Greg perhaps some of this discussion goes some way toward explaining my preference for using single ended connection..... But its only a preference gained after trying both.
Hi Greg I have a pair of AudioNet Max Mono Block Amplifiers connected to a Pre G2 Preamp via 1.5 meter length Single Ended RCA connectors, as recommended by the manufacturer. I wish to move my Hi-Fi Rack with components from between the front speakers to along the side wall which is 7 m (23 ft) from the Amps. Is this much longer cable distance too long for the recommended Single Ended RCA, or should I change to Balanced XLR cable connectors? I will have to order made to order cable lengths from overseas suppliers to New Zealand (Down under in the Southern Hemisphere), at considerable additional $ expense and ask if you could recommend a well shielded cable if in RCA (if recommended), or standard Long length XLR cables. I currently use Wireworld Gold Eclipse RCA & Balanced XLR cables which are double the $ price cost you pay in the US, so more reference quality type cables are out of my price range. I await your comments and recommendations on this matter. Thanks! Mark Hall (Nelson, NZ).
Hello Mark... That is an interesting parallel of my situation. When I moved into this new room in 2015, I had my components between the amp stands and speakers. But I moved my component rack to the left side of the room, opening the space between the speakers. I currently use a 20' single-ended run from my PRE G2 to the MAX monos, with excellent performance. However, know that I also have a balanced set of 20' cables, for use when necessary for reviewing purposes. And, while I prefer the single-ended connection, the balanced set STILL sounds awfully good. IF you are concerned about RFI or EMI, then you CAN use balanced interconnects. While there is no doubt to my ears that the single-ended run is a bit more open and dynamic, the use of the balanced interconnects is NOT a horrible compromise... Let us know what you do, and how you feel it works out. Best of luck, and thanks for taking the time to write...
what is or should be the characteristic (native) impedance of the rca/phono plug? same for xlr plug? same for 1/4 inch trs plug.? presumably the cabling used matches those impedances? (every plug type does have one) perhaps the effects are less important at audio freqs but again should matter more for mics which themselves have native impedances. also it seems weird using coaxial trs connection for balanced sigs.
Interesting question...but I'm not sure how critical this actually is, depending upon whom you read/listen to. Typically, RCA connectors are not made to have a specific characteristic impedance. And while Canare Electric Co., Ltd. documentation suggests that it is about 25 ohms, I've never seen any absolute confirmation. XLR plugs (implying a balanced circuit with two active electrical conductors of equal impedance, each carrying a different polarity of the whole) realize their biggest benefit from their greater ability to reject EMI and RFI induced noise interference - especially for runs of 25 feet or longer - and more typically have an impedance somewhere between 45 and 75 ohms.
@@theaudioanalyst I say these things from perspective of a radio operation where it is always crucial to match impedances within a system. all impedance mismatches cause signal reflections, high standing wave ratios and loss thru heat, dielectric breakdown etc, loss of efficiency, performance, more distortion, phase delays and nonlinearity of freq response etc.
@@paulmitchell4421 I could not agree more strongly. I hope you realize that I was NOT being dismissive of these concerns out of hand... Impedance mismatches between connected components - speakers included - may be seen as one of the most serious contributors to disappointing system performance. And MOST audio designers - thank GAWD, not ALL of them - are wholly dismissive of any attributes beyond the more simplified engineering concepts of electron flow, impedance matching, and optimizing inductance and capacitance. By manipulating a cables physical geometry to control LCR (inductance, capacitance, and resistance) values, they try to achieve what they believe to be the most ideal relationship between those parameters and, therefore, deliver an optimized electron flow. Yet others believe that within the realm of normal cable design, the LRC characteristics of cables will not have any effect on the frequency response. In fact, many folks out there, designers included, use this argument to support their contention that cables can't possibly affect the sound. Some of the more enlightened out there take into consideration that the waveguide physics model explains very nicely why interconnect, loudspeaker, digital, and power cables DO affect sound quality. And further, it further helps to describe and understand other sonic cable mysteries, like why cables can sound distinctly different after they have been cryogenically treated, or when they are raised off the floor and carpet. Cables - and the required connections they complete - are SERIOUS business that many totally dismiss… Thanks for your comments.
Just need to state the obvious: _Nobody_ analyzes audio like Greg 'the audio analyst' analyzes audio... NOBODY! Just Leave it to Weaver to analyze that audio, I like to say!
Hello. If you watched the video all the way through, you would see that the answer to that question is NOT a simple yes or no... Like so many other things, that is dependent on individual applications. Starting at 14:11 I outline the conditions as follows... "Again, if you’ve been reading between the lines, you will have picked up on the fact that there are situations where neither interface is CLEARLY a better option than the other. Typically, when connecting a balanced DAC, Phono Stage, or other source to a differential linestage or preamplifier, or connecting that differential linestage or preamplifier to a differential stereo amplifier or pair of differential monoblocks, it MAY make the most sense to take advantage of the additional native noise suppression and rejection that a balanced XLR cable would afford. In cases where an Op-Amp is used in a similar manner as that used with my reference monoblocks, a single ended connection is preferred, and a more accurate sonic choice. In general, it would make sense to use balanced XLR cables when both connected devices operate in true differential mode, when you are in an especially noisy RF or EMI environment, or when you need to use particularly long runs - say, more than ten or twelve feet So, is the balanced interconnect a "Holy Grail" in high-performance audio? Is it an essential ingredient for a top-performing two-channel system? Unfortunately, things are not always as simple as they appear on the surface! The problems lie both in the way the inverted part of the balanced signal pair is generated, and the way that it's recombined. Both processes involve extra complications in the circuitry, and this can sometimes degrade the sound quality. Also, regardless of the exact method used to generate the balanced pair of signals, and to reconstruct the original afterward, the balancing will only extend up to a certain frequency limit. Beyond that limit, the signals will no longer be a mirror image of each other, and asymmetry will set in. This may be quite a high frequency, well above the "audible range", yet it can still affect the final audible result. And, obviously, if the balancing/unbalancing no longer works perfectly, neither does the noise cancellation which can break down at ultrasonic frequencies. In a lot of cases, where there are options for both connections, the balanced may be clearly better, often sounding "cleaner,” "purer," and more dynamic. And yet, as discussed, other equipment simply does not benefit from the use of a balanced connection, with the single-ended interface sounding better. It will depend on how well the extra circuitry has been implemented, and whether those benefits outweigh any problems with interference, ground-loop noise and hum from a single-ended connection. With sensible design, careful grounding arrangements, well-selected cable, combined with a low driving impedance, traditional single-ended connections can provide superb and almost totally noise-free performance. Which is best to use with your gear? I’d always start by checking with your manufacturer to see what they recommend, then, use your own ears!" Thanks for watching and writing...
