Cables: DPA-Forssell-Mytek

[wanderer]

Hello!
I need cables to connect the following equipment: Dpa 4006 - Forssell - Mytek.
I'll use it for audiovisual recordings of chamber music and piano at several venues, both large and small.
I´m asking your advice on the most appropriate cable lengths to cover most possibilities. I would also like some information about cable brands that are up to the equipment.
I’ve considered the option to hide the preamp somewhere on the stage to optimize the signal (short cable) and connect it to the converter in a control room, but I fear this is very uncomfortable to take levels. If you recommend this option, should I use top-quality cables to connect micro-preamp?
Are cheaper cables enough to connect preamp-converter? Which brands and lengths?

... I know there are many doubts. All this is all in the best position to record my own performances and those of my students and colleagues.

Very grateful
Emilio

[Gerax]

Hello

Never underestimate the importance of cables, after all those are the highways your precious signal travels on...you can spend a fortune in mics, preamps and converters, but poor cable quality will dramatically lower the quality of an otherwise perfect system (a recording system is only as good as its weakest link).
Tha said, you don't need to go "esoteric" to get good quailty. Any pro audio cable will do: Klotz, Canare, Mogami, Sommer are good places to start. Also, don't overlook the importance of good and reliable connectors: Neutriks are a tried and true standard. If you are able to use soldering equipment I suggest you to buy one or more reels of the cable you choose and build the cables of the lenght you need. If you don't have time or ability (or patience) to do that just go for some prebuilt, there's lots to choose from; get the best you can afford.
As for the placement of mic preamps: if the distance from the mics to your rig is more than, say 15 to 20m then set the preamps up so they are close to the stage and send line levels signals to your converters: to set levels get somebody to twist the knobs while you are in front of converters (I talk to my assistant using some standard battery radio). If you are within that lenght then you can keep the pres in the same place as the converters and set levels by yourself.
BTW of your cables aren't of good quality the option to put preamps near mics is almost useless...

Hope this helps

[MichaelPatrick]

Mogami quad neglex is ideal cable for both mic and line level signals, and not very expensive.

Lengths needed depend entirely on the venues you'll work in. I try to set up close and off to the side of the stage so I can see clearly and use shorter cables. I mix afterwards, but if I mixed while recording I'd need to be in a more isolated location further away.

If you know how to solder it's about $1 per foot to buy in bulk and put the ends on yourself. Redco Audio

If not, Redco can build any length for you at a fair price. Redco Audio

[David Spearritt]

Don't forget that AES-EBU cable makes a great "analog" mic cable due to it's low capacitance.

[MichaelPatrick]

Originally Posted by David Spearritt

Don't forget that AES-EBU cable makes a great "analog" mic cable due to it's low capacitance.

I agree and use them in the studio where some thickness and rigidity are OK. I like flexible cables for remote work.

[rumleymusic]

I’ve considered the option to hide the preamp somewhere on the stage to optimize the signal (short cable) and connect it to the converter in a control room, but I fear this is very uncomfortable to take levels.

I don't think you will find even a marginal amount of difference putting the preamps on stage or in the control room. I usually run a maximum of 200' of cable before the preamp in the largest concert halls and that is basically nothing in the whole scheme of things. Most noise and capacitance tests I have seen show that even mediocre balanced cables will not see problems until you reach 1000'+.

I would just worry about getting good quality cable with a strong, kink resistant, exterior and finely stranded copper. That will add to the flexibility and resist internal breakage. Mogami and Canare great cables for that.

You also need to think about length. I think it is much better to have a longer cable than you will need, rather than try to connect several 25' lengths. Almost all of the noise problems in a cable stem from the connectors. In most cases, a 100' lenght should be fine for almost all requirements. If you need to hang mics in a larger hall, 150' lengths are usually fine.

[JonesH]

I agree with a lot of what Rumley writes. With good mic cable normal lengths are rarely a problem. I use 15, 20, 30 and 50 meters 4ch snakes from control room to mics. Some looped cable tests indicate that 150 m is no problem at all and longer cables are probably not a problem either.

[MichaelPatrick]

I also agree with the notion that mic cable length in these measures is not a problem. One caution worth mentioning, though, is ribbon microphones where noise-inducing sources are anywhere near the cables.