Rane MS1S MS1S Mic Stage Manual - Page 15

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 offthe-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 proaudio 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; 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. 15