Mark,

> I would appreciate opinions on the best brand names of mic and line cable and the reasons why cable can make a difference in the sound. Oxygen free, gold ends, guage, etc. all seems to come up from time to time.

99.9% of that is misinformed BS or marketing hype. The main things that dictate whether a cable affects the audio passing through it are its capacitance and how well it rejects "handling" noise (triboelectric effect). Oxygen free, gold connectors etc. are all a bunch of nonsense. However, gauge does make a difference for speaker wire.

If you want to learn more about what does and does not make a difference in audio, read Audio Myths in the magazine articles section at my web site:
http://www.ethanwiner.com/articles.html

--Ethan

I prefer B.L.U.E. & Vampire cable

I haven't copped a pre-fabricated mic cable (or any other kind) in 4 or 5 years.

Get yourself some Canare StarQuad, (or equivalent) some Neutrik Gold XLR's, and learn to make your own. I use the Gold XLR's for the simple fact the connections won't tarnish.

I make all my own cables now for about the same money as you would pay for the cheap stuff, except they're great cables and you can make them whatever length you need or whatever combination of connector you need.

Regards,

Tim L

Thanks for the advice. I have been making my own cables since my Navy electronic technician days in 1967. The reason for my question was for a column I write for a music newsletter and a lot of the bands use Radio shack zip cord for speaker wire, plastic cheap connectors with no strain relief and the thinnest guage mic cord they can buy.

I thought it would be nice to be able to explain why Switchcraft and Neutrik are such good connectors and why they should use 100% shielded cable. I custom wire everything except my live sound mic cords which I purchase. I use 16 ga. three conductor 100% foil shield wire with a drain for all my studio fixed installation stuff.

Cool....good luck with your article and let us know when you publish it, I'd be interested in reading what you come up with.

:)

Tim L

My column comes out every other month in the Oregon Bluegrass Express which is the Oregon Bluegrass Association newsletter. I have been writing a column for them for about six months now. They like my different perspective on sound since I don't have any Bluegrass experience prior to recording some CD's last year. They are a rather different breed of musician to say the least. Besides, they absolutely refuse to let me sit in on my sax...