What's the difference between XLR and a 1/4 jack for mics?

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Will25

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I mean as in quality wise - if I were to use a 1/4 from a mic into a pedal, and then a 1/4 from the pedal to a PA in the live setting, would the sound be of a lesser quality than just using an XLR straight into the mixer?
 
IME, there is always a quality loss by running through a pedal. But it really depends on what you are looking for.
 
There isn't necessarily quality loss through the type of connection.

Usually a jack input is for line level or something like that, but if it is a trs jack mic input there's no problem for dynamic mics.
 
Hmm is there such thing as a splitter? So effectively having like 2 channels, one just a straight XLR to the pa, another using a 1/4 to the pedal to the PA. It's a SM58 so I don't think it needs phantom power?
 
Splitter cables exist but I don't know how recommended they are as you'd be halving the output between two units, depending on input impedance i guess?

You can get little boxes that do it properly. Kinda like a headphone amp but for line and mic signals.

I'm no authority on this, maybe someone else will confirm.
 
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Will25 said:
I mean as in quality wise - if I were to use a 1/4 from a mic into a pedal, and then a 1/4 from the pedal to a PA in the live setting, would the sound be of a lesser quality than just using an XLR straight into the mixer?
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a bigger problem would be the impedance. Most mics are low impedance and have a fairly lowish signal strength. In general a mic that's meant to be used thru an XLR isn't gonna drive a pedal very well plugging it in with an adapter.
 
Ah ok, I sense it's going to be a bit problematic. Could you recommend any other way to get like a delay effect with vocals, much like this... Beady Eye - The Morning Son - YouTube not that I'm trying to sound like Liam! But that sort of thing, was also planning to use it to record as well :/
 
Will25 said:
Ah ok, I sense it's going to be a bit problematic. Could you recommend any other way to get like a delay effect with vocals, much like this... Beady Eye - The Morning Son - YouTube not that I'm trying to sound like Liam! But that sort of thing, was also planning to use it to record as well :/
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get something that's made for vocals and mic inputs. It'll have the proper XLR jack and more important it'll have the pre-amp a mic requires.
Something like this:
TC Helicon VoiceTone Create Vocal Pedal: Shop Pro Audio & Other Musical Instruments | Musician's Friend

That's just an example ....... there's lots more.
This pedal does multiple things but TC also has a line of pedals that only do one thing. One pedal for delays , another for modulations etc
And other manufacturers make similar products.
 
Will25 said:
It's a SM58 so I don't think it needs phantom power?
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Looks like Steen and Lt. Bob pretty much addressed everything for you excellently. I just thought I would quick hit up on this as it wasn't mentioned. You will not need to worry about phantom power on a SM58. Typically it is condensors, and not dynamics, that recquire the +48. However, there are always exceptions to the rule. But you're good to go with no phantom power with the SM58.
 
Another option is to run the mic into the xlr of your mixer, then use an effects loop for your pedals, or aux send and return.

AFAIK these operate at line level, so your channel with the xlr mic plugged in would be direct, and your return channel would have your effects.
 
There's another way you can consider. Quite a few effects boxes that I know have jacks that will accept a pedal to remote control the unit. Just set up the unit on an aux through the mixer in the normal way, then use a pedal to turn the pre-set effect on and off. I've personally used this on a TC M-oneXL and several Alesis effects boxes but I'm sure there are others as well.
 
Will a 1/4 inch jack transfer phantom power to a conderser mic ? or does it require and xlrm to xlrf...........Cheers
 
If your worried about live sound, then it really wont make too much of a difference... if your talkinga bout recorded sound... then it will make a pretty good deal of difference.
 
Ive got a new AT2035 and I cant get it to work. I have it pluged into a saffire 24dsp via a xlr from the mic to a 1/4 inch jack. The phantom power is working because i get a glitch when I turn it on and off. I was hoping that it was a problem with the phantom power not transfering via a jack............still gonna try the xlt to xlr cable. fingers crossed.
 
Cheers guys, you've pretty much answered my q, guess the next step is to try some things out...
 
kneal7 said:
Ive got a new AT2035 and I cant get it to work. I have it pluged into a saffire 24dsp via a xlr from the mic to a 1/4 inch jack. The phantom power is working because i get a glitch when I turn it on and off. I was hoping that it was a problem with the phantom power not transfering via a jack............still gonna try the xlt to xlr cable. fingers crossed.
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1/4 inch will NOT give phantom power
 
kneal7 said:
Will a 1/4 inch jack transfer phantom power to a conderser mic ? or does it require and xlrm to xlrf...........Cheers
Click to expand...

In THEORY a quarter inch TRS (i.e. a quarter inch with three connectors, tip, ring and sleeve) could transmit phantom but in practice the answer is no and it would be a bad idea.

It's "no" because mixers and interfaces make a point of only including phantom on XLR inputs designed for microphones. The quarter inch sockets--even if the "combined" type in the middle of an XLR--are designed for either instruments or line level sources and do NOT output phantom.

Phantom on a quarter inch TRS is a very bad idea because, when the jack is inserted, there's an instant when only one leg makes contact, potentially causing a short between that leg and ground. There's another thread running elsewhere about phantom power and mics that don't need it--normally this is safe but, with a quarter inch in circuit, all bets are off and you could fry your gear.

Edited to add: I just checked the manual for your Saffire 24DSP and it confirms what I said above: Phantom power is only available on the XLR part of the combined sockets on inputs 1 and 2. It is not present when using the quarter inch centre part of the socket (which, as noted above, is a good thing in terms of protecting your mics). It's also worth noting that the gain structure is set up for microphone levels on the XLR or a choice of line/instrument level on the quarter inch socket.
 
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