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Balanced Audio Cable

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Post Options Post Options   Thanks (0) Thanks(0)   Quote morris_minor Quote  Post ReplyReply Direct Link To This Post Posted: 27 Mar 2013 at 5:18pm
Originally posted by garygillespie garygillespie wrote:

I'm not sure if I should ask this here, or in another topic.
But reading from the comments above, is it really only practical to ballanced cables over a certain distance?
I think the benefits of running balanced cables only become noticeable over a certain length - what that might be I leave to others who are wiser and more informed than myself . . .  Wink
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Post Options Post Options   Thanks (0) Thanks(0)   Quote mitch65 Quote  Post ReplyReply Direct Link To This Post Posted: 27 Mar 2013 at 5:39pm
Originally posted by morris_minor morris_minor wrote:

Originally posted by garygillespie garygillespie wrote:

I'm not sure if I should ask this here, or in another topic.
But reading from the comments above, is it really only practical to ballanced cables over a certain distance?
I think the benefits of running balanced cables only become noticeable over a certain length - what that might be I leave to others who are wiser and more informed than myself . . .  Wink

That was my understanding too...Smile
Greg

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Post Options Post Options   Thanks (0) Thanks(0)   Quote BAK Quote  Post ReplyReply Direct Link To This Post Posted: 17 Sep 2013 at 10:51pm
Originally posted by morris_minor morris_minor wrote:

Originally posted by garygillespie garygillespie wrote:

I'm not sure if I should ask this here, or in another topic.
But reading from the comments above, is it really only practical to ballanced cables over a certain distance?
I think the benefits of running balanced cables only become noticeable over a certain length - what that might be I leave to others who are wiser and more informed than myself . . .  Wink
Graham, at what length is balanced cable better at reducing noise than unbalanced cable?
 
What is the pin out for TRS and XLR connectors? (+ phase, - phase, shield connections)
 
Bruce
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Post Options Post Options   Thanks (0) Thanks(0)   Quote BAK Quote  Post ReplyReply Direct Link To This Post Posted: 18 Sep 2013 at 2:22am
I found the following...

EIA Standard RS-297-A describes the use of the XLR3 for balanced audio signal level applications:

XLR pinouts.svg
Pin Function
1 Chassis ground (cable shield)
2 Positive polarity terminal for balanced audio circuits (aka "hot")
3 Negative polarity terminal for balanced circuits (aka "cold")[15]

Prior to the introduction of this standard, the wiring of pins 2 and 3 varied. The pin 2 "hot" and pin 3 "cold" convention was typically used by European and Japanese equipment manufacturers, but American companies used pin 3 "hot" and pin 2 "cold". This caused problems when interconnecting equipment with unbalanced connections. The pin 3 "hot" convention is now obsolete but is still found on vintage equipment.[16] Pin 1 has always been ground and/or shield if the cable is shielded, and many connectors connect it internally to the connector shell or case.

Although covered in industry technical standards,[17][18] there is still some disagreement on the best way to handle the use of pin 1 for grounding (earthing). The main controversy is whether the shell of the connector should be connected to pin 1 or the shield, or left floating. AES standards mentioned above recommend that shells of cable-mounted connectors should never be connected to pin 1 or the shield, because inadvertent contact of the shell with another grounded surface while in use can create unwanted current paths for fault current, potentially causing hum and other noise. On the other hand, equipment containing active circuitry should always have pin 1 connected to the conductive enclosure of the equipment as close as possible to the point where the signal enters the enclosure. The argument centers around the radio frequency shielding provided by the shell of the connector, which may be reduced if it is left floating. An alternative solution is to connect the shell to pin 1 and the shield through a small value capacitor, providing RF shielding but allowing very little audio-frequency current to flow. This capability can be built into a fixed jack or a cable terminated with XLR connectors.

The standard signal flow for audio in XLR connectors is that the output is a male connector and the input is female. In other words, the pins on the plug point in the direction of signal flow. This is the opposite of power connector standards which normally use female connectors for outputs, a convention influenced by the need to prevent accidental contact with dangerous voltages. However, the voltages of microphone and line level audio signals are not hazardous. The male XLR is usually incorporated in the body of a microphone.

Since equipment often requires an input on a TRS phone jack or an XLR connector, Neutrik and Amphenol offer several models of combination connector that accept both XLR and 0.25 inch TS or TRS phone plugs.

Bruce
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Post Options Post Options   Thanks (0) Thanks(0)   Quote BAK Quote  Post ReplyReply Direct Link To This Post Posted: 18 Sep 2013 at 2:31am
I also found... 1/4 inch TRS plugs 

Design

Unbalanced mono in/out Unbalanced mono insert Balanced mono in/out Unbalanced stereo
Tip Signal Send or return signal Positive/hot Left channel
Ring Ground or no Connection Return or send signal Negative/cold Right channel
Sleeve Ground
Notes:
The first version of the popular Mackie 1604 mixer, the CR1604, used a tip negative, ring positive jack wiring scheme on the main left and right outputs.
Early QSC amplifiers used a tip negative, ring positive input wiring scheme.
Whirlwind Line Balancer/Splitters do not use the sleeve as a conductor on their unbalanced 6.5 mm/14 in TRS phone input. Tip and ring are wired to the transformer's two terminals; the sleeve is not connected.

Balanced audio

When a phone connector is used to make a balanced connection, the two active conductors are both used for a monaural signal. The ring, used for the right channel in stereo systems, is used instead for the inverting input. This is a common use in small audio mixing desks, where space is a premium and they offer a more compact alternative to XLR connectors. Another advantage offered by TRS phone connectors used for balanced microphone inputs is that a standard unbalanced signal lead using a TS phone jack can simply be plugged into such an input. The ring (right channel) contact then makes contact with the plug body, correctly grounding the inverting input.

A disadvantage of using phone connectors for balanced audio connections is that the ground mates last and the socket grounds the plug tip and ring when inserting or disconnecting the plug. This causes bursts of hum, cracks and pops and may stress some outputs as they will be short circuited briefly, or longer if the plug is left half in.

This problem does not occur when using the 'gauge B' (BPO) phone connector (PO 316) which although it is of 0.25in (6.3mm) diameter has a smaller tip and a recessed ring so that the ground contact of the socket never touches the tip or ring of the plug. This type was designed for balanced audio use, being the original telephone 'switchboard' connector and is still common in broadcast, telecommunications and many professional audio applications where it is vital that permanent circuits being monitored (bridged) are not interrupted by the insertion or removal of connectors. This same tapered shape used in the 'gauge B' (BPO) plug can be seen also in aviation and military applications on various diameters of jack connector including the PJ-068 and 'bantam' plugs. The more common straight-sided profile used in domestic and commercial applications and discussed in most of this article is known as 'gauge A'.

XLR connectors used in much professional audio equipment mate the ground signal on pin 1 first.

Unbalanced audio

Phone connectors with three conductors are also commonly used as unbalanced audio patch points (or insert points, or simply inserts), with the output on many mixers found on the tip (left channel) and the input on the ring (right channel). This is often expressed as "tip send, ring return". Other mixers have unbalanced insert points with "ring send, tip return". One advantage of this system is that the switch contact within the panel socket, originally designed for other purposes, can be used to close the circuit when the patch point is not in use. An advantage of the tip send patch point is that if it is used as an output only, a 2-conductor mono jack plug correctly grounds the input. In the same fashion, use of a "tip return" insert style allows a mono jack plug to bring an unbalanced signal directly into the circuit, though in this case the output must be robust enough to withstand being grounded. Combining send and return functions via single 14 in TRS connectors in this way is seen in very many professional and semi-professional audio mixing desks, due to the halving of space needed for insert jack fields which would otherwise need two jacks, one for send and one for return. The tradeoff is that unbalanced signals are more prone to buzz, hum and outside interference.

In some 3-conductor TRS phone inserts, the concept is extended by using specially designed phone jacks that will accept a mono jack plug partly inserted to the first click and will then connect the tip to the signal path without breaking it. Most standard phone connectors can also be used in this way with varying success, but neither the switch contact nor the tip contact can be relied upon unless the internal contacts have been designed with extra strength for holding the plug tip in place. Even with stronger contacts, an accidental mechanical movement of the inserted plug can interrupt signal within the circuit. For maximum reliability, any usage involving first click or half-click positions will instead rewire the plug to short tip and ring together and then insert this modified plug all the way into the jack.

The TRS tip return, ring send unbalanced insert configuration is mostly found on older mixers. This allowed for the insert jack to serve as a standard-wired mono line input that would bypass the mic preamp. However tip send has become the generally accepted standard for mixer inserts since the early-to-mid 1990s. The TRS ring send configuration is still found on some compressor sidechain input jacks such as the dbx 166XL.

In some very compact equipment, 3.5 mm TRS phone connectors are used as patch points.

Some sound recording devices use a 3-conductor phone connector as a mono microphone input, using the tip as the signal path and the ring to connect a standby switch on the microphone.

Bruce
AT-14SA, Pickering XV-15, Hana EL, Technics SL-1600MK2, Lautus, Majestic DAC, Technics SH-8055 spectrum analyzer, Eminence Beta8A custom cabs; Proprius & Reflex M or C, Enjoy Life your way!
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Post Options Post Options   Thanks (0) Thanks(0)   Quote BAK Quote  Post ReplyReply Direct Link To This Post Posted: 18 Sep 2013 at 2:32am
Graham, at what length is balanced cable better at reducing noise than unbalanced cable?
Bruce
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Post Options Post Options   Thanks (0) Thanks(0)   Quote BAK Quote  Post ReplyReply Direct Link To This Post Posted: 18 Sep 2013 at 10:32pm
Originally posted by BAK BAK wrote:

Graham, at what length is balanced cable better at reducing noise than unbalanced cable?
 I have heard that beyond 2 meters balanced cable is better.
Is 3 meters ,or even 4, still OK for single ended?
Bruce
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