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In Reply to: RE: Quality XLR cables for stage use? posted by Inmate51 on October 12, 2011 at 20:50:50
"You might also consider upgrading your clientele. ;)"
Thanks for the reply. I do see the ";-)" but it's still a bit of a cheap shot. These guys are great jazz players, just young. Since most of them play wind/acoustic instruments, they don't know that much about the electronic side of things. Their problems are growing pains because they're getting increasingly popular and are putting more wear and tear on their equipment.
In my experience, having clients whose popularity is on the rise is a good thing :-) The way I "upgrade" them is to educate them, and they usually appreciate it.
Follow Ups:
Of all the useful stuff I wrote, and time I put into it, and all the good info that Alpha and Zako gave, you zero in on the one sentence meant as a humorous comment, and completely ingor the great advice you've gotten from all of us.You really gotta lighten up and focus.
I still think it's funny that your customer actually admitted that he bought the cheapest cable he could get (and WHOLESALE), AND then called frantically - twice.
That is too funny!
So, have you thoroughly checked out his cheap cables? Any issues/intermittents? I've bought Hoya 1/4 inch-to-RCA and RCA to mini 1/8 inch, and they're not up to par. Out of 8, 2 have problems, even with light usage. I won't fly that airline again.
Edits: 10/13/11 10/13/11
Do you have evidence that I ignored any of the advice that was provided? In fact, I took it all very seriously, and I appreciate it. I should have indicated that as well, and I apologize for not doing so. It's been a busy day.
I just checked the guy's five XLR cables. Two of them have completely open connections, not even intermittent. One of them only has continuity on one of the three conductors!
As everyone said, it's hard to go wrong with Belden and Switchcraft. I make all my own 1/4" unbalanced cables with Switchcraft plugs and a roll of Mogami cable of equivalent quality I got years ago. I simply haven't kept up with what's good in microphone/balanced line cables because I don't deal with those quite as often. The balanced line connections most relevant to my work run through Leslie cables.
Still, I think it's fairly common for performers to be very picky about their guitars and amps--and, at the same time, balk at spending money on quality cables.
And I put lots of time, almost every day, into helping people on various tech discussion lists. I'd like to think that it all comes around :-)
When you have as many people walk all over my cables with boots/shoes/cowboy boots you name it...buying mogami cables is not in my budget
If I was doing studio work and human beings were not walking all over my cables on stages I would consider high end cables
We live and we learn
For on stage use I would only buy the best quality cable available.
They are the ones that can take being walked on, in a studio setting one can get away with cheaper ones.
If a cable fails in a studio two or three people will be slightly annoyed, if a cable fails during a live show thousands will hate you.
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