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Any reason why? Are the quads kinda stiff?

 

 

Yeah, I like the way Audiopile's Starline cable handles; it's very flexible. It has proven itself very durable; never had a failure.

 

It's also a bit easier to work on than quad stuff and is cheaper.

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Most folks say you don't need the quad cables. I use them anyway. I have a bunch of custom and standard quad cables which I bought from a Horizon rep several years ago and I'm extremely pleased with them. However, I did buy a couple quad cables a while back from Mark and thought they were every bit as good. The only difference was the ends. At the time, the blue quad cables were available only with the standard ends and there is definitely a difference between those ends and the ends on my Horizon cables. The standard ends on the cables from Mark are good, but whatever is on my Horizon cables is definitely better. However, the blue quad cables are now available with the better Neutrik ends which are better than the ends on my Horizon cables. The stuff from Mark is the best bang for the buck.

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I also bought a ton of these. All blue. They are great.

I love the fact that they have the length printed on them. Takes the guess work out.

Also, since I am the only person I know with blue cables...I don't have to worry about someone walking off with mine.

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I have probably close to 30 of those quad cables from Audiopile, I have one failure (it was DOA), all of the others have been going strong (most for almost 3+ years).

They get used and abused 6-8 times a month, great cables and great people to deal with.

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All of our cables are those (blue for lighting, black for audio).

 

You're using regular ol' XLR cable for DMX? No communication issues?

 

Regular ol' XLR doesn't fit the standards for DMX transmission. Apparently in your case it's working fine, but I've always been told that XLR cables for audio can result in intermittent and extremely confusing communication problems with the lights and board.

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95% of my cables work fine for DMX, all the snakes too. The older cables that have that thicker jacket and prolly come from the 70's or 80's might have issues. Every year or so I go thru and give away the older cables and replace them with EWI or rapco. The last big purchase was the EWI SLMA with the cheaper silver ends (they were on clearance). All of them still work fine.

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Yes I have those exact cables from audiopile.net - Mark and Liz are great to deal with, good prices and excellent quality... those cables should last me a good long time.

 

I love the blue ones, since they stand out amongst a sea of black cabling, w/whatever band I'm playing with on any given night... I wish they also made RED ones - since I'm a kybd. plyr. and like to run PA and feeds from my kybd. amp in stereo... I'd use the BLUE cables for Left and the RED cables for Right. :thu:

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cables for Right.
:thu:

Why not just wrap red and blue electrical tape around the cables just before the connector?

 

I'd have a box of red or blue XLR for use with opening bands. Headliners use black, openers use red and blue to help the stagehands discern which cables stay and which go.

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If I was running a complex DMX rig with 5+ intelligent lights/dimmers then yeah, DMX cables. I've done as many as 8 DMX dimmer packs (par 64/38 lights) with no issues. If there was an issue it would always be an older cable and even using a DMX terminator didn't help. Swap to a good newer cable all is good.

 

AFA colored cable? No, black only. Anything else draws attention to it. And none of the XLR cable that isn't part of an amp rack or FOH rack might get used it all sorts of cennections. Color coding doesn't make sense, just label the ends exactly what it is.

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If I was running a complex DMX rig with 5+ intelligent lights/dimmers then yeah, DMX cables.

 

Well, for now when I run lights (rarely) I'm not running anything smaller than 4+ moving heads, 8+ LED PAR, and 4+ LEKO. The last gig I did with the bigger company, they told me I was mixing monitors. Then I show up and they tell me I'm LD for the night... 8 MAC 250's, 8 LEKO, and about 16 LED PAR cans. The dude that was originally supposed to do it had an emergency call and had to leave, but before he left he gave me a total 5 minute crash course in lighting and the board (FROG), and basically left me to figure out my scenes and make the damn thing work.

 

I was {censored}ting my pants at first but I had zero problems... if I had to set it all up from scratch I probably would've had some problems. Since then I've really been doing a lot of reading into lighting systems and asking a lot of questions. I want to get that dude to give me a slightly longer follow-up crash course on lighting and actually take the time to explain how and why {censored} works the way it does. I have a good grasp of it for now but want to expand.

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I believe they offer colored ring inserts for the cable ends.

 

Yes I bought 'em - Red ones & White ones...

http://www.audiopile.net/products/Adaptors_Connectors/XLR_Cord_Ends/Colored%20Rings/XLR_Colored_Rings_CR_cutsheet.shtml

 

Mark even sent me a video clip on how to install them - you kind of have to take the cables apart to do it, so I'm a little leary of it... :facepalm::lol:

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Yes I bought 'em - Red ones & White ones...

http://www.audiopile.net/products/Adaptors_Connectors/XLR_Cord_Ends/Colored%20Rings/XLR_Colored_Rings_CR_cutsheet.shtml


Mark even sent me a video clip on how to install them - you kind of have to take the cables apart to do it, so I'm a little leary of it...
:facepalm::lol:

 

 

Honestly, it's a lot easier than you think.

 

I unscrewed a Neutrik and an EWI connector just to reassure myself before posting that. Neither took more than maybe 5 seconds and no expertise to screw the cap off remove it, then put it back on again

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