Been dryrunning on the table for four hours now.
Ambient room 23,5 C.
I have been out running the woods for the time they burned in so it is high time for some Souvlaki Filetto, a Mythos beer or two and maybe maybe an Ouzo.
After that maybe make some lids and temporary cabling and contacting.
Ambient room 23,5 C.
I have been out running the woods for the time they burned in so it is high time for some Souvlaki Filetto, a Mythos beer or two and maybe maybe an Ouzo.
After that maybe make some lids and temporary cabling and contacting.
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Small update. Since things seems to work technically as supposed I thought I’d do the boxes some decency. Chances are that if it gives no crazy surprices its gonna sit in my rack until I have v2.0. Im not caring for external finish so much now but I am giving some effort to fire saftey, RFI shielding and electric hazard saftey etc. Lids are being made just now.
I wanted to talk about some slightly OT again. I dont hug RCA/chinch so much. They get stuck, chassie plugs spinning, doubtful tolerance standards etc. In short they are ok when they sit there but doing alot of changes, A-B tests etc they give me the creeps. And here I would have 8 of them.
For some time I have been thinking of making my own standards with XLR instead. Preferably two channel where I dont mix up right and left channel etc when changing.
I have some (or alot actually ) of Van Den Hul or Van Damme or whatever it was called cable. Its studio interconnect small diameter 4 mm regular balanced with two leaders and a shield.
I am thinking of connecting two of those to one 4-pole XLR, like pin 1 shields, 2 returns/audiogrounds, 3 right channel, 4 left channel. Most gear we have is not dual mono, 99% of unbalanced stereo gear have return as one common. If I need to connect to standard off the shelf RCA gear I just split to RCA males.
Any warnings, pointy fingers, deep sighs etc before I try that?
I wanted to talk about some slightly OT again. I dont hug RCA/chinch so much. They get stuck, chassie plugs spinning, doubtful tolerance standards etc. In short they are ok when they sit there but doing alot of changes, A-B tests etc they give me the creeps. And here I would have 8 of them.
For some time I have been thinking of making my own standards with XLR instead. Preferably two channel where I dont mix up right and left channel etc when changing.
I have some (or alot actually ) of Van Den Hul or Van Damme or whatever it was called cable. Its studio interconnect small diameter 4 mm regular balanced with two leaders and a shield.
I am thinking of connecting two of those to one 4-pole XLR, like pin 1 shields, 2 returns/audiogrounds, 3 right channel, 4 left channel. Most gear we have is not dual mono, 99% of unbalanced stereo gear have return as one common. If I need to connect to standard off the shelf RCA gear I just split to RCA males.
Any warnings, pointy fingers, deep sighs etc before I try that?
I don't think there's anything technically wrong about your preferred way of making reliable and handy connections. In a DIY system there's no market compatibility connectors standard anyway. Incompatibility sometimes worked as some kind of highly regarded idiosyncrasy though.
Naim Audio used 5 pin DIN for ages as an example. They had a technically understandable case against RCA but maybe it was also helping them in customers loyalty for same brand separates towards building full systems. They tend to mix DIN, RCA, and XLR terminals in their gear nowadays nonetheless.
Naim Audio used 5 pin DIN for ages as an example. They had a technically understandable case against RCA but maybe it was also helping them in customers loyalty for same brand separates towards building full systems. They tend to mix DIN, RCA, and XLR terminals in their gear nowadays nonetheless.
Questions of course arise about connecting returns and shields. In whole chain diy I would connect one device, preferably a central one like a input select/volume device hard to PE for both shields and return and leave the others float on its own and take reference from that.
Since I have long transports from signal to amps I have signal transformers (LL1570XL) connected 2:1 before amps they make their own reference cots standard from PE.
Reasons for 2:1 is that pro standard +6dB combined with todays normal 2 volt consumer gear signal out and towards 100 dB/w sensitivity speakers gives me like 0-15% digital volume control, anything higher is way to loud even with small amps. 2:1 also halfes any interferance on the way.
Any thoughts about shields/returns/PE alternatives?
Since I have long transports from signal to amps I have signal transformers (LL1570XL) connected 2:1 before amps they make their own reference cots standard from PE.
Reasons for 2:1 is that pro standard +6dB combined with todays normal 2 volt consumer gear signal out and towards 100 dB/w sensitivity speakers gives me like 0-15% digital volume control, anything higher is way to loud even with small amps. 2:1 also halfes any interferance on the way.
Any thoughts about shields/returns/PE alternatives?
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I use an L-pad of about -9dB (5,6/4,7) on the tweeter, it is more sensitive then the woofer. I could increase that and put one on the woofer as well. Main plan though is to get a better gain structure, maybe some small single ended tube amps. The two 2x62 w 28,6 dB Linn LK85 that I use now has way more gain that I need. This is going to be a long project, bare with me 
Edit: saw now you ment the signal. Yes, could consider that as well
Edit: saw now you ment the signal. Yes, could consider that as well
About gain structure. This is the Sonifex RB-UL4 that is going to convert the dignal to balanced for now. I just remembered that it has individual level adjustment. I guess they are set to +6 dB. How do I measure the balanced output correctly to adjust it to 0 dBu unity gain? Between Hot and ground i suppose, but shall that be full or half the input from the gen for 0 dBu? Any load except the scopes own?
Balanced level is characterized between phases. You measure the output voltage between pins 2 and 3 of the XLR without shorting either to pin 1. XLR is twice SE for level. Something like 5kΩ or 10kΩ is typical for most console inputs.