XLR to 3.5mm cables?

touche...I swore I saw a set on there

If all else an extra buck on a 1/4 to a 3.5mm adaptor maybe?
 
oh....doh! I'm so stoopid sometimes.

w8 a sec...all I see is 1/4" on the page your URL popped. Help me here....

didn't find anything with a "XLR female to 1/8 inch male" search either.
 
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Maybe that's why B&H calls the cable in the top post a "transformer" instead of an adapter. Maybe it is worth $20.
 
rallymatt said:
Why adapt XLR to Mini? XLR is not balanced then and no good for long runs.

What am I missing?
Click to expand...

Two reasons: To run str8 into the camera's 3.5mm audio input and/or to input my Edirol 09HR recorder (3.5mm input only) from the XLR balanced output of my Lectrosonics CR187 receiver.
 
Guitar Center will be cheaper, but you should consider a 1/4" to 1/8" adapter because 1/8" isn't a professional audio connector so there's very little demand for it. If I were you I'd get a shortish 1/8" to 1/4" cable and then plug the XLR - 1/4" into that. Then if you you have a cable accident it'll beak at the connector in the middle, instead of ripping out of the 1/8" socket on the 7d and possibly creating an expensive repair problem.
 
Eddy Robinson said:
Guitar Center will be cheaper, but you should consider a 1/4" to 1/8" adapter because 1/8" isn't a professional audio connector so there's very little demand for it. If I were you I'd get a shortish 1/8" to 1/4" cable and then plug the XLR - 1/4" into that. Then if you you have a cable accident it'll beak at the connector in the middle, instead of ripping out of the 1/8" socket on the 7d and possibly creating an expensive repair problem.
Click to expand...

If you pull a cable that wasn't secured then the 1/8" should pull out just as well as a 1/4" if not easier. The trick is to use a sturdy mounting point for the cable so that no stress is ever put on the plug. It also eliminates the possibility of getting disconnected mid-shot. Also keep in mind that each new cable connection adds noise and potential for problems.

I will use something like the one on B&H, and use cable ties to secure it to rods or a tripod plate with slack from the tie down point to the camera's socket. Hopefully my various XLRs will allow me to use only one more cable all the way to the mixer, which will limit the chances of introducing noise,especially when you can't monitor the recorded sound. The boom op can only monitor what's ahead of the mixer. That is also why I want to find the XLR to 1/8" possible.
 
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