concerned with which pedals need to connect to one another.
The important question for stereo wiring is where does your signal become stereo?
You might have several mono pedals feeding a stereo chorus, followed by a stereo delay. Everything before the chorus requires only a single signal path with a typical pedal patch cable. Once the chorus splits the signal into left and right channels, both paths need to be maintained through the delay, other stereo effects, and on to your amps or other destinations.
Keep in mind that a stereo pedal doesn't necessarily produce a stereo signal in every configuration. Some require both outputs to be connected, or specific settings to be enabled. And putting a mono pedal after a stereo effect may mean sacrificing one of those channels.
At this point, don't worry about cable lengths or where the pedals will physically sit on the board. Just establish the signal path and identify which connections need to carry one channel and which need to carry two. We'll deal with the geography shortly.
3. Choose Your Cable Types
With your signal chain established, you can work through each connection and determine which cables you'll need. The trick is matching the output of one pedal to the input of the next. They're not necessarily the same.
For most pedalboards, you'll encounter a few common configurations:
- TS to TS: The standard mono patch cable, connecting one output to one input. Stereo pedals with separate left and right jacks will typically require two of these.
- TRS to TRS: Used when both pedals carry stereo signals through single TRS jacks.
- TRS to dual TS: Often called a stereo breakout or Y-splitter cable. This connects a single stereo TRS jack to two separate mono jacks, or vice versa.
- Other combinations: Some pedals have less conventional wiring requirements. Consult the manual before assuming a particular cable will work.
You'll also need to consider the physical connectors. Straight plugs are useful where space permits, while right-angle plugs can help keep things compact. Low-profile connectors are particularly useful on crowded boards, although not every pedal provides enough clearance for every plug design.
One final distinction: a stereo breakout cable is not the same as a simple Y-cable that duplicates a mono signal. They may look nearly identical, but they're wired differently. Make sure you're buying the one your pedals actually require.
By now, you should have a list of connections and the cable type required for each. Next comes figuring out how long they need to be.
4. Determine Your Cable Distances
Now we need to figure out where everything goes. Your signal chain determines which pedals connect, but their physical arrangement determines how far those connections need to travel. Two pedals that are next to each other in the signal chain might end up on opposite sides of the board.
Rather than measuring every connection in centimeters, we find it useful to think in terms of pedal distance. We've divided these into three general categories:
| Classification | Definition | Length Range |
| Adjacent | Pedals positioned directly next to one another, requiring only a short patch cable. | Up to 20 cm (8") |
| Nearfield | Connections spanning a few pedal positions, perhaps between rows or around another pedal. | 20–40 cm (8–16") |
| Farfield | Longer connections across the board, between widely separated pedals, or to and from a loop switcher. | 40–100 cm (16–40") |
These aren't precise measurements. A compact mini pedal and a large multi-effects unit occupy considerably different amounts of real estate. Jack placement matters, too. Top-mounted jacks can make for shorter connections than side-mounted jacks, depending on the arrangement.
Consider the actual route your cables will take. Running a cable beneath the board, around a power supply, or past several other pedals can add considerably more distance than a straight line between two jacks would suggest.
It's also worth allowing a little slack. Cables pulled tight between pedals make rearrangements difficult and put unnecessary strain on connectors. On the other hand, several feet of excess cable tucked beneath the board isn't particularly desirable either.
Once you've classified each connection by type and distance, you have nearly everything you need to put together your cable list.
5. Build Your Cable List
With your signal chain, connector types, and cable distances established, it's time to put everything together.
Make a list of each connection, noting the whether it's mono or stero, the cable type, distance category, and quantity required. Something like this:
| Connection | Type | Cable | Distance | Quantity |
|---|---|---|---|---|
| Pedal A → Pedal B | Stereo | TS to TS | Adjacent | 2 |
| Pedal B → Pedal C | Stereo | TRS to TRS | Nearfield | 1 |
| Pedal C → Pedal D | Stereo | TRS to dual TS | Farfield | 1 |
For connections using separate left and right channels, remember to account for both cables. It's surprisingly easy to count one connection between two pedals when you actually need two cables.
Once you've completed the list, add up the quantities of each cable type and distance. You now have a shopping list based on your actual pedalboard rather than an assortment of cables you hope will fit.
You can use our cable collections to find the appropriate configurations and lengths. If a connection falls somewhere between two available lengths, the longer option generally provides a little more flexibility.
[ TS Patch Cables ] → Adjacent • Nearfield • Farfield • Kits
[ TRS Patch Cables ] → Adjacent • Nearfield • Farfield • Kits
[ TRS Y Cables ] → Adjacent • Nearfield • Farfield • Kits
Of course, this assumes your pedalboard will remain exactly as you've planned it. Which brings us to one final consideration.
6. Leave Room for Changes
There's a quite reasonable chance your pedalboard won't stay exactly as you've arranged it. New pedals arrive, old favorites get replaced, and occasionally you discover that something sounds better in a different position.
Unfortunately, the cables don't always accommodate these decisions. Moving a pedal a few positions might turn an Adjacent connection into a Farfield one. Replacing a pedal with separate left and right inputs with one that uses a single TRS jack will require a different cable altogether.
It's worth keeping a few spares on hand. An extra patch cable in a different length, a TRS cable, or a longer stereo breakout can save you from having to place another order whenever inspiration strikes.
For larger boards, or those subject to frequent revision, an assortment covering several cable lengths can be particularly useful. Having a selection of Nearfield and Farfield cables available gives you considerably more freedom to experiment without having to reconsider your entire cable inventory.
The goal isn't to accumulate every possible cable configuration, just to have enough flexibility on-hand to accommodate inevitable rearrangements.