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Interconnection-2

Ground Loops

Almost all cases of noise can be traced directly to ground 

loops, grounding or lack thereof. It is important to under-

stand 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. 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 inter-

connects, 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 an-

noying is when the audio signal is affected. Unfortunately, 

many manufacturers of balanced audio equipment design 

the internal grounding system improperly, thus creating bal-

anced equipment that is not immune to the cabling’s noise 

currents. This is one reason for the bad reputation some-

times given to balanced interconnect.

A second reason for balanced interconnect’s bad reputa-

tion comes from those who think connecting unbalanced 

equipment into “superior” balanced equipment should 

improve things. Sorry. Balanced interconnect is not compat-

ible 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 

recommended implementations for all of these interconnec-

tion schemes.

The potential or voltage which pushes these noise cur-

rents through the circuit is developed between the indepen-

dent 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, 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 thou-

sandths 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 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 fre-

quency interference] 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 

Figure 1a. The right way to do it.

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BALANCED OUTPUTS

BALANCED INPUTS

MALE

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Summary of Contents for HC6S

Page 1: ...stem Interconnection Warranty Declaration of Conformity 22340 MONO 10 0 2 4 8 6 10 0 2 4 8 6 10 0 2 4 8 6 10 0 2 4 8 6 10 0 2 4 8 6 10 0 2 4 8 6 10 0 2 4 8 6 PHONES PHONES PHONES PHONES PHONES PHONES...

Page 2: ...he power cord is the AC mains disconnect device and must remain readily operable To completely disconnect this apparatus from the AC mains disconnect the power supply cord plug from the AC receptacle...

Page 3: ...r le courant alternatif AC et doit absolument rester accessible Pour d connecter totalement l appareil du secteur d branchez le c ble d alimentation de la prise secteur 16 Cet appareil doit tre branch...

Page 4: ......

Page 5: ...ther components leave the power off This gives you a chance to make mistakes and correct them without damage 1 With the power switch in the off position plug the power line cord into the rear panel 2...

Page 6: ...using the front and rear panel headphone jacks together this control varies the level of each headphone simultaneously 4 MONO STEREO switch converts the MASTER INPUTS from stereo to mono so that a si...

Page 7: ...ting all shields RCA connectors can be substituted for the connectors To use balanced mono sources set the internal jumpers as shown on page Manual 4 3 Stereo Headphone OUTs allow any headphone with a...

Page 8: ...ath after the MASTER INPUTS and before the individual LEVEL controls This means that adjusting the MASTER LEVEL affects the SIG LEDs while adjusting the individual LEVEL controls does not When using a...

Page 9: ...s from a common mono source Six individual unbalanced stereo Inputs are available to drive any individual amplifier from a separate stereo source These Inputs can be converted to mono balanced Inputs...

Page 10: ...el 20 1 dBu Outputs Type 6 Stereo Amplifiers 6 Outs front 6 Outs rear Connectors TRS Tip Left Ring Right Impedance 0 25 typ Headphone Outputs Overall Gain Range Off to 20 1 dB LED Threshold Signal Pre...

Page 11: ...adphone monitor mixing system You now can give each vocalist more of their voice for increased clarity or add more kick drum to the bassist without giving everyone else a headache or let the producer...

Page 12: ...specifications subject to change without notice 9 2015 Headphone Sensitivity Headphone manufacturers specify a sensitivity rating for their products that is very similar to loudspeaker sensitivity rat...

Page 13: ...onnections 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 suggestio...

Page 14: ...connect is not compat ible 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...

Page 15: ...CTICE RECOMMENDED PRACTICE OPTIONAL CASE 1 2 3 3 1 2 CHASSIS GROUND SIGNAL GROUND CHASSIS GROUND CHASSIS GROUND The Next Best Right Way To Do It The quickest quietest and most foolproof method to con...

Page 16: ...ounded 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 true that an entire system of properly grounded equipment...

Page 17: ...guarantee that a hum free intercon nect can be achieved nor is there a definite scheme that will assure noise free operation in all configurations References 1 Neil A Muncy Noise Susceptibility in An...

Page 18: ...20 24 24 19 18 17 B B B B A A A A A A FEMALE BALANCED XLR NOT A TRANSFORMER NOR A CROSS COUPLED OUTPUT STAGE FEMALE BALANCED XLR EITHER A TRANSFORMER OR A CROSS COUPLED OUTPUT STAGE BALANCED TRS NOT A...

Page 19: ...RED SHIELD RED SHIELD SHIELD RED RED BLACK N C N C N C RED BLACK RED SHIELD N C BLACK RED BLACK RED 3 NC 2 RED 1 SHIELD 2 RED 1 SHIELD 3 BLACK 2 RED 1 NC 3 BLACK 2 RED 1 NC 3 BLACK 2 RED 1 SHIELD SHIE...

Page 20: ...3 BLACK 2 RED 1 SHIELD 3 BLACK 2 RED 1 SHIELD SHIELD BLACK SHIELD RED BLACK SHIELD RED BLACK RED SHIELD SHIELD BLACK RED SHIELD BLACK RED SHIELD BLACK RED SHIELD BLACK RED SHIELD BLACK RED SHIELD RED...

Page 21: ...ECTS IN MATERIAL OR WORKMANSHIP THE SPECIFIC PERIOD OF THIS LIMITED WARRANTY SHALL BE THAT WHICH IS DESCRIBED TO THE ORIGINAL RETAIL PURCHASER BY THE AUTHORIZED RANE DEALER OR DISTRIBUTOR AT THE TIME...

Page 22: ...IN THE USA If the product is being sent to Rane for repair please call the factory for a Return Authorization number We recommend advance notice be given to the repair facility to avoid possible need...

Page 23: ...compliance with the LV directive and EMC directive in the event that the equipment is modified without written consent of the manufacturer This declaration of conformity is issued under the sole respo...

Page 24: ...N IN OUT OUT OUT OUT OUT OUT MASTER INPUTS 6 5 4 3 2 1 100 240 V 50 60 Hz 12 WATTS COMMERCIAL AUDIO EQUIPMENT 24TJ R This device complies with Part 15 of the FCC Rules Operation is subject to the foll...

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