Ik snap t ook niet meer hoor. Ik gebruik ook balanced en unbalanced door elkaar zonder probleem. Gebruik ook gebalanceerde kabels voor ongebalanceerde dingen. geen probleem.
Wat ik nog wel even onduidelijk vind is dat je 2 effecten op 1 stereo kanaal laat terug komen. Heb je geen aux returns dan?
Hebben die apps hetzelfde probleem als ze afzonderlijk je tafel binnenkomen?
Je auxen zijn balanced neem ik aan? Ja XLR he?
Storen je aux uit niet?
Zoniet heb je ergens een impedantie mismatch in je effect ins of outs.
Dit resulteerd in een verlies in headroom tot wel -46 dB. Je noisefloor gaat dan ook meteen omhoog
Zou toch maar even gaan lezen koedi.
4) Balanced output. See Fig 5b. The cold terminal is now an active output, producing the same signal as the hot terminal but phase-inverted. This can be simply done by using an op-amp stage with a gain of minus one to invert the normal in-phase output. Phase spikes are shown on the diagram to emphasise these phase relationships.
The in-phase signal itself is not degraded by passing through an extra stage and this can be important in quality- critical designs. The inverting output must not be grounded; if not required it can simply be ignored. Unlike quasi- floating outputs, it is not necessary to ground the cold pin to get the correct gain for unbalanced operation, and it must not be grounded by mistake, because the inverting op-amp will then spend most of its time in current-limiting, probably injecting unpleasant distortion into the preamp grounding system, and possibly suffering unreliability. Both hot and cold outputs must have the same output impedance Rs to keep the line impedances balanced.
A balanced output has the advantage that it is unlikely to crosstalk to other lines even if they are unbalanced, as the current injected via the stray capacitance from each crosstalking line will cancel at the receiving end. Another advantage is that the total signal level on the line is increased by 6 dB, which can be valuable in difficult noise situations. All balanced outputs give the facility of correcting phase errors by deliberately swopping hot and cold outputs. This tactic is however a two-edged sword, because it is probably how the phase became wrong in the first place.
This form of balanced output is the norm in hi-fi balanced interconnection, but is less common in professional audio, where the quasi-floating output gives more flexibility.
5) Quasi-floating output. See Fig 6.
This kind of output approximately simulates a floating transformer winding; if both hot and cold outputs are driving signal lines, then the outputs are balanced, as if a centre- tapped output transformer were being used. If, however, the cold output is grounded, the hot output doubles in amplitude so the total level is unchanged. This condition is detected by the current-sensing feedback taken from the outside of the 75R output resistors, and the current driven into the shorted cold output is automatically reduced to a low level that will not cause problems.
Similarly, if the hot output is grounded, the cold output doubles in amplitude and remains out of phase; the total hot- cold signal level is once more unchanged. This system has the advantage that it can give the same level into either a balanced or unbalanced input without rewiring connectors. 6 dB of headroom is however lost.
When an unbalanced output is being driven, the quasi- floating output can be wired to work as a ground-cancelling connection, with rejection of ground noise no less effective than the true balanced mode. This requires the cold output to be grounded at the remote (input) end of the cable. Under adverse conditions this might cause HF instability, but in general the approach is sound. If you are using exceptionally long cable, then it is wise to check that all is well.
If the cold output is grounded locally, ie at the sending end of the cable, then it works as a simple unbalanced output, with no noise rejection. When a quasi-floating output is used unbalanced, the cold leg must be grounded, or common-mode noise will degrade the noise floor by at least 10 dB, and there may be other problems.
In both of the unbalanced cases the maximum signal possible on the line is reduced by 6 dB.
Quasi-floating outputs use a rather subtle circuit with an intimate mixture of positive and negative feedback of current and voltage. This performs the required function admirably; its only drawback is a tendency to accentuate circuit tolerances, and so a preset resistor is normally required to set the outputs for equal amplitude; the usual arrangement is shown in Fig 6. If the balance preset is not correctly adjusted one side of the output will clip before the other and reduce the total output headroom. After factory setting this preset should not need to be touched unless the resistors in the circuit are replaced; changing the opamp should make no difference. The balancing network consists of a loading resistor to ground on each output; in this respect the output characteristics diverge from a true floating output, which would be completely isolated from ground. These loading resistors are lower than the input impedance of typical balanced inputs, so if simple differential amplifiers are used with unequal input impedances, (see the section on line inputs, below) the output balance is not significantly disturbed and clipping remains symmetrical on the hot and cold outputs.
Quasi-floating outputs are often simply referred to as "balanced" or "electronically-balanced", but this risks serious confusion as the true balanced output described in 4) above must be handled in a completely different way from quasi-floating.
