n the conversations with him, I mentioned that, in my mind, for balanced to work at it’s best, it should be designed in layout (from the active transmission end and at the active receive end) with an RF design and build mindset, where the field effects are a major consideration, down to the board mounting points and any local potential of the chassis and circuit boards in having any additional field effect interference. Just for the sake of the last little bits of attainable perfection in actual gear. Also, that these active aspects should be mirror imaged against one another and that includes a localized short run mirrored power supply for said mirrored circuit halves.
@teo_audio Honestly you don't have to do any of that! As a sort of proof, look at the studio gear used to make LPs and CDs- none of that involves any such practice. As you recall, we've been doing balanced line longer than anyone else in high end audio, and I've yet to see where any of what you suggest would be a thing. Look at it this way: a lot of studio gear employs transformers to execute the balanced operation and those transformers don't have nearly that kind of bandwidth nor do they need to.
Since the balanced line system is supposed to ignore ground, you really don't have an issue of 'any local potential of the chassis and circuit boards in having any additional field effect interference'. Such might become an issue if AES48 is ignored in the design.