Balanced or Unbalanced?


Hi-end should be about as few compromises as one's budget will allow.

It's a shame (or a conspiracy) that hi-end mags do not educate us on the basics, such as unbalanced circuit designs vs differentially balanced designs and XLR connectors/connections vs XLR connectors/connections and their relative impact on music playback. Why do I mention "conspiracy"? Magazines seem reluctant to bite the hand that feeds them- the majority of manufacturers are still in the dark ages selling unbalanced gear. Why? It seems you can't teach an old dog new tricks.

Hi-end roots are based in unbalanced designs. When the few differentially balanced designs (XLR) first appeared on the market, they were too expensive for most of us. Today, several manufacturers offer XLR designs that are competitively priced with unbalanced designs.

Think about it, sharing the L/R signal on circuit boards and through parts cannot be a good thing. Adding insult to injury is the RCA connector. A system is only as good as it's weakest link and this is the RCA connection. In response, several manufacturers have improved the RCA connector, but to what ultimate result? You can put lipstick on a pig, but it's still a pig.

Reviewers (and I blame this on editors) typically allow balanced components to be reviewed within the confines of an unbalanced system. See The Absolute Sound August issue review of the Raysonic 168. Consequently, we are not informed on the components' ultimate sonic value.

If you are on a quest for best sound, begin to replace your RCA based components with differentially balanced. Most will accommodate RCAs or just buy RCA/XLR adapters until you fully transition.
tweak1

Showing 2 responses by ait

No offense to the balanced proponents, but there seems to me to be an aspect that is not often discussed about balanced systems. To be truly balanced, you must have the equivalent of two systems, which are then compared to each other in some way (subtraction, division, etc.) to provide the output. If either of these systems changes once they are initially calibrated, problems may result. In addition, you are now talking about twice as many components which can add their own unique signature, as well as drift in value as they age.
As an analytical chemist by trade, my analogy is a dual-beam optical system for a spectrometer: instead of simply having a single beam of light which is used to interrogate a sample and determine its chemical composition (a single beam system), sometimes it is preferable to use a dual-beam system; the light from the source is split into two beams, a reference beam and a sample beam. The reference beam passes through blank sample (water for example) while the sample beam passes through a solution of the sample. The spectrometer then subtracts the spectrum of the reference beam from that of the sample beam to provide the corrected spectrum. This type of system is excellent at correcting for errors due to background in the solvents or drift of the optical source.
It is not always the case that a dual beam system is preferable for your analysis. A dual beam system can subtract the influences of a blank automatically, but that blank is not contained in the same vessel (cuvette in chemistry terms) as the sample, and the reference optical path is not the same as the sample optical path. Also, as mentioned above, the dual path can create problems when components age differently.
So to me the argument is not as cut and dry as it may seem at first. If you do not need the error correction afforded by a duplication of component paths, perhaps you are better off without it, as it may introduce unnecessary complication and expense to the system.
To add to my previous post (too quick on the submit button), an additional disadvantage of dual beam systems is that you halve the power of your source to create the twin beams - in some cases that creates an unacceptable loss in sensitivity to low level components. Is there a direct analogy of this phenomenon in audio systems?