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Old 26th April 2011, 01:13 AM   #21
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Oh yes I agree I have had many mic. cables go bad on the singers and the drum kit right in the middle of a performance.
Quite embrassing, and even more so when I had to scramble around the stage trying to replace it while the band played on. jer
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Old 3rd May 2011, 04:11 PM   #22
cbdb is offline cbdb  Canada
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Quote:
Just remember to only ground the shielding on one end only, and make sure that all the the cables are going one way.
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 by cbdb; 3rd May 2011 at 04:15 PM.
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Old 3rd May 2011, 05:05 PM   #23
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"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

Last edited by geraldfryjr; 3rd May 2011 at 05:27 PM.
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Old 3rd May 2011, 05:30 PM   #24
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sorry for the edits as I had to rethink that one abit. jer
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Old 3rd May 2011, 05:40 PM   #25
cbdb is offline cbdb  Canada
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You do mean ground loops. correct?
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.
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Old 3rd May 2011, 06:33 PM   #26
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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
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Old 29th July 2011, 07:22 PM   #27
osscar is online now osscar  Latvia
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I got today from ebay RCA connectors and soldered the RCA cables using screened silver plated wire from my stock (can be seen on the picture) . For external insulation I use the disassembled SCART TV cable insulation. Lenght - about 1.20m , measured capacitance approx. 100pf.

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Old 8th August 2011, 07:33 PM   #28
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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 !
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Old 9th August 2011, 12:09 PM   #29
kec is offline kec  United States
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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!

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Old 9th August 2011, 12:20 PM   #30
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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.
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