Is this worth paying extra for?

[Jarred Jones]

I have to buy an XLR cable for recording two things: 1. In a studio for voiceovers and 2. For recording on set film audio.

However, I don't know which of these to get. Both are very highly reviewed and both have VERY different price points.

The cables in question:

Mogami Gold Studio 15 Microphone Cable Quad Conductor
Amazon.com: Mogami Gold Studio 15 Microphone Cable Quad Conductor 15 feet: Musical Instruments

GLS Audio 25 foot Mic Cable
Amazon.com : GLS Audio 25 foot Mic Cable Patch Cords - XLR Male to XLR Female Black Microphone Cables - 25' Balanced Mic Snake Cord - Single : Musical Instruments

Is one really worth 3X the other one in terms of quality? Would either of them be appropriate for BOTH studio and on set film work?

Thank you for reading.

[Warren Kawamoto]

Interesting. Take a look at and compare Amazon's one star review of the cables.

[Edward Carlson]

The Mogami cable uses name-brand parts (Mogami cable and Neutrik conectors.) The GLS cable does not. I can speak from experience, the GLS connectors are cheap Neutrik knockoffs.

Does it matter for signal quality? Not really. Does it matter for longevity of the cable? Absolutely, especially if you are going to be carrying the cable in the field.

This Whirlwind cable is better quality than the GLS cable for sure, and is probably great for your needs. Amazon.com: Whirlwind MK425 Accusonic+2 Microphone Cable - 25 feet: Musical Instruments

I can't remember the last time I bought an XLR cable. It is far cheaper to build your own if you have the time. That way you know the quality of the components you are putting into it.

[Robert Benda]

I second everything Edward said.

[Bruce Watson]

What you want is AT 8314 XLR cable. If you over-under coil it it seems to last a lifetime. There's plenty of vids out there that show you how it's done.

[Jim Andrada]

+1 on the A-T cable.

[Rob Neidig]

+2 on the A-T cable. It's the best bang for the buck cable I've found.

[Paul R Johnson]

Let's be honest - everyone has a shortlist of cables they prefer to use, and the same with connectors. For me - Neutriks every time, but cable wise, I've got a few favourites that are electrically ok, and most importantly, easy to coil/uncoil, lay flat, and can survive being run over with a heavy flight case. That's really it. None of these cables is mega expensive, or has ridiculous claims of superior audio quality. I make up my own through preference, but if I need to buy pre-made ones, then I just buy from my list of acceptable cables I can get in my location. Would I ever spend stupid sums on cable? Never! Do I ever buy really cheap ones? Yes, when I know that at the end of the job, they'll be left behind.

[Rick Reineke]

The Mogami cable is nice for sure. The same size Canare Star-Quad mic cable is half that price. I would also suggest a 25' cable, the extra length is nice to have and would not effect performance.
FWIW, I make my own mic cables using Canare L-4E6S Star-Quad mic cable. The cable stock is about $0.55/foot.. two Neutrik XLR connectors are around $6. You could save a few bucks and assembly time using regular two conductor mic cable.. For interconnect bag cables; Canare L-2E5 mini mic cable.
You will likely not hear any difference between normal length cables despite the 'some' manufacture's claims. A good quality cable is much easier to coil/uncoil /work with and should last your career...not counting loss or catastrophic accident. I have Canare cables that are 25 years old and have been through all kinds of production hell.

[Craig Chartier]

I just had a customer come in with his Tascam recorder. He had just purchased the Amazon cheaper no name brand connector cable, took it out of the package and connected it to the recorder. It would not release. The casting of the cheap connectors was so poor I thought it was going to crumble in my hand. The Tascam has locking XLR connectors unlike the Zooms. The recorder's XLR releases were working just fine. it was the connector that was so poorly made that it caused the issue. After gutting the connector and modifying a paperclip I was able to remove the connector from the recorder. I confirmed that the recorder would release by using quality cables.

[Seth Bloombaum]

Neutrik connectors are clearly worth paying the small premium. Very consistent, very solid, very durable, great strain relief for the cable. Paying 3 or 4 bucks per connector is worth it when the audio matters.

Some of the knockoffs are good, but most are not. Whirlwind's custom connectors are great. I also like the AAA series screw-less switchcraft.

+1 on canare star-quad!

We use so few audio cables in most video production, it's really worth having the good stuff. But be aware that "magic oxygen-less" copper is indistinguishable from any good cable in audio performance.

As mentioned above, durability is a big deal, starting with quality cable and connectors is essential.

I've soldered thousands of joints. It's true that it's easy, but you need to learn to do it right. Once you have good technique and have good equipment and materials, it is easy, but may not be worth learning for 2 or 3 cables.

[Paul R Johnson]

Locked in XLRs are hardly uncommon - and there's a rather useful long narrow screwdriver blade on a leatherman that gets them out. The Chinese Neutrik style XLRs in fairness are not something that worries me very much, it's the Switchcraft look-alikes that are made from pathetically thin and bendy metal that should be avoided - everything about them is just a poor version of a not brilliant initial design. The genuine Switchcrafts, like the ones used on the Shure cables that used to be included with their mics are heavy, strong and well made - but just tricky to put on if the cable isn't exactly right. For those that cannot solder, Neutrik make an excellent solderless connector. That uses IDC technology. I use these when I have to terminate mic cables in nasty places - like maybe up the top of a cherry-picker! You must use the correct cable, but you just cut the ends to the right length, and no need to strip anything. Screwing the connector together pierces the insulation and grips the ground wire. Brilliant, and I have not had one faulty connection in all the years I've used them.

[John Willett]

Seeing as you have asked exactly the same question on four separate forums and I have already answered on two of them, I hope you now have the answer you require.....

[Craig Chartier]

I've also learned to carry 1 ft XLR jumpers with me to venues that are already wired, or are providing long runs of cable. I would rather cut or leave my jumper than to have a damaged cable end stuck in my camera or my mixer. Its also easier to separate two cables that are locked then to "dig " into the port on the equipment.

[Marco Leavitt]

Mogami sure is nice, and a joy to coil, but like Rick I use Canare starquad and it has served me well for years.