DIY Audio Cables: Build Guitar, Keyboard & Mixer Cables Step-by-Step

DIY Audio Cables: Build Your Own Guitar, Keyboard, and Mixer Cables Step by Step - elcricuits.com

DIY Audio Cables: Build Your Own Guitar, Keyboard, and Mixer Cables Step by Step – elcricuits.com

🌐 You can read this article in: PortuguΓͺs | EspaΓ±ol

Hello, electronics enthusiasts!

Have you ever had trouble with incompatible audio cables or paid a lot for equipment you could have assembled yourself? In this complete guide you’ll learn how to make your own professional audio cables for mixers, microphones, musical instruments, church sound systems, studios and more.

πŸ› οΈ Ready to Get Hands-On?

We’ll start with the most common, essential cables used daily by musicians and audio techs. After that we’ll move on to more specific and complex options.

1. 1/4″ TS (Mono) β€” 1/4″ TS (Mono) β€” For Instruments

The 1/4″ TS (Tip-Sleeve) mono cable is one of the most used connectors in audio. It has two contacts (tip and sleeve) and is unbalanced. Its primary use is to connect instruments such as guitar, bass and keyboard to a mixer, amp or audio interface.

In live and recording contexts, this cable carries the instrument signal to the main sound system (PA β€” Public Address).

Figure 1 β€” 1/4″ TS (mono) Male β†’ 1/4″ TS (mono) Male

1/4" TS (mono) male β†’ 1/4" TS (mono) male

Fig. 1 – 1/4″ TS (mono) male β†’ 1/4″ TS (mono) male

πŸ’‘ Practical tip: Use good-quality 1/4″ connectors and solid solder joints to avoid unwanted noise. Build your instrument cable with firm plugs and quality wire to prevent crackle and signal loss.

2. 1/4″ TRS (Stereo/Balanced) β†’ 2Γ— 1/4″ TS β€” Mixer Inserts

The 1/4″ TRS (Tip-Ring-Sleeve) has three contacts and can be used as a balanced connection or to carry two separate mono signals.

On mixing consoles, TRS β†’ dual TS cables are commonly used for insert connections, which send a channel’s signal to an external processor (compressor, EQ, effects) and return to the same channel.

Figure 2 β€” 1/4″ TRS β†’ 2Γ— 1/4″ TS

1/4" TRS β†’ 2Γ— 1/4" TS

Fig. 2 – 1/4″ TRS β†’ 2Γ— 1/4″ TS

πŸ’‘ Practical tip: Mark send and return plugs with labels or colored heat-shrink to avoid swapping them during live shows.

3. XLR Female β†’ 2Γ— 1/4″ TS β€” Converting Balanced Outputs

An XLR female to two 1/4″ TS cable allows equipment with a balanced output (mixers, interfaces) to feed unbalanced inputs (amps, speakers).

XLR pinout:

  • Pin 1 = Ground (shield)
  • Pin 2 = Positive (hot)
  • Pin 3 = Negative (cold)

This cable splits a balanced signal into two independent mono channels.

Figure 3 β€” XLR female β†’ 2Γ— 1/4″ TS

XLR female β†’ 2Γ— 1/4" TS

Fig. 3 – XLR female β†’ 2Γ— 1/4″ TS

πŸ’‘ Practical tip: Use this cable only when necessary. Whenever possible keep balanced-to-balanced (XLR ↔ XLR or TRS ↔ XLR) connections to reduce noise and interference, especially over long cable runs.

4. XLR Female β†’ 1/4″ TS β€” Balanced to Unbalanced Adapter

This adapter is commonly used to connect balanced outputs (XLR) to unbalanced inputs (1/4″ TS) β€” for example:

  • Connecting a professional microphone to a mixer or amplifier that only has a 1/4″ input (common in simpler gear).
  • Feeding a balanced mixer/interface output to an amplifier or active speaker with a 1/4″ TS input.

This connection adapts a 3-wire balanced signal to 2-wire unbalanced by discarding or tying the negative conductor (XLR pin 3) to ground, using only the positive (pin 2) and shield (pin 1) to the tip and sleeve of TS plug.

Figure 4 β€” XLR female β†’ 1/4″ TS

XLR female β†’ 1/4" TS

Fig. 4 – XLR female β†’ 1/4″ TS

πŸ’‘ Practical tip: Before connecting cables to equipment that provides phantom power, confirm the connected device supports it. This helps avoid damaging dynamic microphones or certain instruments.

5. XLR Male β†’ 2Γ— 1/4″ TS β€” Splitting a Balanced Signal

This cable splits a balanced XLR male signal into two unbalanced 1/4″ TS outputs (one per TS connector).

Practically it works as a splitter: sending the positive (pin 2) to one TS and the negative (pin 3) to the other. Use carefully because it does not replace a true stereo output and can introduce phase issues.

Figure 5 β€” XLR Male β†’ 2Γ— 1/4″ TS

XLR male β†’ 2Γ— 1/4" TS

Fig. 5 – XLR male β†’ 2Γ— 1/4″ TS

πŸ’‘ Practical tip: Useful for recording or testing but be mindful of phase and level issues β€” splitting like this is not a substitute for a true stereo source.

6. XLR Male β†’ 1/4″ TS β€” Balanced XLR to TRS

This cable maps XLR male balanced pins to a 1/4″ TS balanced input: pin 2 β†’ tip, pin 3 β†’ ring, pin 1 β†’ sleeve. It’s commonly used to connect balanced outputs to TRS inputs (for example, direct boxes and many interfaces).

Figure 6 β€” XLR Male β†’ 1/4″ TRS

XLR male β†’ 1/4" TS

Fig. 6 – XLR male β†’ 1/4″ TS

πŸ’‘ Practical tip: Use this cable only when necessary. Whenever possible keep balanced-to-balanced (XLR ↔ XLR or TRS ↔ XLR) connections to reduce noise and interference, especially over long cable runs.

7. XLR Male β†’ 1/4″ TS β€” Mixer/Interface to Amps or Speakers

The XLR male to 1/4″ TS cable converts a balanced XLR output to an unbalanced TS input β€” used for amplifiers, active speakers and some instruments. Avoid long runs with this type of cable because you lose the benefits of a balanced line.

Figure 7 β€” XLR Male β†’ 1/4″ TS

XLR male β†’ 1/4" TS

Fig. 7 – XLR male β†’ 1/4″ TS

πŸ’‘ Practical tip: Avoid long lengths in this configuration β€” the loss of balanced wiring can introduce noise.

8. XLR Female ↔ XLR Male β€” Balanced Microphone Cables

This is the classic microphone cable, used for balanced extensions and for connecting peripherals like active speakers, amplifiers, EQs and effects to the audio console.

Because it uses three conductors (ground, positive and negative), the XLR cable provides protection from noise and can be run much longer than unbalanced cables.

Figure 8 β€” XLR Female β†’ XLR Male

XLR female β†’ XLR male

Fig. 8 – XLR female β†’ XLR male

πŸ’‘ Practical tip: Invest in quality XLR cables if you plan to use condenser microphones or run long cable lengths.

9. XLR Female β†’ 1/4″ TS β€” Players, Mixers and DJ Gear

This cable converts two RCA signals (left and right) into one 1/4″ TRS stereo plug. It is often used with DJ mixers, media players and receivers to feed a mixer or interface TRS input.

Figure 9 β€” XLR Female β†’ 1/4″ TS

XLR female β†’ 1/4" TS

Fig. 9 – XLR female β†’ 1/4″ TS

πŸ’‘ Practical tip: Keep RCA runs short to reduce interference.

10. 2Γ— RCA β†’ 1/4″ TS β€” Split RCA to Two Mono TS

Here each RCA output (L/R) is wired individually to a TS plug. Useful in hybrid setups when connecting consumer audio sources (CD/DVD/players) to an audio system or active speakers with 1/4″ inputs.

Figure 10 β€” 2Γ— RCA β†’ 1/4″ TS

2Γ— RCA β†’ 1/4" TS

Fig. 10 – 2Γ— RCA β†’ 1/4″ TS

πŸ’‘ Practical tip: Verify channel mapping (red = right, white = left).

11. 2Γ— RCA β†’ 1/4″ TS β€” Standard Stereo RCA

Standard stereo RCA cables are very common for home audio gear (CD, DVD, turntables, receivers) and some older mixers. They carry unbalanced left and right channels.

Figure 11 β€” 2Γ— RCA β†’ 1/4″ TS

2Γ— RCA β†’ 1/4" TS

Fig. 11 – 2Γ— RCA β†’ 1/4″ TS

πŸ’‘ Practical tip: Ideal for short distances only β€” for professional setups prefer balanced connections whenever possible.

πŸ“‹ Summary Table β€” Common Audio Cable Types

Below are the main cables covered in this guide, their uses and quick tips.

NΒΊ Cable Connectors Main Use Signal Type Quick Tip
1 1/4″ TS β†’ 1/4″ TS 2Γ— 1/4″ TS (male) Guitar, bass, keyboard Unbalanced Use short runs to avoid noise.
2 1/4″ TRS β†’ 2Γ— 1/4″ TS 1Γ— TRS β†’ 2Γ— TS Insert / stereo split Unbalanced (or balanced if used as TRS) Good for headphone outs and keyboard stereo splits.
3 1/4″ TRS β†’ 1/4″ TRS 2Γ— TRS Headphones, stereo outputs Unbalanced / Balanced Avoid lengths over ~3 m for unbalanced signals.
4 XLR (F) β†’ 1/4″ TRS XLR F β†’ TRS Mic or balanced out to TRS Balanced Maintains quality over long runs.
5 XLR (F) β†’ 1/4″ TS XLR F β†’ TS Adapt XLR to TS input Unbalanced Use only when no balanced input is available.
6 XLR (M) β†’ 2Γ— 1/4″ TS XLR M β†’ 2Γ— TS Split balanced to two TS Semi-balanced For tests only; watch for phase issues.
7 XLR (M) β†’ 1/4″ TRS XLR M β†’ TRS Mic/mixer to TRS input Balanced Common in studios & interfaces.
8 XLR (M) β†’ 1/4″ TS XLR M β†’ TS Mixer/interface to amp/speaker Unbalanced Prefer short runs.
9 XLR F β†’ XLR M XLR F ↔ XLR M Microphone cables, extensions Balanced Professional standard; long distances OK.
10 2Γ— RCA β†’ 1/4″ TRS 2Γ— RCA β†’ TRS DJ gear, players, domestic mixers Unbalanced Keep RCA runs short to avoid noise.
11 2Γ— RCA β†’ 2Γ— 1/4″ TS 2Γ— RCA β†’ 2Γ— TS Adapt RCA players to TS inputs Unbalanced Verify channel mapping (L/R).
12 2Γ— RCA β†’ 2Γ— RCA 2Γ— RCA Home audio: CD, DVD, receivers Unbalanced Use for short distances only.

🧾 Conclusion

This guide covered everything from basic instrument cables (1/4″ TS, RCA) to professional alternatives like balanced XLR and its variations. With the diagrams and tips you now know each cable’s purpose, correct wiring and precautions to avoid noise and failures.

If you want to learn how to wire Neutrik combo connectors (XLR + 1/4″ jack) used in many consoles and panels, check this related guide: How to Wiring Neutrik Combined Connector.

πŸ’¬ Which of these cables do you use most often?

Leave a comment below and share your experience β€” it can help other readers building their own cables!

✨ Our Gratitude and Next Steps

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The ElCircuits Team ⚑

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