Yes
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is microphone xlr cable same as an audio xlr interconnect?
- Thread starter TonyJZX
- Start date
Ricardus
Addicted to Fun and Learning
Please enlighten us. I make cables, used to work at an audio cabling company, and have been a studio guy for 25 years. So what exactly have I been doing wrong?
This isn't part of that silly audiophile thing where "interconnects" aren't the same thing as cables, is it? Because interconnects are just cables.
The only difference I can think of is that a microphone cable might be made with a low magnetic pickup cable like star quad. That is typically unnecessary for line-level connection.
DSJR
Major Contributor
Tangential tales below -
The only area where there's XLR's and 'XLR's' is in at least two wanky amp-makers who (mis)used the three pin XLR connection as stereo L,R and common return for interconnect connection, arguably really to make it more difficult to compare with other amps and often using three core mains cable too (Naim insisted on DIN and bigger power amps XLR wired similarly and again, with three core mains cable). So-called 'tech' reviewers at the time never once commented on this (apart from these amps sometimes picking up taxi and so on interference and a local TV transmitter in a friend's case). All I suspect really to make the stuff 'different' in my opinion. One of these started using BNC connectors for the phono stage and the head honcho told me personally that "If they're good enough for my oscilloscope, they're good enough for a turntable!" You really couldn't make it up and 'we' all followed like sheep!
The great thing about using balanced cables (when I used to 'clearly hear differences' between many 'audiophile RCA terminated cable types) is that these 'differences' magically all but disappear if you use good cable and plugs. Mind you, I've discovered this with decently made and specified single core coax RCA cables too, so don't bother any more really.
So, get your two single mic XLR interconnects hopefully made with a 'known' cable, smile at the cost saving (I love the Roger Daltrey comment and wonder how many cables he broke in his career swinging them around as he does) and just listen to the music from now on
The only area where there's XLR's and 'XLR's' is in at least two wanky amp-makers who (mis)used the three pin XLR connection as stereo L,R and common return for interconnect connection, arguably really to make it more difficult to compare with other amps and often using three core mains cable too (Naim insisted on DIN and bigger power amps XLR wired similarly and again, with three core mains cable). So-called 'tech' reviewers at the time never once commented on this (apart from these amps sometimes picking up taxi and so on interference and a local TV transmitter in a friend's case). All I suspect really to make the stuff 'different' in my opinion. One of these started using BNC connectors for the phono stage and the head honcho told me personally that "If they're good enough for my oscilloscope, they're good enough for a turntable!" You really couldn't make it up and 'we' all followed like sheep!
The great thing about using balanced cables (when I used to 'clearly hear differences' between many 'audiophile RCA terminated cable types) is that these 'differences' magically all but disappear if you use good cable and plugs. Mind you, I've discovered this with decently made and specified single core coax RCA cables too, so don't bother any more really.
So, get your two single mic XLR interconnects hopefully made with a 'known' cable, smile at the cost saving (I love the Roger Daltrey comment and wonder how many cables he broke in his career swinging them around as he does) and just listen to the music from now on
Well, no, it isn't.
There are more constraints for microphone cables than for mere interconnects (especially just for fixed HiFi use).
Microphone cables are usually meant for long runs, low level signal, harsh environment, mechanical abuse, frequent plug/unplug operations, and must remain flexible and easy to roll/deploy.
That's a lot more constraints than for a HiFi interconnect.
Ricardus
Addicted to Fun and Learning
Well yes, it is. We're literally on a site whose mantra is "cables don't matter" and now people are arguing that cables matter.
There really aren't.
So the site where many people say to just go and buy Monoprice cables (because they're fine) are suddenly built for all of these extremes?
Have you ever been in a studio? I think you're confusing a common recording studio with a coal mine or an oil derrick. When I mic a drum kit, the cables don't typically get touched for a week (or more). The longest cable I've ever used in a studio is 50 ft. Mechanical abuse? So people are driving cars over them?
I am frankly stunned that people are making this argument.
I'm curious-why can't they go "both ways"? I have a bunch of xlr cables a session guitar player tenant left behind and wondered if I could use them for interconnects.
Cable doesn't matter audibly.
Build matters.
Mic cables are not just meant for studio.
Most of them are used on stage, for live shows, touring events,...
I've done my share of that (and some studio too, thanks). There are some MECHANICAL characteristics for a good mic cable that matter a lot, actually.
And I don't really understand what you don't get here.
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Ricardus
Addicted to Fun and Learning
Most? Citation needed.
And again, you set the cable up and it doesn't get touched. And other than Roger Daltey, there aren't mic cables anywhere near lead singers anymore. It's all wireless.
The idea that a home stereo standard balanced "interconnect" can't be used as a mic cable. The idea is just STUPID.
Studios aren't the only places microphone cables are used. Think live music, especially touring live music.
The statement being made is that microphones require cables (for that particular application) that are robust, flexible, not prone to microphonic effects, and are immune for very low signal levels to all sorts of interference.
XLR line level interconnect cables don't need any of these things. So a line level cable which doesn't meet any of these requirements is suitable for line level interconnect use case, but not for microphone use case.
Conversely a microphone cable which meets all these requirements can still be used as a line level interconnect even though those features are not not needed in that application.
And the "Cables don't matter" mantra exists here, because we are generally concerned with audio reproduction. Not microphones for recording or live music.
restorer-john
Grand Contributor
It appears someone just wants an argument.
Echolane
Member
I came here because I want to buy a pair of balanced (XLR) cables to connect my SACD player to my Luxman tube preamplifier. I saw a lot of XLR cables intended for microphones and thought I should verify that they were suitable for my audio system. I’ve read two pages of comments here and I’m still not absolutely sure of the answer.
- Thread Starter
- #33
6’ XLR Male to Female Microphone Cable Mic Cord 6 Ft 3-pin Purple GTZ Audio | eBay
Don't compromise on your signal chain—opt for GTZ Audio Studio-06. THE AUTHENTIC SOUND OF A LEGEND.
www.ebay.com
i used two of these
ie. very generic short length... say a 1 meter or 3 ft as the dac is right next to the amp
Microphone cable is always suitable for line level interconnect. See my post just 2 above yours.
The other way round is not necessarily the case - cables intended for line level might not be suitable for mic applications (due to the very low signal level, and potentially high impedance from microphones or their pre-amps.)
Speedskater
Major Contributor
To repeat myself from last May:
A microphone cable is a sub-set of balanced XLR interconnect cables.
It is optimized for flexibility, robust construction and low handling noise.
Any microphone cable can be used as a analog interconnect cable, but the opposite is not true.
A microphone cable is a sub-set of balanced XLR interconnect cables.
It is optimized for flexibility, robust construction and low handling noise.
Any microphone cable can be used as a analog interconnect cable, but the opposite is not true.
Echolane
Member
Thanks. I confirmed that with the vendor also and I did buy Mogami Platinum.
Mic cables are more robust. They get stepped on, moved, twisted etc. For that reason shields are usually woven not foil. The jackets are also thicker and more flexible.
AES digital thru xlrs was very common in studio equipment. For digital the freqs. are high enough that impedance matching can matter, especially with the longer runs in studios, like with RF.I regret asking this question (except for Mr Collinet and Hardy who answered the question!)
I turned around my preamp and to my surprise the unit also has AES/EBU... and so this exists:
SWAMP Digital Audio Cable - AES/EBU 110ohm Shielded
SWAMP 3pin XLR AES/EBU Digital Audio cable for AES3 data protocol, ideal for stage lighting, consoles, dimmers, lasers, and fog machines.www.swamp.net.au
how is THIS different to a mic. or standard xlr interconnect???
I think AES/EBU is a largely deprecated format for DACs so its elementary at this point but it seems the manufactures were just recycling cables for different uses.
This is one of those times that the more deeply you go into a topic the more you wished you were content to just listen to MP3s on your android phone speaker!
Robin L
Master Contributor
Canare Star-Quad cable has dual runs of shielded wire inside each cable, one can make a stereo pair out of a single run. I've done it multiple times, both for line level interconnect for regular stereo use and for microphones. Decent cable, flexible, comes in multiple colors which can be useful for sorting out different inputs/outputs. Cost is more than reasonable, it's easy to find from many outlets.
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