Discussion in 'DIY' started by stoutblock, Sep 23, 2017.
How many positions do you want?
3 minimum and 6 maximum. So I guess their switches would be good for me in case things change.
As I am understanding this: the positions are the inputs and the "C" spot on the Goldpoint switch is the output, yes?
I think you want a 2P-3T-1D switch http://www.goldpt.com/selector.html
You might as well put one or two extra outputs than you need because you never know? The switch is good for 2 to 6 just by moving a screw.
Yes, C is the common output.
Now I'm confused again. If you want me to start my own thread let me know.
I thought the number of poles determined the number of outputs "C" available? How do you get multiple outputs with a 2P and 1D switch? I thought the positions/throws were strictly input? Talking stereo, not mono.
I only have one amp so I only need one output.
The switches can be used either way, so probably it might be helpful to disregard any connotation of input or output.
1. You want three to six selections so you need a three to six position switch. This is "T" in Goldpoint literature.
2. You have two channels to switch. In this case it is an unbalanced application. In most cases the grounds are common so you only need two poles in total; one for left chann and one for right channel. This is "P" in Goldpoint literature.
3. The two poles can both be on a single deck, or there can be a two decks with one pole per deck. This is the "D" in Goldpoint literature.
Personally, despite higher cost, I'd probably go with two decks meaning one channel per deck. I have no empirical evidence to suggest two decks is necessarily better than one deck from an audio quality standpoint.
For SE switchbox
Your ground (-) is common and does not need to be switched. Just wire all the (-) inputs together bypassing the switch.
Just your (+) for SE (RCA) need to go to the switch.
Use one pole on the deck for RH (+) and one pole for LH (+) . Use one C on one pole for RH (+) output and the other C on the other pole for LH (+) output. Use position 1-6 for your respective inputs only make sure they are each on their respective RH or LH (+) pole. Also make sure each number (1 thru 6) are matched to the same set of RCAs.
May have missed it, but any plans to set up the jacks so you can "lift a leg" with a flip of a switch? Some XLR equipment doesn't like the extra ground ...
PS ... lots of gear has the switch (earth lift here) built in ...
Not a bad idea but I have not use for it.
Descriptions and diagram very helpful!!
Sorry for the detour...
Back to your regularly scheduled program...
Good nuff ...
That said, might not be a bad idea to add that option long as you're building from scratch. I'd switch each output independently for max flexibility - no telling what goodies you might want to hook up down the road.
Here is my schematic for the XLR switchbox. I added an optional ground lift switch.
As I wrote in #8.
I got the switchbox done yesterday. I have been switching XLR cables for way too long and this is something I should have built years ago! Works great and is absolutely quiet with no detrimental effects that I can hear.
20' of wire!
Although I show an optional main ground lift on the circuit, I built mine without it as I was attempting to make the circuit as direct as possible. There are no grounding problems in my system as installed so I plan on keeping it as it is. Agree that it could be more universally applied to a system that needed to lift the ground if there was a switch. I would start to run out of real estate quickly if I had to add a ground lift for each input independently!
Usually a ground lift can be at just one place, such as the output connections. Usually not necessary to ground lift each input separately.
When I got a new HT processor some years back I picked up a small, but annoying, ground loop hum that was not present with the previous processor. I lifted one end of the shields of the balanced cables from the processor to the amps and all was well.
I have been doing quite a bit of recording lately with my open reel machine. I got tired of swapping cables so I added another output to the switchbox. I had to put it in the front because I ran out of room in the back. It is actually convenient in the front in my setup. This thing sure is handy!
Just a thought stoutblock, I, depending the signal levels passing through that balanced switch box, would be concerned about possible signal bleed(crosstalk), especially at higher frequencies between the circuits, both for the L to the R and inputs to the outputs..
And would, if I built that switch box, I would have twisted the + & - of each balanced wire circuit from the XLR`s to the switch just like is done in all balanced cables of around 3~5 twists or more per inch..
But that`s just me, and if your not experiencing any problems/concerns, then please ignore my suggestions.
Just a thought Sir.
Kind regards, OKB
Although I don't like the looks of this method of routing, it was based on the open routing I saw when looking at the internals of several high end passive components. The wire I bought only comes with red shielding so I knew it would be difficult to route and still keep track of pairings correctly. I thought I would just do this “spagetti” routing to make sure the circuits were correct. I have tried to find cross talk but there seems to be nothing I can at least hear.
My thoughts and reading on this subject do bother me to the point I may redo this in twisted pairs. Even if for cosmetic reasons. I am also thinking of going to AG wire which may be overkill but why not? Plus I can get silver wire in white and red shielding.
OK, so I spent last evening rewiring the switchbox using twisted pairs. I ran out of wire and still have one source to do but it certainly looks a little more organized inside. Darn if it does not seem to sound better too?
Maybe not Spaghetti but perhaps Fusilli?
Thanks for all the help guys!!!
Separate names with a comma.