If you mean a standard pre-made 3 pin XLR cable to replace double RCA cables, that won't work well, it will be constructed as for a single balanced signal, whereas the RCA termination is for double unbalanced signals. Your post just raises questions. Do you really mean phono, or you just mean standard RCA connectors? Do you want to construct custom cables with XLR connectors?
Noise is worse because the conductors are unshielded and will pick up MORE common mode noise, but there is no balanced receiver at the termination to perform noise cancellation and thus do the thing that makes balanced connections less noisy.
The A option is if you are DIYing circuitry, put in balanced drivers and receivers and do it properly. The B option is to do something like make a custom XLR 4 pin cable with dual shielded conductors inside. If you go this way, make sure you choose connector types so that a standard pre-made 4 pin XLR cable cannot be accidentally plugged in.
The A option is if you are DIYing circuitry, put in balanced drivers and receivers and do it properly. The B option is to do something like make a custom XLR 4 pin cable with dual shielded conductors inside. If you go this way, make sure you choose connector types so that a standard pre-made 4 pin XLR cable cannot be accidentally plugged in.
I like the idea!
For DIYer, it definitely doable! Those XLR connection is much better than RCA connector...
Yes, 300 feet from a low line level source. Multiple venues. Had trouble one place with an old elevator, also when the security-guard's 10-pound walkie-talkie was transmitting. Much better than dual 1/4" because better grounding.
From the 1990's until 2010, the main studio of Haarlem 105, the local radio station here, had a DATEQ BCS200 mixing console that used XLR3 connectors for unbalanced stereo signals. Except for the microphone inputs, telephone inputs and the main outputs, everything was unbalanced.
The connectors were far more reliable than cinch connectors, but it was a pain in the rectal region anyway for two reasons.
First, unbalanced connections are very inconvenient when there are two studios and another room with audio equipment with connections in all directions. Basically it was one big collection of ground loops until I built a bunch of balanced to unbalanced converters.
Second, sometimes someone plugged in professional equipment with a normal, balanced output. Left and right were then in antiphase and cancelled when you were listening in mono. For example, listening to a mono radio, I once heard a DJ sing along with completely inaudible jingles. The jingles were in antiphase while the DJ's microphone was not.
The connectors were far more reliable than cinch connectors, but it was a pain in the rectal region anyway for two reasons.
First, unbalanced connections are very inconvenient when there are two studios and another room with audio equipment with connections in all directions. Basically it was one big collection of ground loops until I built a bunch of balanced to unbalanced converters.
Second, sometimes someone plugged in professional equipment with a normal, balanced output. Left and right were then in antiphase and cancelled when you were listening in mono. For example, listening to a mono radio, I once heard a DJ sing along with completely inaudible jingles. The jingles were in antiphase while the DJ's microphone was not.
And if you want a recording connecting (4-way play back and record out in stereo), use a 5-pin XLR as used in DMX light control, still pin 1 for all grounds, 2 and 3 for play back and 4 and 5 for recording. Same trick and works as long as no walkie-talkies are around (#11) or use converters (#12) or stage audio transformers to avoid room to room ground loops.
Another option is to use (shielded) ethernet cable: up to 8 channels available! Cat-4 will suffice.
Another option is to use (shielded) ethernet cable: up to 8 channels available! Cat-4 will suffice.
For 1m I wouldn't be worried about noise or interference, unless You live near a broadcast or ham antenna tower.
The only problem I'm seeing here is if You have balanced gear around You could inadvertently swap cables / connections and run into problems like Marcelvdg mentioned. You could use mini-XLR's or aviation connectors since they are different from mixing desks and amps. There is also a 4 pin version used on studio console lamps.
I have a round 4 wire with individual shield cable which I use for long run 300ft / 100m balanced stereo connections and works fine. Works like a 2 pair multicore. You could use a similar cable and 5 pin XLR for Play / Rec.
The only problem I'm seeing here is if You have balanced gear around You could inadvertently swap cables / connections and run into problems like Marcelvdg mentioned. You could use mini-XLR's or aviation connectors since they are different from mixing desks and amps. There is also a 4 pin version used on studio console lamps.
I have a round 4 wire with individual shield cable which I use for long run 300ft / 100m balanced stereo connections and works fine. Works like a 2 pair multicore. You could use a similar cable and 5 pin XLR for Play / Rec.
If you want shielded and dual ( stereo) asymetric connection on one cable ( 5 pin xlr connector for me but you could put rca and an shield connected to amplifier chassis ( not the other end to preamp so no ground loop) you can use Mogami 2534 cable (starquad, 2 pairs+1shield).
I did that with the output of my pair of 1200mk2 ( i know i've sinned...). Mainly to have reliable connection beside the number of plug/unplug they see to desks (dj gear). Zero issue with unreliable rca anymore, no modification of sound either.
Line being less 'touchy' than phono, there is no reason for this to fail.
I did that with the output of my pair of 1200mk2 ( i know i've sinned...). Mainly to have reliable connection beside the number of plug/unplug they see to desks (dj gear). Zero issue with unreliable rca anymore, no modification of sound either.
Line being less 'touchy' than phono, there is no reason for this to fail.
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I believe the Quad 405 used a unique input connector with L/R/G in a single cable, neat idea. Definitely will cut down the interconnect clutter behind the audio rack. You can also try Canare L-4E6S Star Quad cable. Use a pair of conductors for signal GND, and single conductor each for L/R signal, terminate braided shield as Krivium mentioned.
Actually, the Mogami cable looks the same as the Canare. You have options
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Actually, the Mogami cable looks the same as the Canare. You have options
.Guys, I apologize for a dumb question undeserving of starting a new thread... Usurping wire 1 for SUM instead of GND, with custom adaptor/splitter at each end, L and R can be recovered balanced, no? In general, N+1 wires for N channels: SUM, SUM-ch1, ... , SUM-chN. Why not? Thanks.
(Acutally I was looking for SUM and DIFF thingies and wondered if unbal/bal adaptor/receiver already contained such.)
(Acutally I was looking for SUM and DIFF thingies and wondered if unbal/bal adaptor/receiver already contained such.)
In theory, yes.
You start with [L], [R] and [Gnd] (3 'poles'), and ends up with [+∑ ], [+L-∑ ], [+R-∑ ] or [-∑ ], [-L+∑ ], [-R+∑ ] (both 3 'poles' too).
It's comparable with the colour coding of television ( [Y], [B-Y], [R-Y] ), all to be superimposed on a hf-carrier.
As long as the coded signals are noise free ('in the box'), it's ok. But transferring these through unshielded cable, external noise will be added no matter what. (Adding a shield, common or separated, will increase the amount of 'poles'.) Decoding the original signals will become more difficult, adding distortion to the signals. The net gain will be less then staying with the original.
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