These are the three pin pro mike and audio connectors used with balanced lines.

"They're the best," says Sands. "You can run a truck over them and they keep right on going."

So called because they were the original telephone operator's switchboard connector, these connectors come in both stereo and monaural versions. You see them on higher end headphones, as well as some pro video equipment to carry audio. They're the standard for audio recording and mixing.

These types are smaller versions of the 1/4-inch phone connectors used on radios, camcorders, CD players and such. Most camcorders and VCRs have minijacks for connecting headphones and external microphones. Stereo microjacks-even smaller yet-often carry control-1/4 signals in 8mm-family camcorders.

You can find an adaptor to alter almost any connector. The question is: when should you do it and when shouldn't you?

Only use adaptors in emergency or temporary situations. Any time you use an adaptor you risk a bad connection and the resultant signal degradation, or even a full scale break in the connection.

Is this because all adaptors are inherently shoddy? No, but they're not permanent connections. Most don't carry the cable's shielding, making them more likely to pick up noise. They can slip when subjected to tension, resulting in a reduced connection.

Overall, the important thing about adaptors is that they add another variable into the equation, another item to troubleshoot.

That said, sometimes you have to fudge. In emergencies, the safest course is to use the right type of cable and the best quality cable first; then match the adaptors.

Always remember that "line" inputs/ outputs and "mike" inputs/outputs on audio equipment are of such different impedances that one will not work with the other. You can't run a cable between a "line out" from a camcorder or tape deck and plug it into a "mike in" on another recorder-no matter what type of simple adaptor you stick on the end.

There are special matching transformers available that will take you from a "line" input/output to a "mike" input/output. Like any other adaptor, they're better than nothing in an emergency or temporary situation; but they're not a long-term solution. The long-term solution: buy equipment that interconnects with the right signal level and impedance.

A cable doesn't have to have the same connectors at both ends. Many desktop video mavens with pro gear, like the Video Toaster, will connect their Hi8 camcorder's RCA video out jack to their DTV system's BNC video in jack. In an ideal world, they'd use a specifically macic video cable with an RCA connector on one end and a BNC connector on the other.

Generally the RCA to BNC cable is the one mixed video cable you are most likely to use in the prosumer arena. In the audio arena, those people using pro grade audio mixers may find themselves in need of XLR to RCA cables or XLR to phone.

Once you decide what type of cable you need, there are still some choices to make...multi-strand or single strand connectors, foil or mesh shielding, crimped or molded ends. Most cables are manufactured to such high standards today, that the main reason for choice comes down to application.

"Cables with single strand conductors and foil shielding are pretty rigid," says Cornell. "If you're buying Cable for a situation that doesn't require flexibility, go with these. Shielding is rated in percentage of coverage and these are the highest rated, 1OO percent. If you require flexibility, multi-strand and mesh are the way to go. These cables once had greater problems with resistance to noise, but good ones are now also up to about 95 percent coverage."

Molded cables will cost a little more, but offer some strain relief to the connections. Strain relief refers to the ability of the cable to withstand tension and fatigue from bending or pulling of the cable. Have you noticed how the headphones to your portable music machine tend to short and break right by the base of the mini plug? Strain relief will help prevent that type of breakage. Some cables come with rubber protectors or springs at the base of the connector to provide strain relief.

The bad news: once a molded cable has broken, you can't repair it.

Crimped ends on cables have metal rings and cable insertion points squeezed tightly around the ends of the cable. They can suffer from strain and come loose or even disconnect from the end of the cable.

The good news: you can easily repair crimped ends.

As for so-called special cables, you might want to avoid gold connector cables for video and audio.

"You don't find gold ends in the pro video world," says Sands. "Sometimes silver ones, but mostly they're nickel. There may be a certain advantage to using gold connectors on lousy cable, but it's better just to buy good, standard cables. The gold is really more of a marketing ploy."

Should you buy expensive cables? Should you worry about the impedance of your video cables? It depends.

Videomaker readers are a mixed group. If you, like many readers, are a mid-level hobbyist who's spent a sum total of $3,000-$4,000 on video equipment, you're probably editing tapes for your own pleasure. If so, expensive cables are probably unnecessary. The signal loss and color timing problems won't be significant.

If, on the other hand, you're a hobbyist who believes in "the right tool for the right job," you may want to spend the extra money, secure in the knowledge that you're doing your best to make your tapes "run smooth under the hood."

If you've set up a $10,000-plus desktop video studio, and are doing work for duplication or broadcast, the extra investment may be worth it.

The benefits of better cables will be worth the minimal additional extra expense.

No matter what your goal as a videomaker, remember these points:

1) Use video cables for video and audio cables for audio.

2) For unbalanced audio, keep cable runs as short as possible. If you can, run balanced.

3) Buy the right length for the right application. Longer cables mean more exposure to hostile forces, and more potential for failure.

4) Buy flexible cables for portable situations and more rigid ones for permanent installs.

5) Avoid using connector adaptors/converters. In emergencies, try to use a combination of cable and adaptors that will still provide you with high quality signal.

Follow these simple outlines and your productions will boast crisp, colorful pictures and clear, clean audio.

Videomaker contributing editor Stephen Jacobs is a free-lance video producer (Video Sound).