Signal cabling
Mapping signal cables between stage, FOH, and screens
A longer cable cannot fix an undefined route. Before pulling cable, establish what leaves each device, which input receives it, and where the run can go. FOH means the front-of-house control position; video control may be somewhere else.
Separate physical locations from signal flow
Mark the stage, audio control, video control, and screens on a sketch. Then draw each link from its source to its destination. This is a conceptual layout; it does not specify a pinout, confirm format compatibility, or approve an installation.
| Link | Endpoints to identify | Details to confirm |
|---|---|---|
| A01 · audio | Stage output → audio control input | Device, port, signal level, and cable |
| V01 · video | Control output → screen system input | Interface, picture format, and cable assembly |
| R01 · spare | Planned backup endpoints | Physical route, availability, and verification |
Compare routes before choosing cables
For audio, connector shape alone does not establish its role: Yamaha distinguishes mic, line, and instrument connections. Record the role beside the port.
- Individual cables: identify each link separately; review the number of runs and available access.
- Analog multicore: groups physical channels; document inputs and returns, keeping it distinct from a digital stagebox.
- Fiber or an extension system: identify the devices at both ends before selecting passive cabling. Active transport is a separate design decision.
Measure the route you can actually use
Use crossing protection suited to the traffic and accepted by the venue. Keep pulls off equipment ports. Where fiber is included, never look into optical ports or fiber ends.
- Walk the route with the venue: access points, changes in level, doors, crossings, and moving equipment.
- Measure the approved path, including rises and drops. Agree on service slack rather than using only the straight-line distance.
- Put a readable ID at both ends and use it on the sketch and cable list. Keep the cable ID separate from the channel name.
- Record patch joints, adapters, and route changes. Leave unidentified connections unresolved until they are checked.
Hand over a map that can be checked
For each link, record its ID, source and port, destination and port, role or format, cable part number, length, route, and check result. Check continuity with suitable tools and verify the signal using the planned devices and settings; continuity alone does not prove system operation.
- Save a dated revision and setup changes.
- Identify the backup and any unverified connections.
- Give stage and control teams the same revision before rehearsal.
Setup questions
Can I start without a drawing?
Yes. Send a sketch, port photos, equipment locations, and approximate distances. Identify connections and routes first, then finalize cable references and quantities.
Should the spare follow the same route?
If the aim is to survive route damage, discuss a separate physical path with the venue. Two cables together can be affected by the same incident. The option depends on the space and system.
Does an adapter that fits confirm compatibility?
No. Check function, direction, format, and device compatibility. A mechanical adapter does not itself convert the signal.
Sources and documentation
- Yamaha — Live Sound Interconnections 101 · Official documentation
- Reddit r/livesound — First time I am going to be the patchmaster for a show · Additional professional discussion
The technicians’ discussion highlights setup questions; specifications are checked against official documentation.