Rane MP26 MP26 Mixer Owners Manual - Page 21

The Absolute Best Right Way To Do It, b. Recommmended practice.

Page 21 highlights

The Absolute Best Right Way To Do It The method specified by AES48 is to use balanced lines and tie the cable shield to the metal chassis (right where it enters the chassis) at both ends of the cable. A balanced line requires three separate conductors, two of which are signal (+ and -) and one shield (see Figure 1a). The shield serves to guard the sensitive audio lines from interference. Only by using balanced line interconnects can you guarantee (yes, guarantee) hum-free results. Always use twisted pair cable. Chassis tying the shield at each end also guarantees the best possible protection from RFI [radio frequency interference] and other noises [neon signs, lighting dimmers]. Neil Muncy1, an electroacoustic consultant and seasoned veteran of years of successful system design, chairs the AES Standards Committee (SC-05-05) working on this subject. He tirelessly tours the world giving seminars and dispensing information on how to successfully hook-up pro audio equipment2. He makes the simple point that it is absurd that you cannot go out and buy pro audio equipment from several different manufacturers, buy standard off-the-shelf cable assemblies, come home, hook it all up and have it work hum and noise free. Plug and play. Sadly, almost never is this the case, despite the science and rules of noise-free interconnect known and documented for over 60 years (see References for complete information). It all boils down to using balanced lines, only balanced lines, and nothing but balanced lines. This is why they were developed. Further, that you tie the shield to the chassis, at the point it enters the chassis, and at both ends of the cable (more on 'both ends' later). Since standard XLR cables come with their shields tied to pin 1 at each end (the shells are not tied, nor need be), this means equipment using 3-pin, XLR-type connectors must tie pin 1 to the chassis (usually called chassis ground) - not the audio signal ground as is most common. Not using signal ground is the most radical departure from common pro-audio practice. Not that there is any argument about its validity. There isn't. This is the right way to do it. So why doesn't audio equipment come wired this way? Well, some does, and since 1993, more of it does. That's when Rane started manufacturing some of its products with balanced inputs and outputs tying pin 1 to chassis. So why doesn't everyone do it this way? Because life is messy, some things are hard to change, and there will always be equipment in use that was made before proper grounding practices were in effect. Unbalanced equipment is another problem: it is everwhere, easily available and inexpensive. All those RCA and ¼" TS connectors found on consumer equipment; effect-loops and insert-points on consoles; signal processing boxes; semi-pro digital and analog tape recorders; computer cards; mixing consoles; et cetera. The next several pages give tips on how to successfully address hooking up unbalanced equipment. Unbalanced equipment when "blindly" connected with fully balanced units starts a pattern of hum and undesirable operation, requiring extra measures to correct the situation. The Next Best Right Way To Do It The quickest, quietest and most foolproof method to connect balanced and unbalanced is to transformer isolate all unbalanced connections. See Figure 2. Many manufacturers provide several tools for this task, including Rane. Consult your audio dealer to explore the options available. The goal of these adaptors is to allow the use of standard cables. With these transformer isolation boxes, modification of cable assemblies is unnecessary. Virtually any two pieces of audio equipment can be successfully interfaced without risk of unwanted hum and noise. COMMON (WRONG) PRACTICE (+) CASE 2 3 (-) 1 RECOMMENDED PRACTICE CASE (+) OPTIONAL 2 3 (-) 1 UNBALANCED NOT CONNECTED AT CHASSIS (PLASTIC JACK) 1/4" TIP-SLEEVE TRANSFORMER BALANCED 2 3 1 CASE LUG MAY CONNECT TO CHASSIS (NOT REQUIRED) CHASSIS GROUND SIGNAL GROUND CHASSIS CHASSIS GROUND GROUND Figure 1b. Recommmended practice. EARTH GROUNDED METAL ENCLOSURE CHASSIS IS GROUNDED TO PIN 1 Figure 2. Transformer Isolation Interconnection-3

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Interconnection-3
The Absolute Best Right Way To Do It
°e method specified by AES48 is to use balanced lines
and
tie the cable shield to the metal chassis (right where
it enters the chassis) at both ends of the cable
.
A balanced line requires three separate conduc-
tors, two of which are signal (+ and –) and one shield
(see Figure 1a). °e shield serves to guard the sensitive
audio lines from interference. Only by using balanced
line interconnects can you
guarantee
(yes,
guarantee
)
hum-free results. Always use twisted pair cable. Chas-
sis tying the shield at each end also
guarantees
the best
possible protection from RFI [radio frequency interfer-
ence] and other noises [neon signs, lighting dimmers].
Neil Muncy
1
, an electroacoustic consultant and
seasoned veteran of years of successful system design,
chairs the AES Standards Committee (SC-05-05)
working on this subject. He tirelessly tours the world
giving seminars and dispensing information on how to
successfully hook-up pro audio equipment
2
. He makes
the simple point that it is absurd that you cannot go
out and buy pro audio equipment from several different
manufacturers, buy standard off-the-shelf cable assem-
blies, come home, hook it all up and have it work hum
and noise free.
Plug and play.
Sadly, almost never is
this the case, despite the science and rules of noise-free
interconnect known and documented for over
60 years
(see References for complete information).
It all boils down to using balanced lines, only bal-
anced lines, and nothing but balanced lines. °is is why
they were developed. Further, that
you
tie the shield to
the chassis, at the point it enters the chassis, and at both
ends of the cable
(more on ‘both ends’ later).
Since standard XLR cables come with their shields
tied to pin 1 at each end (the shells are not tied, nor
need be), this means equipment using 3-pin, XLR-type
connectors
must tie pin 1 to the chassis
(usually called
chassis ground) — not the audio signal ground as is
most common.
Figure 1b. Recommmended practice.
CASE
(+)
(–)
COMMON (WRONG) PRACTICE
RECOMMENDED PRACTICE
(–)
(+)
OPTIONAL
CASE
1
2
3
3
1
2
CHASSIS
GROUND
SIGNAL
GROUND
CHASSIS
GROUND
CHASSIS
GROUND
Not using
signal ground
is the most radical depar-
ture from common pro-audio practice. Not that there
is any argument about its validity. °ere isn’t.
°is is
the right way to do it
. So why doesn’t audio equipment
come wired this way? Well, some does, and since 1993,
more of it does. °at’s when Rane started manufac-
turing some of its products with balanced inputs and
outputs tying pin 1 to chassis. So why doesn’t everyone
do it this way? Because life is messy, some things are
hard to change, and there will always be equipment in
use that was made before proper grounding practices
were in effect.
Unbalanced equipment is another problem: it is
everwhere, easily available and inexpensive. All those
RCA and ¼" TS connectors found on consumer equip-
ment; effect-loops and insert-points on consoles; signal
processing boxes; semi-pro digital and analog tape
recorders; computer cards; mixing consoles; et cetera.
°e next several pages give tips on how to suc-
cessfully address hooking up unbalanced equipment.
Unbalanced equipment when “blindly” connected with
fully balanced units starts a pattern of hum and unde-
sirable operation, requiring extra measures to correct
the situation.
The Next Best Right Way To Do It
°e quickest, quietest and most foolproof method to
connect balanced and unbalanced is to
transformer
isolate all unbalanced connections
. See Figure 2.
Many manufacturers provide several tools for this
task, including Rane. Consult your audio dealer to ex-
plore the options available.
°e goal of these adaptors is to allow the use of
standard cables.
With these transformer isolation
boxes, modification of cable assemblies is unnecessary.
Virtually any two pieces of audio equipment can be
successfully interfaced without risk of unwanted hum
and noise.
Figure 2. Transformer Isolation
NOT CONNECTED
AT CHASSIS
(PLASTIC JACK)
EARTH GROUNDED
METAL ENCLOSURE
CHASSIS IS
GROUNDED TO PIN 1
1/4”
TIP-SLEEVE
CASE LUG MAY
CONNECT TO
CHASSIS
(NOT REQUIRED)
TRANSFORMER
UNBALANCED
BALANCED
3
1
2