Help with XLR ICs.

This is a serious question, not intended as a flame: can someone please explain to me, given the topology and function of balanced circuits, how any particular XLR cable composition can make a significant difference in sound, since whatever influence is cancelled back out by the recombination of the signals at the receiver end?

@jji666 The issue is that there’s a balance line standard (AES48) which most high end home audio equipment does not support. The result is that the shield of the cable is used for audio signal return much like it is with single-ended cables. So the construction of the cables, along with the capacitance resulting, makes a difference. Part of this has to do with the fact that the source impedances are higher than studio equipment as well as the input impedances of the equipment being driven.

There are high end home audio preamps that support AES48 and can drive impedances typically found where balanced lines are used in professional (broadcast, recording and so on) applications. If these preamps are used then most of the conversation of this thread is moot because the cables no longer make a difference (which is a large portion of the intention of balanced lines in the first place)!

Thanks. So does that translate to: if the equipment is truly balanced, then the XLR interconnects do not make a difference, but if the equipment isn't balanced but instead just has XLR but is really single-ended, then the XLR cables matter similarly to single-ended cables?

does that translate to: if the equipment is truly balanced, then the XLR interconnects do not make a difference, but if the equipment isn't balanced but instead just has XLR but is really single-ended, then the XLR cables matter similarly to single-ended cables?

@jji666 No, a lot of gear out there really is balanced. But that isn't the same as saying it supports the standard. To support the standard, AFAIK the source driving the cable ignores ground. So a phono cartridge, which is floating, is a good example as is a dynamic microphone.

When it was done with tube equipment in the old days a line transformer was used. To do it solid state you have to have a circuit that is OK not referencing ground (these days there are chips  like this one for that) or you use a transformer. There is a third technique using a patented circuit that involves a Circlotron output.

So most balanced gear for home stereo use simply references ground, IOW there are two single-ended outputs, one out of phase with the other. This does not support the balanced line standard, so the cables will affect the 'sound' and different cables will sound different. I think this is really bad because first, the balanced line system is supposed to get rid of this problem and second because if you think about it, none of the cables you ever choose would really be 'right'- we all know that next year the people that made the 'best' in a shoot out would have a better cable (likely for more money) and if they don't someone else will; hence all the answers to this thread with different suggestions!

When your gear supports the standard there's none of that- its all plug and play with no worries and the best sound of the cable possible.

@atmasphere Thanks for clarifying that equipment can be balanced and still not support the standard, I think that this clears up a lot of confusion.

I have been trialing some XLR cables recently, in this case a friend loaned me some Wireworlds and Analysis Plus cables. A very distinct difference in sound between these cables, you can't miss it. I guess my equipment (Schiit->Benchmark->Coda) does not follow the standard.

@zlone You might try a pair of Mogami Neglex XLR cables just for fun. They are not expensive and they are very good.