The Interface Mess

The reason the audio industry needs so many different patch cables is that, over 50 years, we have been unable to standardize on one connector for one job.

Typical patch cables include:

• Unbalanced Patch Cables
  • 1/4" Phone to 1/4" Phone
  • 1/4" Phone to RCA Phono
  • RCA Phono to RCA Phono
• Balanced Patch Cables
  • XLR Male to Balanced 1/4"
  • XLR Female to Balance 1/4"
  • Balanced 1/4" to Balanced 1/4"
  • Balanced 1/8" Mini to Balanced 1/4"
  • Balanced 1/8" Mini to Balanced 1/8" Mini
  • Balanced 1/8" Mini to XLR male
  • Balanced 1/8" Mini to XLR female
  • XLR Female to XLR Male (standard microphone cable)
  • TT (tiny telephone) to everything else
  • PJ's to everything else.
  • Sound card cables from your computer to your speakers (or to balanced inputs on a mixer, or whatever the presenter of a speech wants his/her computer hooked into.
  • Sound card balanced Mini output to a summed 1/4" phone plug input.

Confused yet? All of these connectors have evolved over 50 years and are used interchangeably for these reasons: cost, reliability or real estate (on the back panels of equipment).

The Problems

The problem with the audio industry is that there is no standard for audio signal interconnect cables. After so many years of technological progression and development, no one in the audio industry has been able to agree to anything.

This is why most pieces of audio equipment like equalizers, mixers, crossovers, compressors, and amplifiers have two or even three different connector types for getting signal in and out. This leads to the recurring nightmare of the gigging audio professional: adaptors. Most sound people have a box of all sorts of adaptors for the emergency situation where you need to get from box A to box B, but don't have the right cable. If you are lucky, you will get through the gig without having to break out the solder iron for an emergency custom cable.

The solutions

The solution to the patch cable mess, like many other solutions, involves planning. You need to plan out the flow of audio signal through your system and know what types of connectors you need in advance. Then you need to purchase the correct cabling that will not only meet your current needs, but also be able to accommodate any foreseeable future expansion or contingency needs. For instance, if you need to add an additional vocal processor to your system for a one-off gig, where will it fit in, and what cables will you need to make it work?

A word of caution

Just like anything else, you generally get what you pay for with cables. CableCentric.com and Direct Pro Audio sell a wide range of cables designed to meet every needs and every budget. However, less expensive, molded end cables are designed for low cost and low duty use. We don't recommend molded cables if they are going to take heavy abuse, or constant patching and re-patching. For heavier-duty applications, we recommend soldered metal end connections. These will take much more abuse and not start to crackle and hum on you in the middle of a gig.

Finally, if you are are going to buy professional cables, at least buy it in a music store or at CableCentric.com. Cables can also be purchased at stores that sell radios, and theirs are not on par with the needs of professional audio applications.