Topic: Cables for soundboard patches

[Brian Skalinder]

When it comes to cables, there are three factors to consider when patching out of the soundboard:

<1>  plugging into the soundboard
There are only so many options for soundboard outputs.  These outputs are usually XLR-male, RCA-female, and 1/4" mono female (and occasionally 1/4" stereo female which I won't address here).  So we need to have cables or adapters that will allows us to plug into the outputs listed above.

<2>  running a length of cable to get out of the way
Since the soundboard outputs are, well, part of the soundboard, it's best to have a length of cable so we may run our gear out of the sound engineer's way.  Six feet should suffice.

<3>  plugging into the preamp/ADC/recorder
How to feed the signal to our preamp/ADC/recorder depends on the connectors on our preamp/ADC/connector.  The most common preamps/ADCs/recorders have the following connectors:  XLR-female, RCA-female, and stereo mini female.

Let's look at precisely what it would take to plug into the soundboard with a preamp/ADC/recorder having each of the connectors mentioned above.  All three options below addresses the three factors from above:  <1> supports the three most common soundboard connectors, <2> provides a length of cable to run your gear out of the sound engineer's way, and <3> includes the appropriate plug for the preamp/ADC/recorder.  In each case, there are multiple ways to configure your own cables/adapters, but hopefully this will give an idea of what's required for each.  If the preamp/ADC/recorder connector is:

<a> stereo mini female
David Klein took a pic of probably the easiest solution for those wanting to plug in their portable recorder that has a stereo mini female plug (also attached below).  The list of cables / adapters:

• [2] XLR-female / RCA-female adapters (see DKlein pic)
  
• [2] 1/4" mono male / RCA-female adapters (see DKlein pic)
  
• length of cable with [2] RCA-male on one end and [1] stereo mini male on the other end (see DKlein pic)
  
  

<b> RCA-male
This scenario requires a minimal change to the one David shows above in his picture.  Instead of the stereo mini male adapter on one end of the cable run, simply replace it with a pair of RCA-male connectors.  The list of cables/adapters:

• [2] XLR-female / RCA-female adapters (see DKlein pic)
  
• [2] 1/4" mono male / RCA-female adapters (see DKlein pic)
  
• length of cable with [2] RCA-male on both ends (not pictured)

<c> XLR-male
I would mix up the solution for this one a bit.  Since the preamp/ADC/recorder takes XLR-male connectors, I would use a pair of XLR-male / XLR-female cables for my run length.  That way, I could use the cables as interconnects, or even short mic cables, if necessary.  This would also require a change from the adapters listed above.  The list of cables / adapters (see attached for pics of the different adapters):

• [2] RCA-male / XLR-male adapters (see attached pic)
• [2] 1/4" mono male / XLR-male adapters (see attached pic)
• length of cable with [2] XLR-male on one end and [2] XLR-female on the other end (not pictured)

[Cooker]

[2] 1/4" female | RCA male adapter

shouldn't this be the other way around?

[2] 1/4" male | RCA female adapter

basically, two of these:

[nickgregory]

I actually made a couple of 6' XLRF->1/4" (1/4" to go into my mixer), and I ordered a couple of 1/4"/XLRM and RCA/XLRM adapters....basically did this in agreement with Brian...makes it easier to haul around 2 SBD cables and adapters for all possible outputs...

[Brian Skalinder]

[2] 1/4" female | RCA male adapter

shouldn't this be the other way around?

[2] 1/4" male | RCA female adapter

Good catch, Cooker.  I meant to have that one on there, too.  I'm not sure which is appropriate as I'm unsure if most 1/4" outputs are male or female.  I suppose it wouldn't hurt to have both handy (I do, but haven't used them yet as I rarely patch into the board).

[Cooker]

boards typically have all female jacks on them - but that doesn't mean that the board patch the engineer gives you won't be a male cable...

many engineers will not have tapers plugging anything into their boards, and will hand you a shitty whirlwind cable when you ask for a patch.

one other important thing to mention, is that you will need 2 mono 1/4" to RCA adapters like pictured above, not one stereo RCA / stereo 1/4" adapter.

[Matt Quinn]

For example, many folks will run the soundboard patch directly into a Sony portable DAT deck

I've always wondered about this- why not use your normal ADC before the deck? Anybody?

[Brian Skalinder]

For example, many folks will run the soundboard patch directly into a Sony portable DAT deck

I've always wondered about this- why not use your normal ADC before the deck? Anybody?

If I wasn't running audience at the same time, I personally would run a SBD patch through my V3 (or other outboard ADC).  Only reason I wouldn't is if the SBD signal was too hot (but if that was the case, I'd probably carry around a set of attenuators).

[monochromic]

Option 2 - input-specific adapters

2 x RCA female | 3.5mm stereo adapter
2 x XLR female | 3.5mm stereo adapter
2 x 1/4" female | 3.5mm stereo adapter

brian -- i may be lucky enough to gain access to a sbd patch this coming weekend for a number of shows and hence am looking to pick up a number of cables to do so. your option 2 sounds like it would be the best option for me, however i'm a little confused in regards to the 'female' plug type in the above quoted list, shouldn't these be 2 x RCA male -> 3.5mm stereo adapter? ie, plugging the male cable into the female adapter in the sbd?

any help most appreciated.

[Brian Skalinder]

shouldn't these be 2 x RCA male -> 3.5mm stereo adapter? ie, plugging the male cable into the female adapter in the sbd?

The adapters listed are just that - adapters.  The assumption is that you have a length of cable to run from the SBD to your recording location at which point you would use the appropriate adapter.

The problem with option 2 is if you want a cable run to support all three input-specific adapters, you'll have to carry around a separate cable run for RCA, XLR and 1/4" connectors - that's a lot of cable runs to schlep around, IMO.

So if you're expecting an RCA patch outta the board, you'd have, say, a 6' cable run of 2 x RCA male/male - plug one end into the board, the other into your 2 x RCA female > 3.5mm stereo adapter.

If you're getting an XLR patch, you'd have, say, a 6' cable run of 2 x XLRf/XLRm - plug the female end into the board, male end into your 2 x XLRf > 3.5mm stereo adapter.  Make sense?

[monochromic]

Make sense?

does indeed. thanks for clearing that up for me.

[thierryhenry]

Sorry I am a n00b, what exactly would I need to get a soundboard patch using a Sharp MD that has Line In, Mic In, and headphones out. What type of cables would I need? Thanks.

[John Kelly]

When I first started board patching, all I needed was one cable and 2 sets of adapters.  I bought a monster RCA > mini plug cable.  One end has two male RCA jacks, while the other end has an 1/8" stereo connector.  Then I bought two 1/4" male to RCA female (like pictured above) adapters and two XLR female to RCA female adapters.

That would cover you 99.9% of the time.

[jasonrockhill]

All of these cables can be bought at Rat Shack?  Think I will take a ride and make a purchase of RCAm>mini and all of the adaptors.  How much will this run?  Thanks!

Rockhill

[jeromejello]

When I first started board patching, all I needed was one cable and 2 sets of adapters.  I bought a monster RCA > mini plug cable.  One end has two male RCA jacks, while the other end has an 1/8" stereo connector.  Then I bought two 1/4" male to RCA female (like pictured above) adapters and two XLR female to RCA female adapters.

That would cover you 99.9% of the time.

this is what i schelp around for analog patching... plus a pair of rca couplings (female at both ends)

[Bdifr78]

Thanks for the info guys.  Lets say I would be patching in the RCA inputs on my UA-5.  I think I know what I would need but please let me know if I am right here.

1 pair of stero RCA cables male to male 6'.

2 1/4" female to RCA male mono adapters.  For when I get a pair of mono 1/4" male cables from the board

2 RCA female couplers.  For when I get a male RCA stereo pair from the board

2 1/4" male to female 3 pin xlr cables.  When I get 2 male xlr from the board.  Then I would use the 1/4" female to RCA male adapters.

Obviously if I get a set of female RCAs from the board I would just connect to my RCA cable.

Is this right?  And would it cover me for all analog feeds?

Thanks,
Joe

[T-90]

great info Brian.....so if i want to run sb>ad-20>jb3, all i need are the adaptors to go from xlr (ad-20) to rca (sb) for this right? the board will have rca outs.

[wsphansam]

Other way around T-90, you want RCA to XLR, the way you describe you would be feeding you ad-20 into the SBD. Also, when using the ad-20 beware that it adds a considerable amount of gain, even with the knobs all the way down. Look into some attenuators if you'll be pulling alot of board patches.

[cyfan]

• [2] RCA-male / XLR-male adapters (see attached pic)

I am actually looking for two RCA-female / XLR-male adapters.
(If I'm using the XLR inputs on my UA-5 for the mics and want to mix in an XLR out from the soundboard I have to take it into the RCA jacks on the UA-5.) Also, since my attenuators are designed for use on RCA connects, it is exactly what I need.

Soooo... does anybody know where I can pick up a couple?

Tim

[Brian Skalinder]

Soooo... does anybody know where I can pick up a couple?

http://www.hosatech.com/hosa/products/GXM-133.html

Anyone who carries Hosa gear should be able to order for you if they don't already have 'em in stock.

[cyfan]

Thanks Brian. Yeah, I got a HOSA dealer in town. They keep a small stock, but they're order those for me.

tim

[Church-Audio]

One thing to mention is polarity of the output of the console, if its XLR you may need phase reverse cable (an XLR cable that swaps pin 2 with pin 3) so that your sound board patch is in phase with your room mics. Out of phase board mix with your room mics can result in a real loss of bottom end in your recordings but it can also do other things as well.

All mic preamps are pin 2 hot pin 3 neg pin 1 ground, if you’re doing room mics they will always be pin 2 hot. But console outputs can be pin 2 or pin 3 in the case of XLR outputs. With unbalanced outputs like 1/4 there is no problem 99.9% of the time tip is positive.

You can also have 1/4 inch balanced with the ring or tip being positive. I think this is often overlooked and can result in a real phase mess, if proper polarity is not adhered too. If you are in doubt the only way to tell is with a phase meter ( not something most of you will carry) But the sound tech should know what pin on the XLR out is hot.

When you get home to mix it down listen for the difference when you reverse the board mix track and combine it with the room mics.
If you did a multitrack recording if not your stuck with the results there is no way to fix it after the fact. IMO all tapers that are going to be using XLR connectors going to a preamp or record input should have a set of phase reverse cables.
The phase issue is moot if you plan on just recording the board mix as there is no reference to the actual polarity so there is no phase issue. Although some people claim to be able to hear a recording that is entirely out of phase, with respect to the original orientation of the recording mics being used not with left and right! That is very hard to do but it is possible to hear that difference.



Chris Church

When it comes to cables, there are three factors to consider when patching out of the soundboard:

<1>  plugging into the soundboard
There are only so many options for soundboard outputs.  These outputs are usually XLR-male, RCA-female, and 1/4" mono female (and occasionally 1/4" stereo female which I won't address here).  So we need to have cables or adapters that will allows us to plug into the outputs listed above.

<2>  running a length of cable to get out of the way
Since the soundboard outputs are, well, part of the soundboard, it's best to have a length of cable so we may run our gear out of the sound engineer's way.  Six feet should suffice.

<3>  plugging into the preamp/ADC/recorder
How to feed the signal to our preamp/ADC/recorder depends on the connectors on our preamp/ADC/connector.  The most common preamps/ADCs/recorders have the following connectors:  XLR-female, RCA-female, and stereo mini female.

Let's look at precisely what it would take to plug into the soundboard with a preamp/ADC/recorder having each of the connectors mentioned above.  All three options below addresses the three factors from above:  <1> supports the three most common soundboard connectors, <2> provides a length of cable to run your gear out of the sound engineer's way, and <3> includes the appropriate plug for the preamp/ADC/recorder.  In each case, there are multiple ways to configure your own cables/adapters, but hopefully this will give an idea of what's required for each.  If the preamp/ADC/recorder connector is:

<a> stereo mini female
David Klein took a pic of probably the easiest solution for those wanting to plug in their portable recorder that has a stereo mini female plug (also attached below).  The list of cables / adapters:

• [2] XLR-female / RCA-female adapters (see DKlein pic)
  
• [2] 1/4" mono male / RCA-female adapters (see DKlein pic)
  
• length of cable with [2] RCA-male on one end and [1] stereo mini male on the other end (see DKlein pic)
  
  

<b> RCA-male
This scenario requires a minimal change to the one David shows above in his picture.  Instead of the stereo mini male adapter on one end of the cable run, simply replace it with a pair of RCA-male connectors.  The list of cables/adapters:

• [2] XLR-female / RCA-female adapters (see DKlein pic)
  
• [2] 1/4" mono male / RCA-female adapters (see DKlein pic)
  
• length of cable with [2] RCA-male on both ends (not pictured)

<c> XLR-male
I would mix up the solution for this one a bit.  Since the preamp/ADC/recorder takes XLR-male connectors, I would use a pair of XLR-male / XLR-female cables for my run length.  That way, I could use the cables as interconnects, or even short mic cables, if necessary.  This would also require a change from the adapters listed above.  The list of cables / adapters (see attached for pics of the different adapters):

• [2] RCA-male / XLR-male adapters (see attached pic)
• [2] 1/4" mono male / XLR-male adapters (see attached pic)
• length of cable with [2] XLR-male on one end and [2] XLR-female on the other end (not pictured)

[cyfan]

One thing to mention is polarity of the output of the console, if its XLR you may need phase reverse cable (an XLR cable that swaps pin 2 with pin 3) so that your sound board patch is in phase with your room mics. Out of phase board mix with your room mics can result in a real loss of bottom end in your recordings but it can also do other things as well.

Thanks Chris. That thought hadn't occurred to me but makes sense.
First time I'll be using those adaptors will most likely be a post-mix matrix because the board in the venue (an old movie theater) is stage left and I'll be trying to get the mics deeper into the room. Even if I do run the mics AND board feed into my multi-track unit, I can invert the phase on the mic feeds if need be after the fact (pre mixdown).

But big thanks for bringing up an issue that hadn't crossed my mind.

tim

[Church-Audio]

One thing to mention is polarity of the output of the console, if its XLR you may need phase reverse cable (an XLR cable that swaps pin 2 with pin 3) so that your sound board patch is in phase with your room mics. Out of phase board mix with your room mics can result in a real loss of bottom end in your recordings but it can also do other things as well.

Thanks Chris. That thought hadn't occurred to me but makes sense.
First time I'll be using those adaptors will most likely be a post-mix matrix because the board in the venue (an old movie theater) is stage left and I'll be trying to get the mics deeper into the room. Even if I do run the mics AND board feed into my multi-track unit, I can invert the phase on the mic feeds if need be after the fact (pre mixdown).

But big thanks for bringing up an issue that hadn't crossed my mind.

tim

No problem. Its always overlooked part of sound patches. Always try and get the make and model of the soundboard as well as where you patched in, Aux out, main out, control room out, Matrix out, ect, so you can look it up at the console company's web site and to be sure that everything is the same polarity. That's what I would do, Its very hard because mic inputs on every known console out there, is pin 2 (+) pin 3 (- ) pin 1 ground.

But there is absolutely no standard what so ever for console outputs! unless its a unbalanced out, where the tip will always be + and the barrel will always be - the only way to tell is with a phase checker, or contacting the company that made the console in question. Soundcraft a well know leader in mixing consoles, They had problems with the early ones because they did no know unless you had a serial number ( even then they sometimes could not figure it out) because they changed it so many times lol. Its nuts..


Recording devices for the most part are pin 2 hot pin 3 cold pin 1 ground. so this is where the problems start. 
Remember that polarity is an absolute and the best way to get a good recording is to get it right at the venue not in post. Because there is a difference between doing things in the digital domain and doing things in the analog domain when it comes to polarity.


Chris Church

[gratefulphish]

Chris, In response to your last post, if you are given the choice, is there a preferred set of board outputs that I should picK?  Are some hotter than others, and if so, and people have referred to using attenuators, are they referring to normal XLR pad type attenuators, or something more like the voltage attenuators between AES/EBU and SPDIF?  In either case, what level of attenuation should I be prepared to handle?

[Chuck]

Chris, In response to your last post, if you are given the choice, is there a preferred set of board outputs that I should picK?  Are some hotter than others, and if so, and people have referred to using attenuators, are they referring to normal XLR pad type attenuators, or something more like the voltage attenuators between AES/EBU and SPDIF?  In either case, what level of attenuation should I be prepared to handle?

If you are handy with a soldering iron, it is very easy to make attenuator cables. The circuit is a voltage divider comprised of resistors. I have made several pads inside XLR housings and even 1/4" plugs. If you know the amount of attenuation you need, I bet Chris or someone else here would be happy to make them and sell them to you. Get that cable made and some adaptors to mate with XLR, 1/4" and RCA, and you'll be set.

[gratefulphish]

I have all the adapters, and even have XLR 10db attenuators, I am wondering whether these will work for the soundboard issue, or whether I need a different kind of attenuator.

[powermonkey]

Just for a wee bit of clarification (before I start ordering bits and bobs online):

In order to get me through the majority of soundboard connections, would I be able to get by on this selection of cable and adaptors (using an Edirol R-09):

Cable - 6.3mm(1/8inch) Male Stereo > RCA Male (Left & Right) (long enough to be able to keep out of the way, obviously)

Adaptors: 2 x RCA Female > XLR Female
              2 x RCA Female > 1/4inch Male
              2 x RCA Female > XLR Male

It's the same as in the most useful pic earlier in this thread, but with the addition of a pair of RCA Female > XLR Male adaptors just on the off chance.

Would this be sufficient? I'm aware that I should be grateful for any board connection I get offered, but obviously I want to have as broad a set of options as possible without having to cart around a huge box of adaptors and whatnot.

Thanks for the help, folks.

[Brian E.]

top, great thread.

[su6oxone]

Here's what I use for all my soundboard patching needs when patching to a small recorder with a 1/8" (3.5mm) input jack.  If using a recorder/pre with dual XLR female inputs, you can just use a dual RCA male to dual RCA male cable with an extra set of RCA female to XLR male adapters (of course, this is fairly obvious):

1. (1) Dual RCA male to 1/8" stereo male cable (Monoprice)
2. (2) RCA female to RCA female adapters (Monoprice)
3. (2) XLR female to RCA female adapters (Hosa)
4. (2) XLR male to RCA female adapters (Hosa)
5. (2) 1/4" mono male to RCA female adapters (Hosa)
6. (1) 1/4" stereo male to dual RCA female adapter (Hosa)
7. (1) 1/8" stereo male to 1/8" stereo male cable (in case I need to patch out of a 1/8" jack)

[deadhoarse]

I'm trying to find a dual RCA male to molded right angle 1/8" stereo male cable, at least 6 feet in length. Suprisingly my search isn't turning up many results. The straight plug I'm using makes holding the R-09HR a bit awkward.

[andromedanwarmachine]

I don't know if they are still in business in the States (I'm posting from Scotland here) but when they were still on the go over here, Tandy did a very nice right angle 3.5mm minijack adaptor...
I'd always shyed away from that kind of thing but it proved invaluable for getting mics into the side of my TCD-D3 when it was in my carrying bag.
Neutrik do a very nice rewireable minjack- I've got some in gold here in the workshop- in fact I've got everything here for that.

I could make you the lead you're after and ship it for postage only if you like?

JimP

[F.O.Bean]

Would I need XLR male or XLR female ends on my patch cables

I did a lil research and I think I need FEMALE ends on my patch cables, right? Just wanted to be 100% sure

Thanks,
Bean

[Phil Zone]

Would I need XLR male or XLR female ends on my patch cables

I did a lil research and I think I need FEMALE ends on my patch cables, right? Just wanted to be 100% sure

Thanks,
Bean

On the side you plug into the board it's a male output, so yes a female plug on the end of the cables.

[Chuck]

This thread has prompted me to upload a photo to my blog page with part numbers of the connectors used to make the sound board cables I have been using for years:

http://www.timebetweenthenotes.com/review_sbdpatch.html

[Hypnocracy]

Chuck...sweet adapter...

But, the female RCA patch out on your adapter is an interesting choice...I carry a Male RCA<>Male XLR and think I've used it on a soundboard once...now that once I had to ask for a mono mix because it was so thick I couldn't plug in the other one.

I guess I thought XLR or 1/4 would be much more common

[Chuck]

Yeah, I do carry (2) 1/4" female to RCA male adapters for that RCA female output too. My experience has been that most guys are prepared for 1/4" out from the sound board. In all the years I've used them I can only remember two times when someone wanted to patch into the board after me...

[dakapc]

Yeah, I do carry (2) 1/4" female to RCA male adapters for that RCA female output too. My experience has been that most guys are prepared for 1/4" out from the sound board. In all the years I've used them I can only remember two times when someone wanted to patch into the board after me...

I have an entire bag of cables and gender benders that I've never used, I was so excited when I got the opportunity to record live on a regular basis I just went on a shopping spree so I would not show up unprepared haha. come to find out they have EVERY output maxed out and most of them already running splitters.
I just recently found out this venue I typically record at does have ONE available 1/4 mono aux out on the SB, so even though the SB tech has no knowledge of attaching recorders to it he has been more than helpful to try to get me a good feed from it recently, however it is usually hit and miss. one band I may get all vocals/snare guitar. next band may have a perfect mix, next band may be all bass drum and bass guitar.

So it always pays off to be prepared, I have too many cables but I am glad I do, I recently trimmed down the luggage to just one 1/4 mono to 3.5mm stereo, 1/4 mono splitter, 3.5mm splitter xlr f and m plus xlr splitters and an xlr with a built in attenuator to 1/4 and that seems to cover every plug type in the club and on my recorders.

I love doing this and I read this forum continuously to learn more, I am eager to master this, it is truly a great hobby and loads of fun!

[F.O.Bean]

I recently got some used 15' GakCables from my good friend Dustin[aka caymanreview! Thanks again buddy ] for the RARE times that I get a SBD patch, or if I needed my +60v PFA setup extended even longer than it already is! Well, I also wanted to be prepared for ANY SBD output possible[XLR/RCA/1/4"], so I just ordered these two pairs of adapters so that I can easily go from the XLR ends, to the 1/4" jacks, or the RCA jacks depending on which board it is, just by switching out adapters at the SBD end! Should make patching the SBD nice and easy and I should now be covered for pretty much ANY SBD patching situation I might encounter, whether it be a tiny cheaper one, or a bigass Midas Pro

I just thought that I'd share these so that anyone needing to do the same will know the cheapest route to get them! I was initially going to order from Full Compass for like the 4th time this week[seriously lol ], but shipping was almost $13, so I said fu*k that and looked on ebay! I saved OVER the $13 shipping fee from Full Compass on eBay too and got all [4] adapters for only $34/Shipped! hahaha. That was the cheapest I could find them online, especially from the same site/place Anyway, here's the links where I got mine at tonight on eBay!

Neutrik NA2MP Male XLR->Male 1/4" Mono Adapter [I just so happened to score the PAIR of them below from the same seller FWIW]
http://www.ebay.com/itm/142270572536?_trksid=p2057872.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT

Hosa GXR-135 Male XLR->Male RCA Mono Adapter
http://www.ebay.com/itm/172490903427?_trksid=p2057872.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT

And here's a few pics of my new to me 15' GakCables that my good phriend Dustin hooked me up with, that I'll be using with the above adapters! Thanks again Caymanreview

[crackmc]

fascinating thread
not necessarily for the info in it...most recent post was nearly 3 years ago
reminds me of the time (early 2000s) when it was a serious challenge to locate the cables/adapters/assorted hardware we all needed for the next gig
most of us these days are hampered only by Amazon’s prime shipping window and nothing else
back in the day if you couldn't find it at The Shack you were busting out the wire clippers and soldering gun

[mountaintaper]

fascinating thread
not necessarily for the info in it...most recent post was nearly 3 years ago
reminds me of the time (early 2000s) when it was a serious challenge to locate the cables/adapters/assorted hardware we all needed for the next gig
most of us these days are hampered only by Amazon’s prime shipping window and nothing else
back in the day if you couldn't find it at The Shack you were busting out the wire clippers and soldering gun

Well there's not really any new info needed.  It's still all the same.  I always have the following cables when going to venues I am not familiar with (2 RCA>XLR, 2 XLR to XLR, 2 TRS>XLR, an AES Digital cable and an coaxial digital>AES Digital cable.)  When possible I also bring my Henry Engineering patchbox to make life easier for everyone. Sometimes when going to shady dive bars I will also bring a TRS>Female L/R RCA adapter in case my only option is a headphone out jack. I also have a 150ft Ethercon cable in my car at all times along with Ethercon to 4 Channel XLR converter boxes.  With all that with you all the time, you will never have an issue unless venue hates tapers and refuse you, there is no cable to overcome that obstacle.

[willndmb]

This thread has prompted me to upload a photo to my blog page with part numbers of the connectors used to make the sound board cables I have been using for years:

http://www.timebetweenthenotes.com/review_sbdpatch.html

+t

[copyparrel]

Hey there! Thanks for the detailed breakdown. Your solutions for different connectors are quite helpful. It's great to have a clear guide for plugging into the soundboard, managing cable length, and connecting to preamp/ADC/recorder. Appreciate the effort!