If there for microphones they need to be grounded at both ends, and the shielding should be braided copper, not foil (for durability, and somtimes foil will crackle when moved.)
All one way? If your talking about having all the ground conections at one end, yes, thats to prevent any ground connection between gear thru the interconnects.
Last edited:
"All one way? If your talking about having all the ground conections at one end, yes, thats to prevent any ground connection between gear thru the interconnects. "
You do mean ground loops. correct?
Remember that this is only for equipment that share a common ground on the power supply side through the earth ground (green wire).
Some devices such as some effect units are completely isolated and require at least one ground on both ends of the signal side.
I hope that I said that right. jer
You do mean ground loops. correct?
Remember that this is only for equipment that share a common ground on the power supply side through the earth ground (green wire).
Some devices such as some effect units are completely isolated and require at least one ground on both ends of the signal side.
I hope that I said that right. jer
Last edited:
Yes.
This discussions needs some clarification. For interconnect cables I have been reffering to (transformer) balanced connections, every thing else is case by case for the actual connecting. I think its one of the biggest problems in sound quality in studios these days. It used to be, all gear had +4dbm transformer balanced I/O. Now, unless your buying the best, theres a dozen combinations of semi balanced to unbalanced devices. Ground loops are the curse of studios that use unbalanced gear, and the most common ways of "fixing" this is with the deadly ground lift.
After all that, this does not effect your choice of cable or connectors, only the way they are connected. And thats another story.
Yes, it does get very confusing as I try not to get too envolved in such discusions.
As I have seen a few turn into an all out war of how it should be done.
There alot of very good tutorials on this subject and should be studied in great depth in order to achieve the proper results and understanding.
The eqiupment I have has both balanced and unbalanced inputs and outputs sometimes on the same jack.
This can cause problems and much confusion when trying to make interface cables between the two formats.
Although it is all top notch quality stuff it is considered "semi-pro", as compleatly "pro" has all balanced inputs and outputs throughout the system.
I once had a Yamaha "pro" board that used transformers on the ins and outs and it was a great board when I used it in the studio.
But when I took it out to do live shows it became a nightmare with some sort of low frequency feedback.
I spent many months trying to figure out what was wrong but I failed to find the problem.
Because when I got it back home and hooked it up it was dead silent and sounded great.
So, We got rid of it as it was quite massive and heavy to be used on the road.
Even though it did have an anvil case.
jer
As I have seen a few turn into an all out war of how it should be done.
There alot of very good tutorials on this subject and should be studied in great depth in order to achieve the proper results and understanding.
The eqiupment I have has both balanced and unbalanced inputs and outputs sometimes on the same jack.
This can cause problems and much confusion when trying to make interface cables between the two formats.
Although it is all top notch quality stuff it is considered "semi-pro", as compleatly "pro" has all balanced inputs and outputs throughout the system.
I once had a Yamaha "pro" board that used transformers on the ins and outs and it was a great board when I used it in the studio.
But when I took it out to do live shows it became a nightmare with some sort of low frequency feedback.
I spent many months trying to figure out what was wrong but I failed to find the problem.
Because when I got it back home and hooked it up it was dead silent and sounded great.
So, We got rid of it as it was quite massive and heavy to be used on the road.
Even though it did have an anvil case.
jer
I prefer making my own -- the thin george L cable sounds great and you can make any length you want -- use quality plugs -- switchcraft is the best experiment with different cable and lengths -- check the capacitance per foot when you buy a reel try different types of cable ---- the lower value will give you more zing and clarity -- certain cables suit different instrument/amp setups.. have fun !
I use the Bill Lawrence solderless cables. I know, many don't like solderless connections or thin cables. They are great cables and try as I might I could not pull the connector off!
An externally hosted image should be here but it was not working when we last tested it.
For guitar cables I use this stuff with the Dayton brand connectors:
Guitar Instrument & Signal Cable 100 ft. Spool
For better looking cables I add sleeving like this:
GRP120NF14 BK005 Alpha Wire Tubing & Sleeving - (Non-shrink)
It's expensive, but it makes for very professional looking cables.
For XLR/mic cables I use mil-spec 22AWG or 24AWG teflon twisted shielded pair wire like M27500-22RCS06 with Neutrix connectors. I think ApexJr has some 22AWG pair wire for sale now.
Guitar Instrument & Signal Cable 100 ft. Spool
For better looking cables I add sleeving like this:
GRP120NF14 BK005 Alpha Wire Tubing & Sleeving - (Non-shrink)
It's expensive, but it makes for very professional looking cables.
For XLR/mic cables I use mil-spec 22AWG or 24AWG teflon twisted shielded pair wire like M27500-22RCS06 with Neutrix connectors. I think ApexJr has some 22AWG pair wire for sale now.
ahh, that brought my bass back to life
lately I have had severe difficulties to tune my bass
or actually, low notes had become so blurred it was completely impossible to hear one note from the other
because I also built a new speaker, I thought that was the probelm
or my amp was crap
actually its a small 15watt guitar amp
so what else could I think
and voila, new fresh cable, and it works again
man, have I missed playing bass
tho, decision is made
I will build myself a real hefty bass amp
but lesson learned....be aware of twisting crappy soft jack cables
lately I have had severe difficulties to tune my bass
or actually, low notes had become so blurred it was completely impossible to hear one note from the other
because I also built a new speaker, I thought that was the probelm
or my amp was crap
actually its a small 15watt guitar amp
so what else could I think
and voila, new fresh cable, and it works again
man, have I missed playing bass
tho, decision is made
I will build myself a real hefty bass amp
but lesson learned....be aware of twisting crappy soft jack cables
its calculated carefully to be on par with quality of my amp
I think the electrical tape adds a funky grunge look.
Nice work, though.
hey, regarding my broken cable, I got a new one from manufacturer
which enables me to compare it to my homegrown diy connect cable
my diy cable is clearly more 'mellow'
but with more attack
sounds a bit louder, more forward
the commercial cable is sweeter sounding
clearly more 'reluctant' and less forward
a bit surpricing that differences are that easy to hear
hmm, maybe its an effect of a non buffered high impedance output passive pickup, and possibly a bit too low amp input impedance
which enables me to compare it to my homegrown diy connect cable
my diy cable is clearly more 'mellow'
but with more attack
sounds a bit louder, more forward
the commercial cable is sweeter sounding
clearly more 'reluctant' and less forward
a bit surpricing that differences are that easy to hear
hmm, maybe its an effect of a non buffered high impedance output passive pickup, and possibly a bit too low amp input impedance
My brother recently dropped off a bunch of XLR ends and 1000' Mic Cable for stage use.
I spent several days soldering stuff up for stage mics and board jumpers. OUCH what a pain in the rear!
They did get fairly prices from this place.
Audiopile Pro Audio / EWI Cables and Cases
Cable = BCB-2067S
XLR End = CA-133
XLR End = CA-134
You can save good money as long as you sucker someone qualified into soldering them up,,
Yep, I got suckered in, but hey, its family, payback is in his future
With the constant tear-downs and setup's they have gone through a heck of a lot of prefab cords. The biggest fail point always seems to be the low quality of the XLR ends.
fun
I spent several days soldering stuff up for stage mics and board jumpers. OUCH what a pain in the rear!
They did get fairly prices from this place.
Audiopile Pro Audio / EWI Cables and Cases
Cable = BCB-2067S
XLR End = CA-133
XLR End = CA-134
You can save good money as long as you sucker someone qualified into soldering them up,,
Yep, I got suckered in, but hey, its family, payback is in his future
With the constant tear-downs and setup's they have gone through a heck of a lot of prefab cords. The biggest fail point always seems to be the low quality of the XLR ends.
fun
- Status
- This old topic is closed. If you want to reopen this topic, contact a moderator using the "Report Post" button.