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More on cable wiring - balanced to unbalanced
01/07/2000

Today we'll temporarily conclude our thread on cable wiring with suggestions on how to wire balanced outputs into unbalanced inputs. We've spent the past few inSync issues detailing exact cable wiring diagrams so hopefully by now we can spare you the drawings and discuss concepts because we have a lot to cover today and limited space for it.

When connecting balanced outputs to unbalanced inputs the big question that must come up with what to do with that third wire? It's generally pretty straight forward when connecting unbalanced gear to balanced gear (see yesterday's TTOTD), but when the output device is balanced there are a variety of ways to get into trouble. As always we recommend you consult the manuals that come with your equipment, as they will often tell you how to do it for best results on their gear. Of course just as often they say nothing about it.

So we'll go about making some generalizations. In "most" cases, when the exact characteristics of the balanced output are unknown you are best to leave the negative (pin 3, or Ring) wire unconnected at the unbalanced input. So (in a pin 2 hot device), pin 2 would connect to the tip (positive) and pin 1 (shield) connects to the sleeve (negative).

This is the preferred default because some devices object very strongly to having either the positive or negative pin tied to ground or shield. You'll rarely damage any equipment by doing this, but sometimes the resulting output will become almost non existent and very distorted. Basically, it won't work.

The one sure exception to the floating pin 3 scenario is with transformer balanced outputs. Transformers need to have both the positive and negative connected to complete the circuit, so in those cases you must tie the negative to ground at the unbalanced end. In those cases we prefer to float the shield at that end to prevent it from becoming a signal carrier.

Actually there are many other situations where connecting the negative and floating the shield at the unbalanced end work better. But this gets into an area where you have to consider larger numbers of variables than we have the space to explore here. All I can say at this point is that at Sweetwater we have the expertise to dig in to these potentially complex situations with you and work out the best wiring scheme for your application. This is just another aspect of the Sweetwater difference.





Other Techtips from January 2000:
January 31 - CD burning issues
January 28 - Live miking and mixing with multiple microphones
January 27 - Fundamentals of Noise Reduction
January 26 - Kurzweil Output Architecture
January 25 - Mixing virtual tracks into a MOTU 2408
January 24 - Running wires through sound proof walls
January 21 - Miking an upright piano
January 20 - More on hard drive head crashes
January 19 - Reversing pins 2 & 3 in an XLR cable, what does it do to Phantom power?
January 18 - Pin 2 versus Pin 3 at mic inputs
January 17 - Where have the analog mixers gone?
January 14 - How does increasing amp power affect SPL?
January 13 - The one exception on TRS wiring
January 12 - Get line level signals into a mixer without line inputs
January 11 - Magnetic Fields from unshielded monitors and your cassette deck
January 10 - Keeping rooms isolated that have wire runs between them
January 07 - More on cable wiring - balanced to unbalanced
January 06 - More on wiring unbalanced and balanced connections
January 05 - Wiring XLR to TRS connectors and reversing polarity for pin 3 hot
January 04 - More info on cable polarity and how to wire for various circumstances
January 03 - Getting that R & B booming bass drum sound


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