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The cables connecting your studio components can be the weakest link in your signal chain. Monster Studiolink Interconnect Cables are designed to meet the critical demands of the studio environment. Two multiple-gauge Bandwidth Balanced wire networks preserve clarity and presence, and patented Time Correct windings provide a phase-accurate, open soundstage with precise imaging, tight bass and smooth highs. Studiolink's durable jacket is ultra-flexible for use in tight spots and holds up after years of use. High quality, 24k gold-plated contact RCAs, 1/4" plugs or Neutrik XLR connectors provide optimal signal transfer in several configurations. Grab a Studiolink cable today and discover a high performance connection.
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Reviewed by 1 customer
Displaying review 1
Comments about Monster Cable StudioLink RCA to 1/4" Interconnect Cable Pair:
I seldom write reviews unless I'm really impressed. I bought a bunch of Monster Cables, these and various others like the TS to TS "DJ" pairs in 2m and 4m lengths, etc. I had finally gotten tired of walking into the control room, firing up and having something intermittent, like one channel out, and having to track down the problem, only to find some lousy old cable somewhere or an adapter I shouldn't have even been using. So I took the time and researched the specific cables I would need, and got what looked like the best stuff available to replace every blessed hookup - into and out of the mixer, the entire patch bay, the 4 outs from the synth/workstation, and sends to various outboard, CD recorders. Expensive.
Granted, I was more interested in longevity and reliability than anything else. Well, yesterday, I yanked out the old cables from the keyboard workstation, (having had yet another one of 'those' problems), and routed the new Monsters from it to the mixer - one pair for the L&R, another for aux. outs 1&2. Then I played the song I'd been working on, just to check the hookup. I was not prepared for the amazing and noticeable difference. To paraphrase somebody's tune: I can hear clearly now - to mud has gone.
Everything is WAY clearer. The bottom end is tighter, the mid has lost its muddiness and has its own identity again, but the high end knocks me out. In the old analog days, we were always losing top end; anytime you wanted to do something trick, or just move it, you sacrificed some high frequency. In the digital age, of course, that's no longer the case. But still, ya gotta get ALL the sound that's being produced TO the recording.
I recently produced an indie solo album that used the synth/workstation for all drums and horns, piano, organ. Working late at night with headphones directly from the unit, it sounded full enough, and I knew it would and should sound a bit different on the open-air monitors. But it was the L/R output feed to the mixer that got recorded, and until today I couldn't figure out how some of the top end seemed to get lost. I kept asking for mastering redos, because I couldn't hear snare drum and especially highhat and crash cymbals (that originally were there) at the appropriate level. And after the (mixed) fact, there's only so much you can do with EQ without making a mess.
I've bounced a lotta music off of these ears, and I was really starting to wonder if I was losing it. Given the vastly improved quality of what's currently available, I now know it was the old cables. Speaking strictly of the audio aspect, these are great. Can't wait to get to the mic and instrument cables still new in the box...
P.S. Some of these Monster cables are DIRECTIONAL, so check the small white lettering on the side of the cable itself to confirm the correct direction of the "Signal Flow". There will be little arrows.
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