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Sound System Interconnection

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Sound System
Interconnection
Rane Technical Staff

RaneNote 110 written 1985; last revised 11/15

Cause and prevention of ground loops
Interfacing balanced and unbalanced
Proper pin connections and wiring
Chassis ground vs. signal ground
Ground lift switches

Introduction
This note, originally written in 1985, continues to be one of our most useful references.
It's popularity stems from the continual and perpetual difficulty of hooking up audio
equipment without suffering through all sorts of bizarre noises, hums, buzzes, whistles,
etc.-- not to mention the extreme financial, physical and psychological price. As
technology progresses
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it is inevitable that electronic equipment
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to constant improvement. (halogen.php) (https
Many things have improved in the audio industry since
1985, but unfortunately wiring isn't one of them. However, finally the Audio Engineering
Society (AES) has issued a standards document for interconnection of pro audio
equipment. It is AES48, titled "AES48-2005: AES standard on interconnections --
Grounding and EMC practices -- Shields of connectors in audio equipment containing
active circuitry."

Rane's policy is to accommodate rather than dictate. However, this document contains
suggestions for external wiring changes that should ideally only be implemented by
trained technical personnel. Safety regulations require that all original grounding means

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provided from the factory be left intact for safe operation. No guarantee of responsibility
for incidental or consequential damages can be provided. (In other words, don't modify
cables, or try your own version of grounding (http://www.rane.com/par-g.html#ground)
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unless you really understand exactly what type of output and input you have to connect.)

Ground Loops
Almost all cases of noise can be traced directly to ground loops, grounding or lack thereof.
It is important to understand the mechanism that causes grounding noise in order to
effectively eliminate it. Each component of a sound system produces its own ground
internally. This ground is usually called the audio signal ground (http://www.rane.com/par-
s.html#signal_ground). Connecting devices together with the interconnecting cables can
tie the signal grounds of the two units together in one place through the conductors in
the cable. Ground loops occur when the grounds of the two units are also tied together in
another place: via the third wire in the line cord, by tying the metal chassis together
through the rack rails, etc. These situations create a circuit through which current may
flow in a closed "loop" from one unit's ground out to a second unit and back to the first. It
is not simply the presence of this current that creates the hum -- it is when this current
flows through a unit's audio signal ground that creates the hum. In fact, even without a
ground loop, a little noise current always flows through every interconnecting cable (i.e.,
it is impossible to eliminate these currents entirely). The mere presence of this ground
loop current is no cause for alarm if your system uses properly implemented and
completely balanced interconnects, which are excellent at rejecting ground loop and
other noise currents. Balanced interconnect was developed to be immune to these noise
currents, which can never be entirely eliminated. What makes a ground loop current
annoying is when the audio signal is affected. Unfortunately, many manufacturers of
balanced audio equipment design the internal grounding system improperly, thus
creating balancedProducts
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equipment that is not immune to the cabling's noiseResources
currents. This is
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one reason (halogen.php) (https
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A second reason for balanced interconnect's bad reputation comes from those who think
connecting unbalanced equipment into "superior" balanced equipment should improve
things. Sorry. Balanced interconnect is not compatible with unbalanced. The small physical
nature and short cable runs of completely unbalanced systems (home audio) also contain
these ground loop noise currents. However, the currents in unbalanced systems never get
large enough to affect the audio to the point where it is a nuisance. Mixing balanced and
unbalanced equipment, however, is an entirely different story, since balanced and
unbalanced interconnect are truly not compatible. The rest of this note shows several

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recommended implementations for all of these interconnection schemes.

The potential or voltage which pushes these noise currents through the circuit is
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developed between the independent grounds of the two or more units in the system. The
impedance of this circuit is low, and even though the voltage is low, the current is high,
thanks to Mr. Ohm (http://www.rane.com/par-o.html#ohm), without whose help we
wouldn't have these problems. It would take a very high resolution ohm meter to measure
the impedance of the steel chassis or the rack rails. We're talking thousandths of an ohm.
So trying to measure this stuff won't necessarily help you. We just thought we'd warn you.

The Absolute Best Right Way To

Do It
The method specified by AES48 is to use balanced lines (http://www.rane.com/par-
b.html#balanced_line) and tie the cable shield to the metal chassis (right where it enters
the chassis) at both ends of the cable.
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Figure 1a. The right way to do it.

Figure 1b. Recommmended practice.

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 (http://www.rane.com/par-
t.html#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 Muncy, 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 Products
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and noise free. Plug and play. Sadly, Training
almost never is Resources
this the case,
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despite(/)the science and rules of(halogen.php)
noise-free interconnect known and documented for over (https
60 years (see References (http://www.rane.com/note110.html#ref) for complete
information).

It all boils down to using balanced lines (http://www.rane.com/par-b.html#balanced_line),

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

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pin 1 to the chassis (usually called chassis ground (http://www.rane.com/par-
c.html#chassis_ground)) -- not the audio signal ground as is most common.
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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 1/4" TS (Tip-Sleeve) connectors (http://www.rane.com/par-
c.html#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 rest of this note gives 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.
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Figure 2. Transformer

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(http://www.rane.com/par-
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t.html#transformer) Isolation
Many manufacturers provide several tools for this task, including Rane (see the BB22
(http://www.rane.com/bb22.html), BB44 (http://www.rane.com/bb44x.html) and LT22
(http://www.rane.com/lt22.html)). Consult your audio dealer to explore the options
available.

The goal of these adapters 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.

Another way to create the necessary isolation is to use a direct box

(http://www.rane.com/par-d.html#direct_box). Originally named for its use to convert the
high impedance, high level output of an electric guitar to the low impedance, low level
input of a recording console, it allowed the player to plug "directly" into the console. Now
this term is commonly used to describe any box used to convert unbalanced lines to
balanced lines.

The Last Best Right Way To Do It

If transformer isolation is not an option, special cable assemblies are a last resort.
The key here is to prevent the shield currents from flowing into a unit whose grounding
scheme creates ground loops (hum) in the audio path (i.e., most audio equipment).
It is true that connecting both ends of the shield is theoretically the best way to
interconnect equipment
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-- though this assumes the interconnected equipment is
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(/) grounded properly. Since most equipment is not internally grounded properly,
internally
connecting both ends of the shield is not often practiced, since doing so usually creates
noisy interconnections.

A common solution to these noisy hum and buzz problems involves disconnecting one end
of the shield, even though one can not buy off-the-shelf cables with the shield
disconnected at one end. The best end to disconnect is the receiving end. If one end of
the shield is disconnected, the noisy hum current stops flowing and away goes the hum --
but only at low frequencies. A ground-sending-end-only shield connection minimizes the
possibility of high frequency (radio) interference since it prevents the shield from acting

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as an antenna to the next input. Many reduce this potential RF interference by providing
an RF path through a small capacitor (0.1 or 0.01 microfarad ceramic disc) connected from
the lifted end of the shield to the chassis. (This is referred to as the "hybrid shield
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termination" where the sending end is bonded to the chassis and the receiving end is
capacitively coupled. See Neutrik's EMC-XLR for example.) The fact that many modern day
installers still follow this one-end-only rule with consistent success indicates this and
other acceptable solutions to RF issues exist, though the increasing use of digital and
wireless technology greatly increases the possibility of future RF problems.

If you've truly isolated your hum problem to a specific unit, chances are, even though the
documentation indicates proper chassis grounded shields, the suspect unit is not
internally grounded properly. Here is where special test cable assemblies, shown in Figure
3, really come in handy. These assemblies allow you to connect the shield to chassis
ground at the point of entry, or to pin 1, or to lift one end of the shield. The task becomes
more difficult when the unit you've isolated has multiple inputs and outputs. On a suspect
unit with multiple cables, try various configurations on each connection to find out if
special cable assemblies are needed at more than one point.

Figure 3. Balanced audio test cable

See Figure 4 for suggested cable assemblies for your particular interconnection needs.
Find the appropriate
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output configuration (down the left side) and then match this with
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the correct (halogen.php) (https
(/) input configuration (across the top of the page.) Then refer to the following
wiring diagrams.

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Figure 4. Interconnect chart for locating

correct cable assemblies.
Note: (A) This configuration uses a standard "off-the-shelf" cable.

Note: (B) This configuration causes a 6 dB signal loss. Compensate by "turning the system
up" 6 dB.

Ground Lifts
Many units come equipped with ground lift switches. In only a few cases can it be shown
switch improves Halogen
that a ground lift Products ground related noise. lift switch ever Leg
(Has a groundResources
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really worked (halogen.php)
for you?) In reality, the presence of a ground lift switch greatly reduces(https
a
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unit's ability to be "properly" grounded and therefore immune to ground loop hums and
buzzes. Ground lifts are simply another Band-Aid to try in case of grounding problems. It
is, however, true that an entire system of properly grounded equipment, without ground
lift switches, is guaranteed (yes guaranteed) to be hum free. The problem is most
equipment is not (both internally and externally, AC system wise) grounded properly.

Most units with ground lifts are shipped so the unit is "grounded" -- meaning the chassis is
connected to audio signal ground. (This should be the best and is the "safest" position for
a ground lift switch.) If after hooking up your system it exhibits excessive hum or buzzing,

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there is an incompatibility somewhere in the system's grounding configuration. In addition
to these special cable assemblies that may help, here are some more things to try:

1. Try combinations of lifting grounds on units supplied with lift switches (or links). It is 
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wise to do this with the power off!

2. If you have an entirely balanced system, verify all chassis are tied to a good earth
ground, for safety's sake and hum protection. Completely unbalanced systems never
earth ground anything (except cable TV, often a ground loop source). If you have a
mixed balanced and unbalanced system, do yourself a favor and use isolation
transformers or, if you can't do that, try the special cable assemblies described here
and expect it to take many hours to get things quiet. May The Force be with you.
3. Balanced units with outboard power supplies (wall warts or "bumps" in the line cord)
do not ground the chassis through the line cord. Make sure such units are solidly
grounded by tying the chassis to an earth ground using a star washer for a reliable
contact. (Rane always provides this chassis point as an external screw with a toothed
washer.) Any device with a 3-prong AC plug, such as an amplifier, may serve as an earth
ground point. Rack rails may or may not serve this purpose depending on screw
locations and paint jobs.

Floating, Pseudo, and Quasi-

Balancing
During inspection, you may run across a 1/4" output called floating unbalanced,
sometimes also called psuedo-balanced or quasi-balanced. In this configuration, the
sleeve of the output stage is not connected inside the unit and the ring is connected
(usually through a small resistor) to the audio signal ground. This allows the tip and ring to
"appear" as an equal
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impedance, not-quite balanced output stage, even though the
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output(/) (https

Floating unbalanced often works to drive either a balanced or unbalanced input,

depending if a TS or TRS standard cable is plugged into it. When it hums, a special cable is
required. See drawings #11 and #12, and do not make the cross-coupled modification of
tying the ring and sleeve together.

Summary

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If you are unable to do things correctly (i.e. use fully balanced wiring with shields tied to
the chassis at the point of entry, or transformer isolate all unbalanced signals from
balanced signals) then there is no guarantee that a hum free interconnect can be 
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achieved, nor is there a definite scheme that will assure noise-free operation in all
configurations.

Winning the Wiring Wars

Use balanced connections whenever possible, with the shield bonded to the metal
chassis at both ends.
Transformer isolate all unbalanced connections from balanced connections.
Use special cable assemblies when unbalanced lines cannot be transformer isolated.
Any unbalanced cable must be kept under ten feet (three meters) in length. Lengths
longer than this will amplify all the nasty side effects of unbalanced circuitry's ground
loops.
When all else fails, digitize everything, use fiber optic cable and enter a whole new
realm of problems.

References
1. Neil A. Muncy, "Noise Susceptibility in Analog and Digital Signal Processing Systems,"
presented at the 97th AES Convention of Audio Engineering Society in San Francisco,
CA, Nov. 1994.
2. Grounding, Shielding, and Interconnections in Analog & Digital Signal Processing
Systems: Understanding the Basics; Workshops designed and presented by Neil Muncy
 and Cal Perkins, at the 97th AES Convention of Audio Engineering Society in San
Francisco, CA, Nov. 1994. Halogen Leg
Products Training Resources
3. The (/) (halogen.php)
entire June 1995 AES Journal, Vol. 43, No. 6, available $6 members, $11 (https
nonmembers from the Audio Engineering Society, 60 E. 42nd St., New York, NY, 10165-
2520.
4. Phillip Giddings, Audio System Design and Installation (SAMS, Indiana, 1990).
5. Ralph Morrison, Noise and Other Interfering Signals (Wiley, New York, 1992).
6. Henry W. Ott, Noise Reduction Techniques in Electronic Systems, 2nd Edition (Wiley,
New York, 1988).
7. Cal Perkins, "Measurement Techniques for Debugging Electronic Systems and Their
Instrumentation," The Proceedings of the 11th International AES Conference: Audio
Test & Measurement, Portland, OR, May 1992, pp. 82-92 (Audio Engineering Society,

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New York, 1992).
8. Macatee, RaneNote "Grounding and Shielding Audio Devices
(http://www.rane.com/note151.html)," Rane Corporation, 1994. 
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9. Philip Giddings, "Grounding and Shielding for Sound and Video," S&VC, Sept. 20th,
1995.
10. AES48-2005: AES standard on interconnections "Grounding and EMC practices -- Shields
of connectors in audio equipment containing active circuitry" (Audio Engineering
Society, New York, 2005).

Band-Aid is a registered trademark of Johnson & Johnson

"Sound System Interconnection

(http://www.rane.com/pdf/ranenotes/Sound_System_Interconnection.pdf)" Download
this note in PDF.

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