FEATURE: What's Important On Instrumental Cables?

 “An experience report on instrument cables for guitarists? Will it now come back with capacity, garnished with the latest picofarad values?” To be honest, even if the values are very helpful for special product comparisons, the normal hobby musician up to the professional working musician is concerned with completely different things Things when it comes to the practicality of cables.

I've climbed pretty much every step of the ladder of success in my career, from the worst youth center out-of-place gig in front of 5 bored people to the headliner show in Wacken in front of almost 100,000 frenetic fans and what do you think, which product in every respect Shows was the most important thing? Exactly, the cable, or rather the instrument cable, that unspectacular connecting element between products such as guitars, amps and pedals, which are much more popular with musicians.

This report is intended to provide you with a few experiences that are highly subjective, but in my opinion could also be interesting for the majority of readers. By the way, whenever I've had a signal problem on stage in my almost 40-year career, with two exceptions (once a socket, once a toggle switch), a cable was always the culprit. Here we go!

Which cable and why?

Who would have thought that even the cable product group would become as big a voodoo circus as is the case today. Cables with a length of 6 meters are offered in the three-digit euro range, others discuss the direction of flow of electrons and in which direction a cable should be plugged. Quite honest opinion, no one will hear that in the context!

I don't want to deny that a 100 euro cable offers a different sound quality than a 5 euro cable of the same length, but if you buy a high-quality cable, for example from the Cordial Metal category for just under 40 euros, you won't be one of the extremely high-priced products perceive difference. Especially not when another instrument is added, not to mention a live show with several instruments. Once a P.A. When it comes into play, the distortion of the guitar sound has already progressed to such an extent that the sound of the cable can no longer be located.

Much more important than the final capacity information is the practical design of a cable and there are a few points in which cables differ, for example:

Cable length

Nothing in the world is as annoying as cables that are too short. I saw colleagues working with cables stretched across the stage at a height of 30 cm, because someone had only packed a 3 meter cable and the stage size was more opulent than expected. Since, in contrast to XLR cables, you cannot easily extend a jack cable, you always have to pack a size larger than you think.

Small club, preferably 6 meters, large club, preferably 9 meters (from guitar to amp), and for open air stages sometimes 12 or 15 meters. Why not just use a transmitter? Well, on the one hand, a transmitter massively changes the sound of a guitar and, in terms of transmission frequencies, battery consumption and receiver mounting, it raises new problems that need to be solved, especially at festivals. I'm not against broadcasters, but I prefer cable when it comes to transmission security.

Be careful when using pedalboards. If you rely on sound-neutral true bypass pedals, you should keep in mind that the cable lengths before and after the pedal add up. 2 pcs. 6 meters of cable with its 12 meters can quickly turn a passive pickup into a muffle king. The only thing that helps here is a downstream pedal with a buffer circuit or, even better, your own buffer amp, such as that offered by the Palmer company. Just so we understand each other correctly, cables that are too long are also annoying. Anyone who covers a 10 square meter stage with 9 meters of cables should not be surprised at the annoyed looks from colleagues who tend to get caught in the cable loops.

By the way, Telecaster player Albert Collins liked to hang a 30 meter cable of moderate quality without a buffer amp between his guitar and his amp in order to take the edge off his sound. As you can see, what matters is what comes out the back...

Processing and flexibility

Unfortunately, almost all music products have the same processing problems. Anything that is well made is always quite heavy or, as in our case, stiff and solid. In terms of sound, a stiff silver or copper wire in “tram rail quality” would probably be the best choice, but the performance on stage would be correspondingly poor. The trick is to find a cable that is as flexible as possible but still has very good sound properties. Every manufacturer has their own opinion on this, but if you like to move around on stage, you should definitely pay attention to a lot of flexibility.

Only bend the cable after 15 cm behind the socket and throw it away, unless your radius of action is in the 1 sqm jazz area (no offense). However, with flexible cables there is always the risk of being stepped on more often, which brings us directly to the next point: the plugs. The answer is relatively simple: Neutrik. Yes, there are alternatives, yes, they are cheaper and no, there is nothing better. The connector, with its solder, forms the mechanical weak point in the signal chain and only Neutrik offers an adequate counterpoint to the cable pull with its patented strain relief. As a patch cable in a hard-wired rack, I think it's something else in an emergency, but whenever a cable is moved, there is e.g. Currently (unfortunately) only one provider.

During the DVD recording of the Wackenshow 2010, after the intro, a 60-piece bagpipe orchestra traipsed over my main cable, with every other foot hitting the cable. How warm do you think it was for me, even if a note came out of my amps with my first riff...


Transport and storage

The kinking of a cable is inevitably the death of the same. In principle self-explanatory, but still not noticed by some contemporaries. Cables are still cut in half several times and then thrown into the cable box with a nice, tight knot. This is crap! Good cables can survive this procedure several times, but even the best inner conductor will suffer a hairline crack at some point.

Immediately afterwards comes the famous “elbow” solution, in which the cable is wound up but twisted. Here too, the hairline crack is already in the starting blocks. Unfortunately, the only good method is also the method that a.) takes the longest and b.) requires the greatest care when unwinding, but the cable thanks you for it.

So, hang the cable connector loosely over your hand and form loops with a diameter of approx. 30 cm. With each winding, the thumb and index finger then turn the cable slightly to the side using the thumb so that the twisting is compensated for. Complete! When winding up the cable, throw it loosely over its entire length into the room and you're done! Everything else is at the expense of the cable.


Repair

If the cable is dead due to a broken conductor, you can convert it into a patch cable using the classic halving method. You split the cable in the middle and check which of the two halves still has a hole. Then unsolder the connector of the defective part and solder it to the other cable. Can be done, does not have to be. If you're not in the mood for soldering exercises, you can get a decent amount of cable with the big T or M starting at just under 20 euros.

Emergency drill

OK, worst case, you're standing on stage and in the middle of/at the beginning of the song(s)/performance, no sound comes out of your amp. Yes, now you're panicking! The following sequence of actions solves the problem:

1.) Is the tuner still working? Yes, it sounds ridiculous, but even to me this happens 1-2 times a year. Embarrassing, but human.

2.) Is the volume control turned up? It sounds even more embarrassing, and it is, but see above...

3.) Does the amplifier still have juice? Turn over and check the operating LED. Happens more often than you think. I know it's expensive, but no guitarist should go on stage without a spare amp. A bassist can still play via the D.I./floor monitor combination in the greatest need, but for a guitarist the show is over.

4.) Is there a cracking/cracking sound when you wiggle the socket? If the jack wobbles, change the guitar immediately. Yes, no guitarist should go on stage without a spare guitar.

5 and following.) From here there is only the instrument cable problem. So far, I have never had a speaker cable or speaker burn out. Points 1-4 can be checked quickly in about 15 seconds, then change the cable immediately. Each cable should be present at least twice.

The procedure mentioned under 5 only happened to me almost 3 months ago. Cool straddle step, guitar pulled up in a fat pose, stood with the right foot on the cable, cable broke! Cable replaced, singer tells a short joke, ready for use again after just under 60 seconds. Incidentally, it is advisable to practice this emergency procedure as a dry run at regular intervals. Only those who keep calm will solve the problem within seconds.

Conclusion

Saving on cable is stupid! Your signal transmitters get kicked, dirty, ripped, bent and thrown. Only the best (not the most expensive) can survive here. Nothing is as important to your sound and operational reliability as the cables you use, so check what will carry your sound.

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Additional Informations:

In-Depth Analysis of the Technical Architecture and Components of Instrument Cables

Introduction:

Instrument cables are a fundamental component in the realm of music, connecting instruments to amplifiers and other audio devices. The construction and composition of these cables play a crucial role in ensuring optimal signal transmission and sound quality. This comprehensive report delves into the technical intricacies and the array of components utilized in the construction of instrument cables.

Conductor Material:

The core conductor serves as the primary pathway for electrical signals. High-quality instrument cables typically feature conductors made from oxygen-free copper (OFC) or silver-plated copper. OFC ensures better conductivity by minimizing the presence of oxygen, reducing signal loss, and enhancing the overall performance of the cable.

Shielding:

Shielding is a critical element in preventing electromagnetic interference (EMI) and radiofrequency interference (RFI). Instrument cables employ various shielding methods, including braided shields and foil shields. Braided shields, consisting of intertwined strands of conductive material, offer flexibility and durability, while foil shields provide a layer of metallic foil to block interference.

Insulation Material:

The insulation material surrounds the conductor, preventing signal leakage and maintaining the integrity of the electrical transmission. Common insulation materials include polyethylene, polypropylene, or foam polyethylene. The choice of insulation material can impact factors such as capacitance, flexibility, and resistance to environmental conditions.

Capacitance:

Capacitance is a crucial parameter affecting the performance of instrument cables. Lower capacitance values result in better high-frequency response and signal clarity. Quality cables often incorporate designs to minimize capacitance, ensuring that the cable does not negatively impact the tonal characteristics of the instrument.

Connector Types:

The connectors at each end of the instrument cable play a pivotal role in establishing a reliable connection. The most common connectors are 1/4-inch TS (Tip-Sleeve) or TRS (Tip-Ring-Sleeve) plugs. Gold-plated connectors are often preferred for their corrosion resistance, ensuring a stable electrical connection over time.

Cable Jacket:

The outer layer, or cable jacket, provides protection and durability. Jackets are typically made from materials like PVC (Polyvinyl Chloride), TPE (Thermoplastic Elastomer), or fabric. Robust jackets enhance the cable's resistance to wear and tear, bending stress, and environmental factors, making them suitable for both studio and live performances.

Durability and Flexibility:

Instrument cables designed for professional use prioritize durability and flexibility. The incorporation of features such as strain relief at connector joints, reinforced connectors, and braided shielding contributes to the overall robustness of the cable. Flexibility ensures ease of handling and facilitates cable routing in various setups.

Length Considerations:

The length of an instrument cable can influence its performance. Longer cables may introduce signal loss and degrade high frequencies. Musicians often choose cable lengths based on their specific needs and the physical layout of their setup.

Specialized Cables:

In addition to standard instrument cables, specialized variants cater to specific needs. Examples include low-capacitance cables for high-fidelity applications, coiled cables for stretchable lengths without excessive clutter, and angled connectors for space-efficient connections in tight spaces.

Conclusion:

In conclusion, instrument cables are a critical link in the audio chain, translating the nuances of a musician's performance to the amplification system. The careful selection of materials, construction techniques, and design features contributes to the overall quality and reliability of these cables. Musicians and audio professionals alike benefit from understanding the technical aspects of instrument cables to make informed choices that align with their specific requirements and preferences.