Balanced audio connections offer low noise, high signal quality and operate over long distances. They are always superior to the unbalanced alternative. So why doesn't everything use them? The answer is simple. Unbalanced audio connections work fine for short distances under low-interference conditions, and they're cheap to manufacture. On the other hand, balanced connections require better wire, pricey connectors, more circuitry inside the equipment and more connector real estate on the outside. All of which translates into more cost for the consumer. Further, balanced audio connections are considered a professional option. That's why you only find balanced audio options on cameras costing upwards of $2,000.

Does that mean you can't use balanced audio with your $500 camcorder? Of course not. Here's what you need to benefit from balanced audio. First, your camcorder must have microphone input; most are the 1/8-inch variety. Next, you need a balanced audio source. Many hand-held microphones, some wireless mikes and all audio mixers will qualify. Finally, you need the cables and connectors to go from the balanced output to the input of your camera. How do you know for sure you have a balanced audio source? If the connector is XLR, it's 99.9 percent certain. If the connection is 1/4-inch, you should consult the equipment manual. If the connection is 1/8-inch or RCA, you're out of luck.

Adapting the balanced cabling to the unbalanced input of your camcorder requires a trip to your local electronic parts store. First on the list is a balanced XLR plug to an unbalanced 1/4-inch plug adapter. Next, you need to convert the male 1/4-inch plug to a 1/4-inch female jack. Then, convert the 1/4-inch female into two RCA female jacks. Last on the list is a longish cable that has two RCA male plugs on one end and a 1/8-inch stereo plug on the other perfect for plugging into your camcorder. Why all the adapters? There isn't a simple, inexpensive way to convert balanced, professional connections into unbalanced ones. This setup has two major benefits. The adapter configuration is designed to accept two balanced signals for stereo; just add another balanced-to-unbalanced adapter. The other benefit of this setup is that the camcorder end is a simple cable, not a weighty combination of adapters and connectors, which could potentially break off in your camera. You can lay the heavy stuff on the floor or tape it to your tripod.

But is there really a benefit to running balanced audio for 50 feet, only to convert it to unbalanced for the final 6 feet? Yes, here's why. Even at shorter distances, the balanced arrangement naturally rejects noise and interference, resulting in cleaner audio. Unless you live in the shadow of a clear-channel AM radio station, the short, unbalanced portion of the cabling will be insignificant.

For your next production, remember the lesson of the tightrope walker and try some of the balanced audio alternatives we've discussed. You'll gain some creative options and the quality of your sound will shine like it never shined before. Now, where's that hot-dog vendor?

Whether balanced or unbalanced, all audio and video cables are shielded to help eliminate interference. Cable shielding takes several forms: spiral-wrap, braided and foil. Spiral-wrap is the simplest type. A layer of bare copper strands wraps around the center wire(s) and provides 60 to 75 percent surface coverage. Braided shielding takes a basket-weave approach to protect the signal wires and typically provides 90 percent coverage. Foil shielding is simply aluminum foil attached to a plastic backing and offers 100 percent coverage to the signal wires. Although foil seems like the best method, percentage-wise, these cables are normally less flexible than their copper cousins. In addition, copper shielding provides more resistance to EMI than aluminum foil.

Audio signals come in a variety of levels or volumes. The two you'll deal with on a regular basis are microphone-level and line-level. Microphone-level is just what is says, the level of electrical signal that comes from a typical microphone. This is a very small signal and is easily swamped by external interference. Line-level is much higher in volume and, as such, is less prone to corruption. Typical line-level devices are CD players, VCR and camcorder audio outputs. Just don't get the two confused. A microphone plugged into a line-level input won't register any sound. A line-level device plugged into a mike input will sound fuzzy and distorted.