Balanced versus single ended

But this is a condition that is vertically nonexistent in high end audio.

 

The reality is that the quality of the interconnect usually trumps single ended versus balanced for the vast majority of actual systems. I have never heard a system where the single ended / balanced was a significant factor.

Just for the purposes of discussion, what if you used an AES48 compliant cable between compliant devices, but used such poor quality wire that both signal wires  in a cable negatively affected the sound in an equivalent fashion. 

@zlone @ghdprentice One of the benefits of balanced line operation is that the 'sound' of the interconnect is vastly reduced or eliminated (in particular if the low impedance aspect of balanced operation is supported). This benefit accrues even if the connection is only 6 inches long. If you've ever auditioned RCA cables and heard a difference, this is the 'sound' to which I refer. Imagine a technology where that problem of having to choose cables to match the system is eliminated. I've used cables that were 50 years old, with rubber insulation and tin-plated wire and no ill effects at all.

In the home the benefit is being able to place your amps next to the speakers, thus minimizing the coloration of the speaker cables because you can run a shorter speaker cable, plus never having angst about upgrading your interconnects. And of course phono cartridges are balanced sources- if there's anywhere in a system where the cable has to get it right, its the cable between the tonearm and preamp- if you can run that balanced you can get closer to real neutrality and the cable need not be expensive.

People often say how balanced is more expensive; in high end audio it isn't. Its often cheaper since you're not paying for expensive interconnects that become white elephants over time.

Then there is the argument that the AES48, as an application is a sonic limitation in itself, and is part and parcel and core to the idea that all AES48 applications have little noted differences in their sonic signatures.

I’m not stating that this, which I have written...is the correct view, but that it is among the possible outcomes in the grand scheme of things.

The idea that the signal intelligence is in the fields and if the field guides/’partners in crime’ be compromised in identical fashion (via strict ubiquity in AES48 design and application), then...well...

RCA’s sound just fine. 
 

used both, rca is great.

My Livingroom Benchmark gear is AES48 compliant. I very happy running relatively low cost Benchmark XLR interconnect between preamp and amp (both Benchmark). I have tried more expensive XLR's. On my sources that are from varies manufacturers I found that the interconnects matter. So there I use Audience Au24 SE and various WyWire.

On my office system, I have a KRELL amp and CODA preamp which I am not sure is AES48 compliant. I am running the 15+ foot Benchmark XLR between the 2. I am afraid to try any expensive XLR between them. My ignorance will save me money.

Then there is the argument that the AES48, as an application is a sonic limitation in itself, and is part and parcel and core to the idea that all AES48 applications have little noted differences in their sonic signatures.

You might try it. But keep in mind that if such were really the case the Golden Age of HiFi in the 1950s would never have happened. Basically what you seem to be suggesting is that the cables are too colored to be able to hear a difference, which is oxymoronic. Coloration is exactly what the balanced line system solves.