Current recording engineers - what cables used?


Two sets of questions for currently active recording engineers participating on this forum:

1) what cables are you using for power supply and low level signals in your recording studio? What is the overriding factor in this decision - cost, durability/reliability or performance? If higher quality is desired in certain applications, where and why? If these are trade secrets, tell us anyway :-)

2) what cables are you using in your home system, if you have one, and do you consider yourself an “audiophile”? What is the overriding factor in this decision - cost, durability/reliability or performance?

Some aftermarket suppliers of audiophile cables boast that their products are used in pro studios.  Others posting here have suggested that use has more to do with durability than exotic design and performance.  This makes no sense to me because I have build bullet proof power cables with hardware store parts at low cost that could be dragged through hell and work for years, but did not come close to more exotic design in terms of audio performance in my systems.

I would assume this forum focused on audiophile home gear might select for recording professionals that are more informed on the audiophile cable “market” and have more developed opinions on this, and so do not represent a general crossection of the pro industry.  But had to ask anyway.
knownothing

Showing 1 response by buckhorn_cortez

I would agree that the keys to recording music are the artist, room, and microphone choices as the main influences on the final sound - but, there is an entire chain that effects sound far beyond something like cabling.

What you have to understand about making a final recorded product is that the sound goes through so many processes to get to a final recording, that cabling adds or detracts marginally in the final product.

Today, you choose how you're going to record (analog or digitally) and then plan the entire processes based on the original recording format.  Few recordings are made analog anymore, but you have a few people, like T Bone Burnett, who use tape for specific projects (New Basement Tapes as an example). 

A friend owns a 48 track studio (48 in, 48 out, with 6 side channels) and what he is interested in is the lowest noise through the entire system.  He uses high quality, balanced line cords throughout the system. 

The first choice you make is the microphone as the microphone response curve and characteristic can shape the sound at the source.  There are real sound differences between something like a Shure 57 and a Telefunken ELA M251.  With some microphones you can change patterns and that has an effect on the sound as you can choose to incorporate room acoustics or exclude them.

Recording digitally is a process choice in itself.  What type of digitizer, bit rate, compressor (digital plug-in or hardware), reverb (digital plug-in, or hardware), editing software, etc. 

After recording, the raw recorded audio has to be mastered - and then the sound is going through a completely different system including the mixing board, amplifiers, compressor / limiters, etc. 

One of the last considerations is what is the final format?  MP3, CD, SACD, etc?  That choice may drive all of the other choices made from the beginning of the recording process.   

Then you have the music reproduction system it's going to be played through - which has its own effect on the sound. 

If you think about how many times the sound has been handled, all of the different equipment its gone through and take all of that into consideration, any effect cabling has, beyond being neutral and low noise, is marginal at best.