Recently, I wrote an article discussing the benefits and challenges of churches moving back to wired microphones and instruments, stepping away from the default of “everything wireless.” I mentioned that if this becomes a genuine trend, it’s one I can support. The thought of old-school mic cables scattered across a stage got me thinking more broadly about cables and reminded me of a question that comes up from time to time: Does cable quality matter? More specifically, does cable cost matter? Do you need to spend hard-fought budget dollars on high-end cables when an Amazon Basics version might do the job?
Some would argue that every single component in the signal chain affects the ultimate audio quality. Technically, they aren’t wrong. But the real-world impact is where things get fuzzy.
In the audiophile community, opinions on this topic tend to get a little intense. Some people swear by their $10,000 silver plated, unicorn-tear-coated speaker cables. That sounds ridiculous, but in some circles, that’s considered a modest investment. On the other end, there are people who claim there’s no meaningful difference between an old lamp cord and high-end cables. You’ll hear comparisons between Christmas light wires and exotic panda-hair-woven interconnects. As usual, the truth lives somewhere between snake oil and the junkyard special. Confirmation bias is real, and none of us are immune.
At the risk of alienating some of my high-end-only friends, I’d point out that once an electrical audio signal enters any piece of equipment, whether a preamp, mixer, or amplifier, it’s immediately routed through extremely small-gauge wires and printed circuit boards with paper-thin copper pathways, sometimes only a few thousandths of an inch thick. In most modern systems, it’s digitized and converted back to analog. It’s sort of amazing that it sounds like music at all. That is why I have to think carefully about how much to invest in cables, knowing that once it’s plugged into any modern system, the signal gets contorted through multiple layers of microscopic internal wiring and digital processing, like a party balloon animal. How can a boutique cable make any difference?
This logic applies to high-end power cables as well. People will buy expensive AC cables with custom connectors, but they are still drawing power from wall sockets wired with the cheapest contractor-grade materials that barely meet minimum code requirements. Good enough to pass inspection. Nothing more. Of course, we all want clean, reliable power, but that is mostly the result of isolated or conditioned circuits introduced long before the high-dollar extension cord ever gets plugged in.
So you probably know where I land on this argument. When it comes to cables, whether mic cables, speaker cables, or guitar cables, I believe the factor that determines whether it is worth spending extra money is durability and reliability, not sound quality. If you claim you can hear a noticeable difference between a $100 guitar cable and a $25 one, and that difference matters to you, then by all means, buy the $100 version. But for most uses, especially in static setups where cables rarely move, paying extra for ultra-premium cable is unlikely to deliver any audible improvement. The wire inside most of these cables is basically the same.
Where I do see value in spending a bit more is in construction quality. A solid cable with durable connectors that clicks in confidently and holds up under regular use is a good investment. But you’re paying for physical reliability, not necessarily better sound.
That said, it is important to follow manufacturers’ specifications for cable types, lengths, and shielding. If a manufacturer recommends shielded Cat6 limited to 300 feet and you run unshielded Cat5 for 500 feet, don’t blame the cable; blame yourself. Guitar cables, mic cables, console interconnects, and amplifier connections nearly always require proper shielding. Speaker cables (never shielded) should always follow the gauge recommendations of the amplifier or speaker manufacturer. Don’t use instrument cables for speakers, and don’t use speaker cables for instruments. And while 3-pin XLR connectors will fit both audio and DMX sockets, they are not designed for cross-use. DMX cable can pass audio, but it’s not ideal. Audio XLR cables can pass DMX data, but you may end up with unreliable lighting control.
In short, invest in durability and reliability and proper application. You may spend a little more, but you won’t be buying better audio quality, just better peace of mind.
While we’re discussing things that might upset a few salesmen, let’s touch on “burn-in.” The idea that audio gear needs hours of use before it “settles in” and sounds better. Scientifically speaking, burn-in does exist in some form. Heat affects nearly all audio components. Tubes, capacitors, resistors, and even speakers experience slight changes as they warm up and are used repeatedly. Speakers may become more pliable as glued components flex. Mechanical parts loosen slightly with regular movement.
But here’s where I struggle. No doubt change is occurring. But, is the change measurable? And more importantly, is it audible? Even though components change, most are designed with tolerances to accommodate long life under normal heat and wear cycles. Any shifts that occur are usually minor and well within spec. And if there is any audible change, why does it always supposedly improve the sound? Just because these changes occur largely due to heat and repetitive use doesn’t necessarily mean they smooth over the sound, making it “warmer.” I have never heard anyone say their system got harsher or more unpleasant after six months of regular listening. The claim is almost always warmer, smoother, more laid back and relaxed, all things that we as audiophiles enjoy. A friend of mine likes to say, “If burn-in is real, how does the equipment know to sound better, not worse?”
In my opinion, it’s far more likely that our ears are doing the burning-in. We adjust to systems as we become familiar with them. What sounds a little sharp or unfamiliar at first can feel warmer or smoother simply because we’ve adapted. Familiarity often gets mistaken for improvement. I witnessed a real-life example of this not long ago. A friend of mine, a great FOH engineer, was granted a well-deserved sabbatical and took several weeks off. When he returned and started mixing again, he was struck by how harsh the PA system sounded to him, even though nothing had actually changed. He had been out of the room for over six weeks, his ears had relaxed and self-adjusted to not hearing a loud worship set multiple times a week, and as a result, it was a little jarring.
This whole conversation about cables, burn-in, and boutique gear comes down to the same principle I’ve said for years. Buy solid gear. Build systems that make sense for your space. Use reliable cables built to last. Beyond that, it is easy to overthink ourselves into spending money that solves problems we never actually had. The best investment you can make is still the one that helps you serve your team, your musicians, and your congregation with confidence.So what do you think about expensive cables and burn-in? I say protect the unicorns and save some money. Until next time, as always, don’t forget to listen.
