Jump to content

Search the Community

Showing results for tags 'cable'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Community Support
    • Multi-Effects Units
    • Variax Instruments
    • Amplifiers
    • Computer Based Recording
    • Live Sound
    • Pedals/Controllers
    • Dream Rig - Line 6 Product Integration
  • General Discussion
    • Share your Settings
    • Line 6 Lounge

Categories

  • General FAQ
  • Tutorial Videos
  • Effects/Controllers
    • HELIX/HX
    • Firehawk
    • FBV Controllers (MKI / MKII/ 3)
    • M5 / M9 / M13
    • JM4 Looper
    • Stompbox Modelers / ToneCore
    • ToneCore Development Kit
  • Recording
    • Helix Native
    • Echo Farm/Amp Farm
    • POD Farm / POD Studio / TonePort
    • Computer Audio Set Up and Troubleshooting
    • Riffworks Line 6 / Standard Edition
  • POD
    • POD Go
    • POD HD Family
    • POD HD500/HD500X
    • POD HD300/400
    • POD X3 Family
    • POD 2.0 / PODxt Family / Pocket POD / FloorPODs
  • AMPLIFi Series Products
    • AMPLIFi 30/75/150/TT
    • AMPLIFi FX100
    • Videos
    • Tone Creation
  • Amplifiers
    • Spider V
    • Powercab
    • Firehawk 1500
    • DT50/DT25
    • Spider IV/Spider Online
    • Spider Valve
    • Spider Jam
    • Vetta
  • Live Sound
    • Relay/XD-V Digital Wireless
    • StageScape M20d Mixer
    • StageSource Speaker
  • Guitars
    • JTV / Shuriken / Variax Standard / Workbench HD
    • 1st Gen Variax Guitars / Bass / Workbench
  • Mobile Products
    • Sonic Port devices / Mobile In
    • Mobile Keys
    • MIDI Mobilizer
    • Mobile POD app
  • Dream Rig
  • Legacy Products
    • Amps
    • POD
    • Effects and Controllers
    • GearBox
    • Line 6 X2 Digital Wireless

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests


Registered Products

Found 39 results

  1. Q: Can I connect my POD/2.0/XT/X3/Live to the front (instrument input) of my amplifier? A: Yes.You will want to create as clean a sound as possible on your amplifier. You will want to make the combo amplifier's EQ as "flat" as possible by turning the treble and bass controls to zero and maxing out the mid control. You should also set POD's output to 9 or 10 o'clock to avoid overdriving the instrument input of the amplifier and have no effects active. You will want to experiment with the output level on the POD to create a sound that works for your situation. Below is the routing for this set up: Guitar > POD unit > Amplifier instrument input. This works but you will be stacking two preamps in series (the POD unit acts as a preamp). Make sure you also adjust the OUTPUT Mode on the POD unit for optimal tone, many end users prefer "Combo/Stack FRONT" Q: Can I bypass the preamp section of my amp to avoid stacking two preamps? A: Yes, There are two ways this can be accomplished. 1) If your amplifier has a CD/MP3 input you can go directly in the this jack from the POD output (This is a common method with the Line 6 Spider Series amplifiers). Be aware you may need to "trick" your amplifier input by using a 1/4" "dummy" plug in the instrument input to allow signal to pass to the speaker (headphone adaptors often work well for this purpose). Guitar > POD unit > Amplifier CD/MP3 input with 1/4" "dummy" plug in the instrument input 2) If your amplifier has an effects loop (i.e. the Line 6 Spider Valve or Flextone) you can use your POD unit as the main Pre amp and distortion generator, using only the power amp section of your amplifier by plugging into the "effects return" or "power amp input". If the amplifier has a "power amp in", the POD output will most likely control the output volume. If the amplifier has "effect loop return" the amplifier master volume will most likely control the output volume. Below is the routing for this: Guitar-> POD In - POD Out -> Amp FX Return. Make sure you also adjust the OUTPUT Mode on the POD unit for optimal tone Combo or Stack PWRAMP when applicable. Q: Can I run my POD/X3/xt/Pro/Live/Floor in an effect loop of an amplifier to use just the effects rather than the amp modeling? A: Yes, it is possible to to run a POD as an effect unit in the effect loop of an amplifier. You may want to turn off the amp modeling or use as clean a sound as possible to avoid stacking preamps. You may also need to lower the "line level" signal of the amplifier's effect send output to "instrument level" to avoid potential damage to the input of your POD. Some POD units will have a pad switch that will accomplish this function. If your POD unit does not have an input pad switch, a device such as the Ebtech Line Level Shifter can be used to lower the line level if necessary. Below is the routing for this: Guitar > Amp In / Amp FX Send> POD IN - POD Out > Amp FX Return. With this routing, you would have to bypass the amp modeling on the POD unit and use it for FX only, using your amp's own preamp section. Q: Can I connect my POD to two amps for a stereo configuration? A: Yes. Connect the left output of the Pod to the input of one amp and the right output of the Pod to another amp. It would be best if you could connect your Pod to the amps using the effects loop of the amp if you have one since it will bypass the preamp of your amplifier. Q: What is the Four cable method? (POD X3 Live and Pro Only) A: The "Four Cable" method (4CM) can be used for any effect unit that has an effects loop when connecting to an amplifier that has an effects loop (i.e. the POD X3 Live). This cabling method allows the end-user to place filters and overdrive units before the preamp section of the amplifier, and modulation and delay effects after the effect loop in the effect unit. This way the amplifier will provide the tones and the Line 6 device will provide the effects (pre and post). Be sure to enable the effects loop, and experiment with Pre-post effect to decide which method works best for you. Instrument > X3Live guitar in X3Live effect loop send > instrument input of amplifier Amplifier effect loop send > X3Live effect loop return X3 line output > Amplifier effect loop return. Q: Can I run the two tones separately, such as one tone for "pre" amp sounds and the other for "post" (i.e. effect loop) sounds? A: An "alternate" method of the Four Cable method is to completely separate the front of the amp effects (i.e. filters and overdrives) into Tone 1, and the time based effects (chorus, delay, reverb) in Tone 2. The tones will need to be panned hard left (1) and hard right (2) in the outputs section (any blending of the tones may result in feedback). Be aware that you will need to have both tones active to get sound, and you need to set up the inputs as follows: Tone 1: Guitar, Tone 2: Aux. Feel free to experiment with the "amp settings" to determine which setting works best for your setup.The connection wiring is: Instrument > X3Live guitar in X3Live Live (left) output > amplifier input Amplifier FX loop send > X3Live Aux input X3Live (right) output > Amplifier FX loop return Video is listed alphabetically under "Multi-Effects".
  2. How do I set up the HX effects signal chain/fx block/mixer for 7cm? I'm struggling! What are the mixer and effects loops settings in the HX effects? Stereo? Dual mono? I'm using two amps, and want to set up so drives go into the front of the amp, and delays/reverbs in the fx loops. Main problems: - I don't know how the signal chain should be configured to set up 7 cable method into the fx loops of two amps. - Because the setup isn't correct, I currently get a lot of noise as both amps are sending the preamp to the other amp! Basically both preamps are blended on each amp. - How do I ensure delays and other effects are stereo - as in ping-pong delay etc. What are the mixer and effects loops settings in the HX effects? Stereo? Dual mono?
  3. I recently bought a Pocket Pod (yesterday, in fact), and since then I've only got it working when it's connected to the PC via the USB cable. It works perfectly in that case, but as soon as I remove the cable, it stops working. I've tested it with batteries only or with a power supply, and none of it works. The only case when the Pocket Pod functions normally is when it has either batteries or cable plugged in, and it's connected to the PC. I've read that the device needs a mono cable to activate, but I've been using a stereo one and there's no problem. Maybe the cable works when the USB is plugged in, but it doesn't work as a switch for when it is not. Should I try a mono cable or is there another problem? Thanks in advance
  4. 15 ft Braided VDI cable for sale $35. It's very flexible unlike the plastic ones! tested with jvt-69 and a HD500. - Works great! I can also make custom lengths (up to 25') if you would like a longer cable! Contact me] These are the colors I have Added new Black\red, black\blue, black\green and a Orange\dark blue
  5. Deutsch Francais Introduction This is a primer for using audio cables, how they work, and what the common cable types are. Below are a couple of books that are excellent reference materials that expand on the subject: Wire, Cable, and Fiber Optics for Video & Audio Engineers by Stephen H. Lampen (Aug 1, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) by Stephen H. Lampen (Jan 15, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 How an Audio Cable Works Audio cables work by sending electrical signals from one place to another. This is very similar to the way that electrical current flows from a power outlet in your house. However audio cables use much smaller voltages than a common 110 volt plug. Electricity 101 In order for electricity to flow between two points you need two things: a hot or positive wire and a neutral or negative wire. This completes a circuit and allows the electrical signal from your instrument to your amp, mixing console or computer interface. All standard audio cables use this basic electrical principle no matter what connector is attached to the end. This is what is happening when you plug your guitar into your amp with a "¼" guitar cable or when you connect your DVD player to your TV with an RCA plug, they both work exactly the same way. Balanced and Unbalanced Audio Cables I have noticed online that there seems to be a lot of confusion and long explanations about the difference between balanced and unbalanced audio cables. All most guitarists and recording enthusiasts need to know is the basic electrical difference between the two and what that means for them. I’m going to try to explain the difference in plain English as best I can. Unbalanced cables work exactly as I just described. In a guitar cable for instance there is positive wire or tip which connects to the tip of the connector at the end of the cable. And a neutral sleeve that wraps around the wire connected to the tip. The neutral or sleeve serves two purposes: To provide a neutral conductor so that electricity can flow and to shield the positive middle wire from outside interference. -Low impedance audio, or mic level would be 48-52 Ohms (3-pin XLR connectors, balanced lines). -Higher (but not high) impedance audio for mixers and other distributive audio equipment instrument level is around 1,000 [between 680 to 1,800] Ohms (1/4" phone connectors, TS-unbalanced and TRS-balance lines). -High impedance audio Mixers, other circuit applications, distribution amps and other distributive audio line level require 1,000 to 10,000 Ohms (RCA connectors, unbalanced lines). Q: So my guitar cables and pedals are unbalanced? A: YES, nearly all guitar equipment is. Q: Is that bad? A: Absolutely NOT. Unbalanced cables can be prone to outside electrical interference over long distances. Basically the longer the cable, the less effective the sleeve is going to be at shielding the cable from outside electrical interference. Fortunately most guitar cables and patch cables are relatively short so this is usually not an issue for most musicians. A good rule of thumb for any unbalanced cable is if it's over 10ft long and you are using it in a room or on a stage with a lot of other electrical equipment you could hear unwanted hum, buzz, or noise. Q: What does this mean for me? A.(1) Nobody likes to be tied to their amp but try to keep guitar and other unbalanced cables around 10ft or shorter for the least amount of noise and strongest signal. (15ft is usually ok, 25ft is pushing it.) A.(2) In recording situations it's ok to use unbalanced cables in most cases but if you want crystal clear audio try to keep them under 10ft. Also, watch out for unbalanced connections on the back of rack gear. Having an unbalanced connection near that much other gear could cause noise problems. Balanced Cables Balanced cables still rely on a hot conductor and a neutral conductor to carry electrical signals but they add another element to the equation: a ground. A ground is called a ground because well it literally goes into the ground! Straight through the cable, through your balanced audio gear, through the wall to the fuse box and down a wire or pipe into the Earth. In balanced audio cables the sleeve is used as the ground. The ground or sleeve does NOT carry a signal and is NOT heard in the audio. It's simply there to protect from unwanted noise while the hot and neutral carry the signal. Now for the magic: the hot and neutral both carry the same signal, noise and all. Hot is flowing in a positive direction, neutral in a negative direction. Balanced audio equipment simply outputs the voltage difference between the two wires. Since the noise is represented equally on both hot and neutral it is inverted and cancelled out. I know this might sound complicated but what it means for you is that you can have hundreds of feet of balanced cable and still have noise free audio. Q. What types of things use balanced audio cables? A. Microphones and recording equipment is, or should be, balanced in most cases. Q. If I use a balanced cable with my guitar can I balance the signal? A. No. The equipment you are using must have balanced connections as well. Q. Why are balanced cables so expensive? A. They are made with a process called twisted pairing which is more expensive to manufacture than unbalanced cables. Q. If I have the choice of using balanced or unbalanced cables which one should I use? A. In most cases if you are using balanced equipment you should use balanced cables. But if you get into a tight spot and need run something unbalanced it's ok as long as the cable length is short and you get no unwanted noise. How to tell the difference between balanced and unbalanced cables: The technical name for guitar cables is TS which stands for Tip (hot), Sleeve (Neutral). Studio ¼ cables are called TRS which stands for Tip (Hot) Ring (Neutral) Sleeve (Ground) TS Cables have one ring on the connector: TRS Cables have two. Any cable that has three prongs or legs like an XLR Cable is usually balanced. Some cables are made for odd routing situations and are three legged on one side and two pronged on the other. These are still unbalanced. Glossary of Cables: Unbalanced: TS 1/4": This is the standard ¼" cable seen on guitars and unbalanced recording equipment. TS 1/8" Mini: A TS or mono mini plug is most commonly seen as an adapter. RCA or Phono: RCA connections are seen primarily on entry level recording equipment. They are also found on consumer products like DVD players, turntables, and older television sets. Banana Plug: Banana plugs are mostly used for consumer audio speaker connections. Insert or Y Cable: An insert cable splits a stereo signal into two mono parts and is referred to as a Y-Cable because it is literally shaped like a Y. Balanced: XLR: XLR is the most common connection for microphones and is often referred to as a mic cable. TRS ¼": (Notice the two rings around the top of the connector.) TRS is a balanced ¼" cable that is used in studios and live sound reinforcement to minimize noise over long distances. TRS 1/8" Mini: The 1/8" mini plug connector is often used on headphones and other consumer sources like sound cards. Tiny Telephone or TT: The TT or Tiny Telephone is a balanced connection used for connections in professional patch bays. Digital Connections: Most digital connections use the same principles we have already discussed; they just use them in a different way. Digital cables are made to send pulses of current or light that can be decoded by a computer. It is VERY important to use the proper cable type with digital connections. Things like impedance or the amount of resistance present in the cable play an important role in how this information is sent. Just because a S/PDIF cable looks like an RCA Cable doesn't mean the RCA cable plugged into your DVD player can handle a S/PDIF connection. You might experience strange errors and digital distortion if you use a cable that is not properly rated. S/PDIF: S/PDIF or Sony/Phillips Digital Interface is by far the most common digital connection. It uses a 75 ohm unbalanced RCA phono connection. You can use standard RCA cables if they are rated at 75ohms. Optical or Light Pipe: Optical or Light Pipe is a discrete multichannel digital standard developed for the ADAT. It is most commonly seen on digital audio interfaces and preamps. You may also see optical ports on high end consumer devices as an audio connection. Optical cables use pulses of light to send information. They tend to be expensive and fragile so handle with care. AES/EBU: AES/EBU: is basically S/PDIFs big brother. AES uses the same protocol as S/PDIF but it can handle more information at once. AES/EBU uses a balanced connection with XLR on both sides. When using an XLR make sure it is Type 1 (referring to pin order) and rated at 110 ohms. BNC or Bayonet: BNC is an unbalanced connection that is used primarily in professional video as an alternative to RCA. On the audio side of things it is mainly used to carry word clock information. BNC comes in 50 and 75 Ohm varieties, most audio equipment uses 75 ohm. Multi-pin Connectors Multi-pin connectors are usually found on high end audio interfaces and consoles, they are used as a balanced multi channel connection that saves space on the back of a piece of gear. Each pin on the connector is a discrete channel that carries audio or digital information from one point to another. Most guitarists and home recording enthusiasts won't run into these connections too often because they are mainly used in recording or live sound equipment that is very expensive. D-Sub/DB25: D-Sub is a family of connectors used on computer devices and comes in multiple pin configurations. The most common D-Sub connection is the one found on the back of VGA computer monitors. It is not uncommon for companies to use D-Sub to carry audio on high end peripherals because the connectors are common and relatively inexpensive. Elco/Edac: Elco and Edac (which in many cases are interchangeable) are large multi pin connectors that can have as many 120 pins. They can be heavy and have an actuating screw that holds the male and female connectors in place. TDIF: A proprietary type of 25 pin D-Sub that was created by Tascam. It is found on a wide variety of professional recording equipment as an alternative to the ADAT standard. Audio Kabel für Beginner Einführung: Dies ist ein Leitfaden zur Nutzung von Audio Kabeln, wie diese funktionieren und welche die gebräuchlichsten Arten sind. Hierunter finden Sie zwei Bücher, die das Thema Audio Kabel exzellent behandeln: (Achtung, Englisch) Wire, Cable, and Fiber Optics for Video & Audio Engineers von Stephen H. Lampen (1 Aug, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) von Stephen H. Lampen (15 Jan, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 Die Funktionsweise eines Audiokabels: Audiokabel versenden ein elektrisches Signal von einem Punkt zum anderen. Dies ist dem normalen Stromfluss wie aus der Steckdose Zuhause sehr ähnlich. Audiokabel benutzen jedoch sehr viel kleinere Spannungen als die Normale 230 Volt Steckdosen-Spannung. Elektrizität: Damit Elektrizität zwischen zwei Punkten fließen kann, braucht es zwei Dinge, einmal eine positive Leitung und eine neutrale Leitung. Wenn man beide hat kann nun ein elektrischer Kreis entstehen, der ein Signal vom Instrument an Ihren Verstärker, Ihren Mixer oder den Computer weiterleitet. Alle standart Audiokabel benutzen dieses Grundprinzip der Elektrik egal welcher Anschluss an das Ende angeschlossen ist. Dies geschieht, wenn Sie z.B. Ihre Gitarre an Ihren Verstärker mit einem 6.35mm Kabel anschließen oder wenn Sie Ihren DVD Player anhand eines RCA Steckers mit Ihrem Fernseher verbinden. Beide funktionieren genau auf diese Weise. Symmetrische und asymmetrische Audiokabel: Im Netz entstehen oft Verwirrung und ewige Erklärungen was das Thema symmetrisch und asymmetrisch angeht. Alles was Gitaristen und Aufnahme-Enthusiasten kennen müssen ist der grundlegende Unterschied zwischen beiden und was das bedeutet. Asymmetrische Kabel funktionieren genu so, wie bisher beschrieben. Im Gittarenkabel (6.35mm – ¼") gibt es somit die positive Leitung, die Spitze und die neutrale Leitung, den Schaft, der sich um die Leitung legt, die an die Spitze angeschlossen ist. Das Neutrale dient hier zwei verschiedenen Zwecken: Erstens dient es als neutrale Leitung um einen Stromfluss erst möglich zu machen und zweitens schützt es die positive, mittlere Leitung vor außenliegenden Interferenzen. Audio niedriger Impedanz: Der Mikrofon-Pegel liegt zwischen 48 und 52 Ω (3 Pin XLR Stecker und symmetrische Verbindungen) Audio höherer Impedanz (aber nicht hoch), für Mixer und andere verteilende Audiogeräte. Der Instrument-Pegel ist hier ca. 1000 Ω (genauer: zwischen 680 und 1800 Ω). (6.35mm Telefonstecker, TS ("tip"= Spitze "sleeve"= Schaft) asymmetrisch und TRS ("tip"= Spitze "ring"= Ring "sleeve"= Schaft) symmetrisch) Audio hoher Impedanz für Mixer, Schaltkreise, verteilende Verstärker oder andere verteilende Audiogeräte. Line-Pegel benötigt 1000 bis 10000 Ω. Also sind meine Gitarren Kabel und Pedale asymmetrisch? Ja, fast jedes Gitarren Equipment ist asymetrisch. Ist das schlecht? Nein... Asymmetrische Kabel sind anfällig für Interferenzen von Außen über lange Distanzen. Im Grunde, desdo länger das Kabel, desdo weniger effektiv ist der Schaft im Schützen des Kabels vor elektrischen Interferenzen. Zum Glück sind die meisten Gitarren- und Patchkabel relativ kurz, was bedeutet, dass es hier meist kein Problem gibt. Als Faustregel gilt: Das asymmetrische Kabel sollte nicht länger sein als 3 Meter sein, wenn Sie es in einem Raum oder auf der Bühne benutzten mit viel elektrischem Material in der Nähe. Wenn es länger ist kann es sein, dass Unerwünschtes wie Brummen, Rauschen und Krach auftaucht. Was bedeutet das für mich? Niemand will an seinen Verstärker gebunden sein, trotzdem sollten Sie versuchen das asymetrische Kabel unter 3 Metern Länge zu halten um möglichst wenig Krach zu erhalten und ein starkes Signal zu haben. (4,5m ist meist noch ok und 7.5m ist grenzwertig) In Aufnahmesituationen ist es meist in Ordnung asymetrische Kabel zu benutzen, wenn Sie aber kristallklaren Ton haben wollen versuchen Sie die Länge der Kabel unter 3 Metern zu halten. Außerdem sollten Sie auf asymetrische Verbindungen auf der Rückseite des Racks achten. Wenn ein asymmetrisches Kabel in der Nähe von so viel Material ist kann ein Rauschen entstehen. Symmetrische Kabel: Symmetrische Kabel benutzen immer noch den positiven und negativen Leiter um das elektrische Signal zu tragen aber hier wird ein drittes Element hinzugefügt: Die Masse. Die Masse geht durch das Kabel, in Ihr symmetrisches Gerät, durch die Wand, den Sicherungskasten und in den Boden. Bei symmetrischen Kabeln dient der Schaft als Masse. Die Masse trägt KEIN Signal und kann nicht im Ton gehört werden. Die Masse dient einzig und allein der Abschirmung vor ungewollten Geräuschen während positiv und neutral das Signal transportieren. Welche Geräte benutzen symmetrische Audiokabel? Mikrofone und Aufnahmegerät sind, oder sollten, in den meisten Fällen symmetrisch sein. Wenn ich ein symmetrisches Kabel mit meiner Gitarre benutzen, kann ich das Signal symmetrisch machen? Nein, das Gerät muss auch immer symmetrisch sein. Warum sind symmetrische Kabel so teuer? Symmetrische Kabel werden mit einem speziellen Verfahren hergestellt, das "Twisted Pairing" oder auch "Aderverdrillung".Dieses Verfahren ist teurer als die normale Herstellung wie bei asymmetrischen Kabeln. Wenn ich die Wahl habe symmetrische oder asymmetrische Kabel zu benutzen, welche benutze ich dann? In den meisten Fällen sollten Sie bei symmetrischen Geräten auch symmetrische Kabel benutzen. Wenn Sie aber mal unbedingt ein asymmetrisches Kabel benutzen müssen, ist das in Ordnung sofern es nicht zu lang ist und Sie kein unerwünschtes Krachen bekommen. Wie kann ich ein symmetrisches von einem asymmetrischen Kabel unterscheiden? Der technische Name für Gitarrenkabel ist TS, was für Tip (= Spitze), das Positive und Sleeve (= Schaft), das Neutrale steht. 6.35mm (1/4") Studio Kabel werden TRS gennant, für Tip (= Spitze), das Positive; Ring, das Neutrale und Sleeve (= Schaft), die Masse. TS Kabel haben einen Ring auf dem Stecker. TRS Kabel haben zwei Ringe. Kabel, die drei Zinken oder Beine haben, wie ein XLR Kabel, sind meist symmetrisch. Manche Kabel werden für sehr spezielle Routing Situationen hergestellt und haben drei Beine an einem Stecker und zwei am anderen. Diese sind immer noch asymmetrisch. Glossar der Kabel: Asymmetrisch: TS 6.35mm (1/4"): Dies ist ein standart 6.35mm Kabel wie bei Gitarren und anderen asymmetrischen Aufnahmegeräten. TS 3.5mm (1/8") Mini: Solch ein TS oder Mono Mini Stecker wird meist als Adapter benutzt. RCA oder Phono: RCA Anschmüsse werden meist bei Einsteiger Aufnahmegeräten verbaut. Außerdem kann man diese auf Verbrauchergeräten finden wie DVD Playern, Turntables oder alten Fernsehgeräten. Bananenstecker: Banenenanschlüsse werden meist bei Lautsprechern für den Endkonsumenten verbaut. Y-, Insertkabel: Ein Insertkabel teilt ein Stereo Signal in zwei Mono Signale und werden Y-Kabel genannt, da es diese Form hat. Symmetrisch: XLR: XLR Kabel werden meist für Mikrofone benutzt und werden so auch oft Mikrofonkabel genannt. TRS 6.3mm (1/4"): Das TRS ist ein symmetrisches Kabel, welches in Studios und bei Liveauftritten verwendet wird um Krachen und Rauschen über lange Distanzen zu minimieren. TRS 3.5mm Mini: Der 3.5mm "Mini" Stecker wird meist bei Kopfhörern oder anderen Konsumentenprodukten verwendet, wie z.B. Soundkarten. Tiny Telephone oder TT: Der TT Stecker wird als symmetrische Kabel für professionelle Patch-Panel verwendet. Digitale Anschlüsse: Die meisten digitalen Anschlüsse verwenden die gleichen Prinzipien wie die, die wir bereits behandelt haben, verwenden diese aber auf eine andere Art. Digitale Kabel senden Strom- oder Lichtimpulse, die von einem Computer entschlüsselt werden können. Bei digitalen Anschlüssen ist es sehr wichtig das korrekte Kabel zu verwenden. Impedanz oder Resistenz spielen bei diesen Kabeln eine große Rolle bei der Datenübertragung. Nur weil ein S/PDIF Kabel wie ein RCA Kabel aussieht, bedeutet das nicht, dass das RCA Kabel, welches man in einen DVD Player einsteckt auch eine P/PDIF Verbindung handhaben kann. S/PDIF: S/PDIF oder Sony/Phillips Digital Interface ist bei Weitem der gebräuchlichste Anschluss. Es benutzt einen 75 Ω, asymmetrischen RCA Stecker. ADAT Lightpipe: ADAT Lightpipe ist ein Audio Protokoll, welches als digitaler multikanal Standart für ADAT entwickelt wurde. Am häufigsten findet man diesen Anschluss bei digitalen Audioschnittstellen und Vorverstärkern. Diese Lichtleitanschlüsse kann man manchmal auch auf hochwertigen Verbraucher-Geräten als Audioanschluss finden. Lichtwellenkabel benutzen Lichtimpulse um Informationen zu versenden. Oftmals sind diese Kabel eher teuer und zerbrechlich und müssen daher mit Sorgfalt behandelt werden. AES/EBU: AES/EBU ist eigentlich der große Brider des S/PDIF Anschlusses. AES benutzt das selbe Protokoll wie der S/PDIF Anschluss, kann aber viel mehr Informationen gleichzeitig transportieren. AES/EBU sind symmetrisch und haben auch dementsprechende symmetrische XLR Stecker an beiden Enden. Wenn Sie ein einfaches XLR Kabel benutzen wollen brachen Sie eines des Typen 1 (in Bezug auf die Stiftordnung) bei 110 Ω. BNC oder Bayonet: Das BNC ist ein asymmetrisches Kabel, welches vorwiegend bei professionellen Video Anwendungen als Alternative zu RCA verwendet wird. Was Audio angeht, wird es meist als Träger für Wordclock Informationen verwendet. BNC hat einmal eine 50 Ω und eine 75 Ω Variation, die meisten Audiogeräte verwenden aber die 75 Ω Variante. Mehrpolige Stecker: Mehrpolige Stecker, bzw. Multi-Pin Stecker sind meist auf High-End Audio Schnittstellen und Konsolen zu sehen. Sie werden als symmetrische Multikanal-Verbindung benutzt, die Platz auf der Rückseite des Gerätes spart. Jeder Pin ist ein separater Kanal, der ein Audio Signal oder digitale Informationen trägt. Die meisten Gitaristen und Aufnahmeenthusiasten werden nicht sehr oft auf diese Art Stecker stoßen, da diese meist bei sehr teurem Aufnahme- und Live-Sound-Geräten verwendet werden. D-Sub/DB25: Die D-Sub Steckerfamilie wird oft bei Computern benutzt und kommt in verschiedensten Pin-Konfigurationen. Der gebräuchlichste D-Sub ist der VGA Stecker, den man auf der Rückseite vieler Computer Monitore finden kann. Der D-Sub Stecker wird oftmals verwendet, da die Stecker sehr weit verbreitet und relativ billig herzustellen sind. Elco/Edac: Elco und Edac (die meist untereinander austauschbar sind), sind große Multi-Pin Stecker, die bis zu 120 Pins beinhalten. Sie können sehr schwer werden und haben eine Schraube zum Einrasten, die das männliche und weibliche Ende zusammenhält. TDIF: Der TDIF Stecker ist eine Art D-Sub, aber mit 25 Pins. Er wurde von Tascam entwickelt. Dieser Anschluss wird oft auf porfessionellen Aufnahmegeräten als Alternative zum ADAT Standart verwendet. Câbles audio pour les débutants Introduction: Ce document explique les différents câbles audio, comment ils fonctionnent et quels sont les câbles les plus populaires. Les livres ci-dessous sont des références excellentes concernant ce sujet: (Anglais) Wire, Cable, and Fiber Optics for Video & Audio Engineers de Stephen H. Lampen (Aug 1, 1997) http://www.amazon.com/Cable-Fiber-Optics-Video-Engineers/dp/0070381348/ref=lp_B001HO3HHQ_1_2?ie=UTF8&qid=1335303440&sr=1-2 Audio/Video Cable Installer's Pocket Guide (Pocket Reference) de Stephen H. Lampen (Jan 15, 2002) http://www.amazon.com/Audio-Video-Installers-Pocket-Reference/dp/0071386211/ref=sr_1_fkmr1_2?s=books&ie=UTF8&qid=1335303294&sr=1-2-fkmr1 Fonctionnement du câble audio: Les câbles audio fonctionnent en envoyant des signaux électriques d'un endroit à un autre. Ceci est très similaire à la façon dont le courant électrique dans votre maison circule. Mais les câbles audio utilisent des tensions beaucoup plus faibles que la prise 230 volt générale. Électricité: Afin d'électricité de circuler entre deux points, vous avez besoin de deux choses: Un fil positive et un fil neutre. Ceci achève un circuit et permet un signal électrique de votre instrument à votre ampli, table de mixage ou ordinateur. Tous les câbles audio standard utilisent ce principe de base en électricité n'importe quel connecteur est fixée à l'extrémité. Tous ca arrivent si vous connectez votre guitare à un ampli avec un câble 6.35mm ou si vous connectez un lecteur DVD avec une TV avec une prise RCA. Les deux travaillent de la même façon. Câbles audio symétriques et asymétriques Il y en a beaucoup de confusion et explications longues concernant les différences entre les câbles symétrique et asymétrique. La plupart des guitaristes et enthousiastes d'enregistrement doivent seulement savoir que la différence de base électrique et ce que ca veut dire. Les câbles asymétriques fonctionnent exactement comme décrit ci-dessus. Dans un câble guitare, par exemple, il y en a un fil positif, la "pointe" et un fil neutre, le "manchon". Le neutre sert à deux choses: Fournir un conducteur neutre pour que l'électricité peut circuler et de protéger le fil de milieu positif de toute interférence extérieure. Audio d'impédance basse, ou sur "niveau microphone". De 48 à 52 Ω. (connexion XLR à 3 broches, lignes symétriques) Audio d'impédance plus haute (mais pas haute) pour les tables de mixage ou autres équipement audio de distribution. Le "niveau instrument" est environ 1 000 Ω (entre 680 et 1 800). Connecteurs jack 6.35mm, lignes TS asymétrique (jack 2 points) et TRS symétrique (jack 3 points). Audio d'impédance haute pour les tables de mixage, amplificateurs de distribution et autre audio distributive. Le niveau de ligne a besoin de 1 000 à 10 000 Ω. (connecteurs RCA, lignes asymétrique) Donc, mes câbles de guitare et pédale sont asymétriques? Oui, presque tout le matériel de guitare est asymétrique. Est-ce que c'est mauvais? Non. Les câbles asymétriques peuvent être vulnérables pour les interférences électriques sur longues distances. En général, si le câble est plus long, le manchon sera moins efficace à protéger le câble des interférences électriques externes. Heureusement, la plupart des câbles de guitare et câbles de raccordement sont normalement courtes donc ce n'est généralement pas un problème pour la plupart des musiciens. Règle générale: Si le câble est plus long que 3 mètres, et vous l'utilisez avec beaucoup de matériel électrique dans une chambre ou sur une scène, vous pouvez entendre bruits, bourdonnements ou rumeurs indésirables. Qu'est-ce que ca veut dire pour moi? Personne n'aime être "lié" à l'ampli mais essayez de na pas utiliser des câbles plus long que 3 mètres pour le signal plus fort et stable. (4,5m est normalement ok mais 7,5m sera habituellement trop de distance.) Dans les situations d'enregistrement, c'est bien d'utiliser des câbles asymétriques dans la plupart des cas mais si vous voulez du son limpide, essayez d'avoir des câbles sous 3m. Faites attentions aux connexions asymétriques en arrière du rack. Si vous avez beaucoup d'autre matériel près d'une connexion asymétrique peut causer des problèmes de bruit. Câbles symétriques Les câbles symétriques toujours utilisent un positive et neutre pour générer un signal électrique mais ils ajoutent un troisième élément: la terre électrique. La terre est appelé terre parce que elle va via le câble et votre matériel symétrique dans le mur, la boîte à fusibles dans la terre. Pour les câbles symétriques, le manchon est utilisé comme terre. La terre n'a aucun signal et ne peut pas être entendu dans l'audio. La terre protège seulement des bruits indésirables. Maintenant, la magique: Le positif et le neutre transportent le même signal, tous le son et les bruits…. Le matériel symétrique uniquement sortie la différence de tension entre les deux. Car le bruit est représenté également sur les deux, il est inversé et annulé. Ca veut dire que vous pouvez avoir centaines de mètres de câble symétrique et toujours avoir du audio sans bruit. Quel matériel utilise des câbles audio symétriques? Microphones et matériel d'enregistrement sont, ou devraient être symétriques. Si j'utilise un câble symétrique avec ma guitare, est-ce que je peux faire le signal symétrique? Non, le matériel vous utilisez doit être symétrique également. Pourquoi est-ce que les câbles symétriques sont si chers? Ces câbles sont produits de façon "paire torsadée", ce procès est plus cher que la production normale du câble asymétrique. Si j'ai la possibilité d'utiliser des câbles symétriques ou asymétriques, lequel dois-je utiliser? Dans la plupart des cas, si vous utilisez du matériel symétrique, vous devez utiliser des câbles symétriques. Mais si vous devez une fois utiliser un câble asymétrique, c'est bon à condition que le câble soit court et vous ne recevez pas du bruit indésirable. Comment est-ce qu'on fait la différence entre les câbles symétriques et asymétriques? Le nom technique des câbles guitare sera TS: "Tip" (pointe: positive) et "Sleeve" (manchon: neutre) Câbles studio 6.35mm seront des câbles TRS: "Tip" (pointe: positive), "Ring" (anneau: neutre) et "Sleeve" (manchon: terre) Les câbles TS ont un anneau sur le connecteur. Les câbles TRS ont deux anneaux. Les câbles avec trois dents, comme un câble XLR sont habituellement symétriques. Certains câbles sont produits pour des situations de routage bizarres. Ils ont trois broches à un connecteur et deux broches sur l'autre. Ces câbles sont asymétriques. Glossaire des câbles: Asymétriques: TS 6.35mm: C'est le câble standard pour les guitares et pour le matériel asymétrique d'enregistrement. TS 3.5mm Mini: Ce connecteur Mono ou TS est le plus souvent considéré comme un adaptateur. RCA ou Phono: Les connecteurs RCA sont vus principalement sur ​​l'équipement d'enregistrement d'entrée de gamme. Ces connecteurs sont également sur les produits de consommateur, comme le lecteur DVD, les plaques tournantes ou plus vieux télévisions. Fiche banane: Les fiches banane sont principalement utilisées pour les connexions des haut-parleurs du consommateur. Câbles Y, Insert: Le câble Y divise le signal stéréo dans deux parties mono. Symétriques: XLR: Le câble XLR est le câble la plus fréquente pour les microphones et est souvent désigné comme un "câble micro". Câble TRS 6.35mm: (Remarquez les deux anneaux autour de la partie supérieure du connecteur.) TRS est un câble 6.35 symétrique utilisé dans les studios et live pour minimiser les bruits sur longues distances. TRS 3.5mm Mini: Ce connecteur est souvent utilisé pour les écouteurs et autres appareils du consommateur comme les cartes de son. Tiny Telephone ou TT: Ce câble est une connexion symétrique pour les patchs professionnels. Connexions digitales: La plupart de connexions digitales utilisent les mêmes fonctions de base que nous avons déjà discutés; ces connexions seulement les utilisent dans une autre manière. Les câbles digitaux envoient des impulsions de courant ou lumière. Ce signal peut-être décodé de l'ordinateur. C'est très important d'utiliser le câble approprié pour les connexions digitales. L'impédance ou résistance jouent un rôle très important dans la façon dont cette information est envoyée. Juste parce qu'un câble S/PDIF ressemble à un câble RCA ne veut pas dire que le câble RCA peut traiter une connexion S/PDIF. Vous pourriez rencontrer des erreurs bizarres et de la distorsion numérique si vous utilisez un câble qui n'est pas correctement évalué. S/PDIF: S/PDIF ou Sony/Phillips Digital Interface est le câble le plus commun pour les connexions digitales. Ce câble utilise une connexion RCA Phono de 75 Ω. Câbles ADAT Lightpipe: ADAT Lightpipe est une norme digitale développé pour ADAT. Ils sont vu plus communs sur les interfaces audio digitales et sur préamplificateurs. Parfois, vous le pouvez trouver sur des appareils haut de gamme des consommateurs comme connexion audio. Ces câbles utilisent des impulsions de lumière pour envoyer des informations. Ces câbles ont tendance à être cher et fragile, donc: Manipuler avec précaution. AES/EBU: Câbles AES/EBU utilisent le même protocole comme le câble S/PDIF mais sais transporter plus d'informations en même temps. AES/EBU a des connecteurs symétriques XLR. Si vous voulez utiliser un câble XLR, veuillez vous assurer que c'est un Type 1 à 110 Ω. BNC ou Bayonet: BNC est une connexion asymétrique utilisée principalement en vidéo professionnel comme alternative pour RCA. Pour audio, ce câble est habituellement utilisé pour transporter des informations Wordclock. BNC est 50 Ω ou 75 Ω mais la plupart du matériel audio utilise la version 75 Ω. Connecteurs multibroches: Connecteurs multibroches se trouvent généralement sur les interfaces audio haut de gamme et sur consoles, ils sont utilisés come connexion multicanal symétrique qui économise de l'espace sur le dos d'une pièce d'équipement. Chaque broche est un canal séparé qui transporte des informations audio ou numérique d'un point à un autre. La plupart des guitaristes et enthousiastes d'enregistrement ne trouvent ces connexions très souvent. Ces connexions sont principalement utilisées dans les équipements d'enregistrement ou de son live qui est très cher. D-Sub/DB25: D-Sub est une famille des connecteurs utilisés pour les ordinateurs et est disponible dans multiples configurations des broches. La connexion la plus fréquent est laquelle trouvé sur le dos des moniteurs VGA. Ces connecteurs sont très répandu pour transporter des signaux audio parce qu'ils sont commun est bon marché. Elco/Edac: Elco et Edac sont des connecteurs multibroches larges qui peuvent avoir jusqu'à 120 broches. Ces connecteurs peuvent être très lourds et ont une vis pour attaché mâle et femelle. TDIF: Un type de D-Sub 25 broches qui ont été créé par Tascam. Ce connecteur se trouve sur une grande variété de matériel d'enregistrement professionnel en tant qu'alternative à la norme ADAT.
  6. Hey guys, I have a JTV variax but I have no USB interface to change it's parameters, and I have no other interface (POD, helix, etc.). The interface by iytself is 150$ here, which is absurd. Would this cable make the Workbench HD see my JTV and allow me to update firmware/upload patches and change params? https://bencraven.com/?p=1616 Thanks!
  7. Hi! I simply can't fathom why this information isn't easily available, but I've been searching for a good while now and haven't been able to determine what kind of firewire cable the Pod XT uses. Anyone knows, so I can buy the correct one?
  8. I have a JTV 69 made in Korea and when I use a Variax cable with Helix or HD 500 it changes the sound of the magnetic pickups. Sounds to me like a bit of piezo quack. When I use a guitar cable the pickups sound natural. I'd like to be able to use the variax cable but I'd also like to be able to use the magnetic pickups. Has anyone else run into this?
  9. GabCS

    Helix AC Power Cable

    Hi guys I've recently lost my Helix Lt power cable on stage and I was wondering if I could use any other IEC cable. Has anyone tried it? I found nothing using the search tool, thanks and keep rocking on!
  10. Greetings, I've been using an LD15 amp for a few years now and I am happy with it in general. There is only an issue that hasn't been resolved over all this time i've been using it. When an MP3 is plugged in the MP3 input of the amp, the sound that comes out of the amp speaker is significantly lower and "weak", even when the device is set on its maximum volume. Looking at other similar topics in the forum, the cable has been identified as the culprit for this case, however, this is the 3rd time I've gotten a new cable and the problem is still there. The only way I have managed to get the full and loud sound that was supposed to come out of the speaker is when i press the jack slightly down on the amp end, which makes me believe that the jack fails to couple properly with the input. Assuming that this is the case, is there any fix that I can try for the input? Some sort of making it slightly narrower? Thanks in advance.
  11. The VDI cable disconnect issue: I think I may have found the issue here. The cables I bought don't have the shrink tubing ( sweetwater vdi cable ). Mine both have a black knurled "nut" shown by the red arrows and if those aren't tight, the jack inside can move in an out. This may have been causing my disconnects if the cable was bumped in that area.
  12. hello, I'm pretty new to MIDI, but since I recently bought a KORG Volca Keys unit, I was wondering if I could use my Toneport KB37 as the MIDI controller for this device without first going through a computer? I'm asking because in all the forums and manuals it always mentions going through a computer, and of course the kb37 does not have the MIDI DIN connector. if I get a USB-MIDI converter cable (or SPDIF-MIDI??), can I just plug the kb37 into the Volca and have it work? what kind of cable do I need, in case it needs a special cable? and, you know: just all the other silly noob questions about (this) midi setup that you can think of... ;) thanks, Eric. PS: this is a video of the KORG Volca Keys with a midi keyboard setup, I'm looking for something similar, but with the KB37 https://www.youtube.com/watch?v=XVTm0mT53fU
  13. Hi, I was wondering if there are vdi cables available to purchase in Europe? I am searching for a better quality that the one from line6 offers. Some previous posts discuss about such alternatives, but they seems to be only available in the US. Thanks for any advice you may have!
  14. Hi everyone! I'm new to the forum and joined just after buying a jtv-69 used. It came with a battery and a charger, but no digital interface in the case. So my question is: what exactly is needed in order to connect it to my macbook and eventually to workbench hd? will a regular ethernet cable work? do I have to use the line6 cable? even on that cable, it's written that it's meant for digital connection to a PodXT and the like - so I'm not sure that this is meant to be used to connect the guitar to a computer. Maybe it's mentioned somewhere but I honestly could not find the complete info. is the "DVI" the cable itself? or some kind of a converter/adapter? assuming I have the line6 cable, does it connect to a usb or the ethernet port? how does this chain look exactly? If you could help a newbie I would be very grateful!
  15. shawndeveau

    Cables

    Not sure where to post this, so please move if appropriate. I'm wondering what folks recommend for guitar cables. I just use whatever is cheap at my local store. Is there a preferred professional choice of cable? Thanks, Shawn
  16. I have searched high and low and have not found a straightforward answer. I have an HD500x on the way and a pair of Rokit 6 G3 to pair with it. The Rokit 6's have the following inputs: Balanced XLR Balanced TRS(1/4" jack) Unbalanced RCA I believe I have read that it is preferred to use the unbalanced 1/4" output on the HD500X as the XLR output signal is low. Can I connect the 1/4" unbalanced out to the 1/4" balanced TRS on the Rokits? What cable should I be using? Or should I use a 1/4" unbalanced to RCA cable? I am so confused! Thanks for the help.
  17. i Have a Line 6 M13 a few years and I always used with external drive to achieve the best tone i could ever get, but it always was on the input of my amp. now I'm buying a new amp with an effects loops. my question is if I use the 4CM and use external drive do the overdrive signal will go to the effects loops of my amp? Because it's not been processed inside the M13. If the overdrive signal is going to the effects loop what should I do to not damage my amp and still use external drives with the M13?
  18. What should I do? where can I get one? currently in dubai, uae
  19. Hi, when connecting the balanced outputs of the UX8 to the unbalanced inputs of the Roland MC-909 should I use a balanced or unbalanced cable? What effect would using balanced vs. unbalanced have on the signal?
  20. Monkey tells me, that Flash Memory installed is unknown - update stops with code 80007104 The Editor isn´t working to, giving me back an Code 80000000 I´ve tried doing the update in Safe Mode holding down the "right side" of the directional selector and power up the Pod (leads to some "overview") holding down the "down side" of the directional selector and power up the Pod (leads to "Update Flash"). I´ve tried the original USB-Cable and another one. I´ve tried to click "NO" when it asks you the keep the current patches. Please help me ASAP!!! Computer-Details: OS-X El Capitan 10.11.2 (15C50)
  21. I saw some older posts talking about various cables for the Line 6 link. I was wondering if there was any newer info on this. I am currently using a cheap Hosa EBU-010 AES/EBU Digital Audio Cable. I don't have any problems with it, but every time I look at how thin it is, I wonder if using something higher end, such as Mogami Gold AES would work better. Anyone try some of the various higher end cables? Thanks.
  22. teovai

    3 cable method ???

    IS it possible for you to connect the pod hd 500 only on the 'return' and 'out' jacks only, to get only ambient effects from the POD? Only to do not convert from Analog to Digital 4 times the tube amp signal (like the 4 cable method does)? Like this: (FX LOOP set to ON in the POD) guitar -> tube amplifier IN -> tube amplifier SEND -> POD RETURN -> [ ambient effects ] -> POD OUT -> tube amplifier RETURN thank you!
  23. So I came home from work to find that my dog had gone into my studio and chewed my Pod hd500x power supply and the VDI cable for my JTV. I ordered replacements the next day from sweetwater and was pleasantly surprised to find that Line 6 has upgraded the cables jacket that is more like a normal 1/4 inch guitar cable style. It's a great improvement on the plastic jacket on the older version. It doesn't twist up so bad and doesn't hold the memory of being coiled up. Any way good job Line 6 it's nice to see improvement. :D
  24. I have managed to get a really good sound with my JTV-89 and PODxt Live. It took hours and hours of research and testing to get that awful "Tin" or "Highly compressed" palm muting sound to go away. Once I got rid of that; I must say that I am HIGHLY pleased with this guitar! My only real complaint at this time is that as soon as I plug in the VDI cable, my sound goes right back to crap :( ...Is there any possible way to be able to match the resistance of the VDI to a real guitar cable? Is there any way that this could be implemented in the firmware or Workbench? I want so bad to be able to use this guitar live with my POD so that I can switch guitar models. At this time it is totally unusable that way. Any ideas?
  25. Is there a special reason the instrument cable is 1 m (3 ft) so long? It's way more than I need and I was wondering if shortening it (snip, snip, re-solder jack and off we go) could somehow impact the units performance? Or am I just being paranoid?
×
×
  • Create New...