i've never wired XLR balanced circuits before so i have a simple question... what is the preferred way to connect the body (shield) of the XLR connector on a cable? do i use the body as a ground connection, connected at both ends, or should it be left floating at one end and used only for shielding purposes on the cable? e.g. let's say i have 3 wires and a shield. the 3 wires are connected to the 3 pins. do i connect the shield at both ends to the body, or just at one end?
I normally use the shield as a ground on the body of the connector. All the connections I've ever made or seen use the two core wires for signal, and the shield for a, well, shield, with body connections and a connection to a node.
I've yet to see a balanced XLR with three wires. I guess the whole point of the balaned signal is the two nullyifying currents and an RF shield...
I've yet to see a balanced XLR with three wires. I guess the whole point of the balaned signal is the two nullyifying currents and an RF shield...
Hi Dorkus,
Here's a link to some pdf files on that topic:
http://www.soundcraft.com/learning/wiring_guides.html
cheers,
bob
Here's a link to some pdf files on that topic:
http://www.soundcraft.com/learning/wiring_guides.html
cheers,
bob
The body of the plug will be connected to the chassis of the equipment by it's mechanical insertion. Whether the equipment designer connects this internally to pin 1, depends on case to case (no pun intended). In other words, the earthing scheme within the equipment.
On analogue only:
Sometimes pin 1 (shield) is connected at only one end, either by the installer, or by the equipment manufacturer. If left "open", it is always the recieving end where this is done.
The logic of this is that the CMMR of a good balanced input stage is very good.
On analogue only:
Sometimes pin 1 (shield) is connected at only one end, either by the installer, or by the equipment manufacturer. If left "open", it is always the recieving end where this is done.
The logic of this is that the CMMR of a good balanced input stage is very good.
Rane Article on Balance Wiring
There is an article on the Rane website www.rane.com that the correct way to wire balanced interconnects and plugs.
I was amused by the wry observation that there is only one right way (which has been known and understood for decades) and many wrong ways to do this, yet the right way is possibly the least used.
The Rane website has a number of other articles I have found interesting as well.
There is an article on the Rane website www.rane.com that the correct way to wire balanced interconnects and plugs.
I was amused by the wry observation that there is only one right way (which has been known and understood for decades) and many wrong ways to do this, yet the right way is possibly the least used.
The Rane website has a number of other articles I have found interesting as well.
The AES standard connection for balanced audio connection on a 3 pin XLR connector is (drum roll please)
Pin 1 : Shield
Pin 2 : Signal + (Hot)
Pin 3 : Signal - (Cold)
According to the AES standard, the cable shield is most definitely not connected to the shell of the XLR connector.
Note: Quite a few older (and some current) pieces of pro audio gear have pins 2 and 3 reversed. This matters if you are mixing multiple signals since if relative polarity (incorrectly called phase) is not maintained then you will not be able to get a usable mono summed signal. This also matters in playback equipment if if you want to maintain absolute polarity.
ftp.aessc.org/pub/aes14-1992.pdf
Pin 1 : Shield
Pin 2 : Signal + (Hot)
Pin 3 : Signal - (Cold)
According to the AES standard, the cable shield is most definitely not connected to the shell of the XLR connector.
Note: Quite a few older (and some current) pieces of pro audio gear have pins 2 and 3 reversed. This matters if you are mixing multiple signals since if relative polarity (incorrectly called phase) is not maintained then you will not be able to get a usable mono summed signal. This also matters in playback equipment if if you want to maintain absolute polarity.
ftp.aessc.org/pub/aes14-1992.pdf
XLR
Hi,
Yep.
And that where the fun starts.
Recordings out of phase,single instruments out of phase with respect to others,equipment out of phase you name it.
And you better start checking the polarity of your home gear as well in case you wonder who stole the bass.
If only people would stick to standards.
Cheers,
Hi,
Yep.
And that where the fun starts.
Recordings out of phase,single instruments out of phase with respect to others,equipment out of phase you name it.
And you better start checking the polarity of your home gear as well in case you wonder who stole the bass.
If only people would stick to standards.
Cheers,
XLR
Hello,
Ego?
Audio ergo sum.
As you said,Neutrik pretty much covers all one can whish for.
There are better connector type around if you want to of the beaten track but compatiblity goes down the tubes with that too.
So for homebrew stuff low signal levels I like the Fisher Camac,Lemo stuff a lot.
Doesn't come cheap though.
Cheers,
Hello,
Ego?
Audio ergo sum.
As you said,Neutrik pretty much covers all one can whish for.
There are better connector type around if you want to of the beaten track but compatiblity goes down the tubes with that too.
So for homebrew stuff low signal levels I like the Fisher Camac,Lemo stuff a lot.
Doesn't come cheap though.
Cheers,
thanks for all the good tips guys. i'm using the moderate cost Neutrik plugs and they seem to be excellent in quality. my application is not for signal though - i'm using a 3-pin XLR as the power connector for a preamp. i could have used DIN but i thought an XLR would give a better connection, and the contacts have less resistance.
one other question, in practice can XLR's be plugged and unplugged "hot" without a huge popping noise? that's actually why i asked about the wiring of the shell, i thought maybe it could be used to get an initial ground connection to prevent the pop. i know with phantom power mics you'll still get noise but how about standard line level AC signals?
one other question, in practice can XLR's be plugged and unplugged "hot" without a huge popping noise? that's actually why i asked about the wiring of the shell, i thought maybe it could be used to get an initial ground connection to prevent the pop. i know with phantom power mics you'll still get noise but how about standard line level AC signals?
Working in the Rock'n'Roll industry, I got into the habit of muting inputs/channels, before anything is plugged or unplugged, because all it takes is one transient, and it might take out a dozen or more expensive drivers ten minutes before the show!
I shudder at those people who will swap components whilst a circuit is still live
I shudder at those people who will swap components whilst a circuit is still live
pinkmouse said:I shudder at those people who will swap components whilst a circuit is still live
hey, that's me.
i do everything live. pulling interconnects, AC lines, whole components - i even solder my circuits live, despite an accident or two i've had. at least i disconnect my speakers from the amp when screwing around with my system (which is why i got banana plugs on that end).- Status
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