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Re: [Amps] World's worst coax connectors

To: amps@contesting.com
Subject: Re: [Amps] World's worst coax connectors
From: Jim Brown <jim@audiosystemsgroup.com>
Reply-to: jim@audiosystemsgroup.com
Date: Sun, 23 Apr 2023 11:19:31 -0700
List-post: <mailto:amps@contesting.com>
On 4/23/2023 9:43 AM, jim.thom jim.thom@telus.net wrote:
ALL of my XLR cables I fabricated myself, were 1 pair, twisted, and teflon
insulated..and a woven braid, then the outer pvc sheath...(surplus telco
cable we tossed at work).

Jim,

AES Standards, like all REAL Standards, are produced by engineers working in a very broad cross-section of the industries who will use those Standards. Your application is but a pimple on the elephant. The company whose advice you quote, while the designer of truly excellent-sounding dynamics processing (for its time) for broadcasting and broadcast production, also sells products with SCREAMING Pin One Problems, one of which was among several I tested in the VHF-UHF-rich environment of downtown Chicago. With properly wired test cables, its RF susceptibility made it un-useable. This 2003 AES Paper documents that work. http://k9yc.com/AESPaperNYPin1-ASGWeb.pdf

This AES Paper documents corresponding work on condenser mics from Neumann, AKG, Sennheiser, and Shure. Although not identified by name, the worst offender was Neumnann, the best was Sennheiser. When I showed this to the AES Standards Working Group on mics, which included members from those companies and others, I did identify them. The amusing part was that Sennheiser had by then acquired Neumann, but their engineering groups were independent operations.
http://k9yc.com/AESPaperNYPin1-ASGWeb.pdf

The digital revolution has drastically changed audio signal distribution for large scale production in the years since AES analog Standards were written, but the stated practice was absolutely essential when, for example, in medium to large scale music performances two 32-64-input mix desks, usually at widely separated locations, are producing separate mixes from the same mics -- one for the audience, another for performers on stage. And there are direct feeds from amplified instruments like keyboards, guitar, and bass, that feed their own amps running on stage power. If the production is being broadcast or recorded, a third mix in a truck is producing that mix. In addition to their physical separation, the truck will have it's own power feed. Those separate mix desks within the facility, or with a touring company, were often NOT from transformer isolated splits. AES Standards are written so that those applications are viable.

73, Jim K9YC
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