Most microphones connect with a few common cable types. The right one depends on your mic and input.

• XLR (3‑pin, balanced): The standard for stage and studio mics. Typically male‑to‑female XLR.
• XLR to 1/4": Used when connecting a mic to gear with a 1/4" input. Some are wired for Hi‑Z applications.
• 3.5 mm (mini): Found on some cameras and portable devices; check whether your device needs TRS or TRRS.
• Mic to USB interface cable: Lets an XLR mic feed a computer’s USB port.

On this page, you’ll see options like XLR‑XLR, XLR‑to‑1/4", 3.5 mm to XLR, and mic‑to‑USB interface cables, plus various lengths for different setups.

It depends on the receiver’s inputs and your mic’s output. Here’s a general approach:

1. Check for a dedicated mic jack: If your receiver has a mic input (often 1/4" or XLR), use a matching cable (e.g., XLR‑to‑XLR or XLR‑to‑1/4").
2. No mic input? Most AUX/RCA/3.5 mm inputs expect line level. A mic usually needs a preamp or small mixer in between to boost the signal before going into the receiver.
3. Calibration ports: Setup/calibration mic jacks aren’t intended for live microphones.
4. Start low: Set volumes low, connect, then gradually raise levels.

Exact requirements vary by model, so matching cable type and checking your receiver’s manual can help prevent low volume or distortion.

The common 3‑pin microphone cable is called an XLR cable. It’s a balanced connection with three pins and matching male/female ends, widely used for low‑impedance (Low Z) microphones.

• Why it’s popular: Balanced XLR helps reject noise, making it reliable for longer runs.
• What to look for: Male‑to‑female XLR, labeled “balanced” or “Low Z,” in lengths from a few feet to 100 ft.
• Don’t confuse with: 1/4" (TS/TRS) or 3.5 mm plugs, which look different and may be unbalanced.

You’ll find XLR‑XLR cables here in multiple lengths, plus options with features like braided shielding or gold‑plated connectors.

Run length depends on cable type and environment:

• Balanced XLR (Low Z): Often used at 50–100 ft and beyond in typical live setups, thanks to noise rejection. Results can vary by gear and venue.
• Unbalanced (1/4" TS or 3.5 mm): Shorter runs are advisable—commonly under ~15–25 ft—since they’re more prone to interference.

To help reduce hum and hiss:

• Choose balanced cables where possible.
• Look for braided shields, quad‑core designs, or oxygen‑free copper conductors for added robustness.
• Keep audio cables away from power cords and dimmers.

Cable quality, connectors, and surrounding electronics all play a role, so your experience may vary.

It comes down to what your microphone and input expect:

• Low Z (low impedance): Standard for most stage/studio mics going into mixers or interfaces. Typically an XLR‑to‑XLR balanced cable labeled “Low Z.”
• Hi Z (high impedance): Used when feeding inputs designed for higher impedance (for example, certain instrument or legacy PA inputs). Often an XLR‑to‑1/4" cable wired for Hi‑Z.

Check the mic’s output and the input spec on your device. If the input only accepts line/instrument level, a dedicated preamp or small mixer may be helpful. Choosing the right impedance match and connector type can improve level and reduce noise.