Mike Rivers wrote:

jay+newswrites:

I recently got some old gear (yes, those Dolbys again) that are wired
pin-3 hot. My studio, being composed of all recent-issue stuff, is pin-
2 hot, so I started making some cross-wired cables for input and output.

And then I thought: Do I care?

Do you care enough to get the July 1999 issue of Recording Magazine
and read my whole article about it which will tell you when you should
care and when you shouldn't?

There's a nice section in Sherman Keene's book, too, covering this
polarity thang and why and when it matters. If anyone cares.

--
ha

Mike Rivers wrote:

jay+newswrites:

I recently got some old gear (yes, those Dolbys again) that are wired
pin-3 hot. My studio, being composed of all recent-issue stuff, is pin-
2 hot, so I started making some cross-wired cables for input and output.

And then I thought: Do I care?

Do you care enough to get the July 1999 issue of Recording Magazine
and read my whole article about it which will tell you when you should
care and when you shouldn't?

There's a nice section in Sherman Keene's book, too, covering this
polarity thang and why and when it matters. If anyone cares.

--
ha

In article znr1095644264k@trad, says...
Do you care enough to get the July 1999 issue of Recording Magazine
and read my whole article about it which will tell you when you should
care and when you shouldn't?

I care, Mike, you know I care...

I'll check it out at the library today

--
Jay Levitt |
Wellesley, MA | Hi!
Faster: jay at jay dot eff-em | Where are we going?
http://www.jay.fm | Why am I in this handbasket?

In article znr1095644264k@trad, says...
Do you care enough to get the July 1999 issue of Recording Magazine
and read my whole article about it which will tell you when you should
care and when you shouldn't?

I care, Mike, you know I care...

I'll check it out at the library today

--
Jay Levitt |
Wellesley, MA | Hi!
Faster: jay at jay dot eff-em | Where are we going?
http://www.jay.fm | Why am I in this handbasket?

My dream world accomidates my true wish- everything balanced
(preferably with xfmrs) and the cheapo world of mass manufacture-
everything unbalanced.

In the design, you would have to add but one resistor and change a TS
to TRS(which most topology uses and just shorts the ring to GND). A
balanced input requires the same one opamp, but a balanced out
requires a second inverter. Not much increase in cost when compared
to adding audio xfmrs.

You see, I have time to dream because I put myself out of the "get
this hum out of my home studio" business by recommending balanced
power units and redily purchased "ground loop isolators". Both
components using transformers.
"I love the smell of Hellerine Oil in the morning"

My dream world accomidates my true wish- everything balanced
(preferably with xfmrs) and the cheapo world of mass manufacture-
everything unbalanced.

In the design, you would have to add but one resistor and change a TS
to TRS(which most topology uses and just shorts the ring to GND). A
balanced input requires the same one opamp, but a balanced out
requires a second inverter. Not much increase in cost when compared
to adding audio xfmrs.

You see, I have time to dream because I put myself out of the "get
this hum out of my home studio" business by recommending balanced
power units and redily purchased "ground loop isolators". Both
components using transformers.
"I love the smell of Hellerine Oil in the morning"

In article ,
Jay Levitt wrote:

I recently got some old gear (yes, those Dolbys again) that are wired
pin-3 hot. My studio, being composed of all recent-issue stuff, is pin-
2 hot, so I started making some cross-wired cables for input and output.

And then I thought: Do I care? I should think not, since I'm going
balanced in and balanced out. Unless the gear is doing something
asymmetric with the signal, the fact that stuff is polarity-inverted
going into gear, and then re-inverted on the way out, shouldn't matter
at all. Right?

One thing I didn't see in all the replies.....

If these Dolbys are meant for encode/decode noise reduction use with a
tape machine (I missed the original reference), then recording through
them will invert the polarity of the audio going into the machine, and
thus recorded on tape.

Not a problem if you're subsequently using your inverted polarity unit
to do the decoding.

But if you send your tapes to someone else (say a mastering house),
they'll play them back on a system that is presumably wired correctly,
and your master will play back inverted.

I'll leave it to you to decide whether that concerns you or not!

Jeff C.

--
Anti-Spam email address in effect.
My real email should be pretty obvious to an actual human being.

In article ,
Jay Levitt wrote:

I recently got some old gear (yes, those Dolbys again) that are wired
pin-3 hot. My studio, being composed of all recent-issue stuff, is pin-
2 hot, so I started making some cross-wired cables for input and output.

And then I thought: Do I care? I should think not, since I'm going
balanced in and balanced out. Unless the gear is doing something
asymmetric with the signal, the fact that stuff is polarity-inverted
going into gear, and then re-inverted on the way out, shouldn't matter
at all. Right?

One thing I didn't see in all the replies.....

If these Dolbys are meant for encode/decode noise reduction use with a
tape machine (I missed the original reference), then recording through
them will invert the polarity of the audio going into the machine, and
thus recorded on tape.

Not a problem if you're subsequently using your inverted polarity unit
to do the decoding.

But if you send your tapes to someone else (say a mastering house),
they'll play them back on a system that is presumably wired correctly,
and your master will play back inverted.

I'll leave it to you to decide whether that concerns you or not!

Jeff C.

--
Anti-Spam email address in effect.
My real email should be pretty obvious to an actual human being.

Jeff Chestek wrote:

If these Dolbys are meant for encode/decode noise reduction use with a
tape machine (I missed the original reference), then recording through
them will invert the polarity of the audio going into the machine, and
thus recorded on tape.

No, because the pin reversal on the input is reversed back on the output, so
overall polarity is unaffected.


Graham

Jeff Chestek wrote:

If these Dolbys are meant for encode/decode noise reduction use with a
tape machine (I missed the original reference), then recording through
them will invert the polarity of the audio going into the machine, and
thus recorded on tape.

No, because the pin reversal on the input is reversed back on the output, so
overall polarity is unaffected.


Graham

In article ,
Pooh Bear wrote:

Jeff Chestek wrote:

If these Dolbys are meant for encode/decode noise reduction use with a
tape machine (I missed the original reference), then recording through
them will invert the polarity of the audio going into the machine, and
thus recorded on tape.

No, because the pin reversal on the input is reversed back on the output, so
overall polarity is unaffected.


Graham

My bad....my dyslexia flaring up again??

Jeff C.

--
Anti-Spam email address in effect.
My real email should be pretty obvious to an actual human being.

In article ,
Pooh Bear wrote:

Jeff Chestek wrote:

If these Dolbys are meant for encode/decode noise reduction use with a
tape machine (I missed the original reference), then recording through
them will invert the polarity of the audio going into the machine, and
thus recorded on tape.

No, because the pin reversal on the input is reversed back on the output, so
overall polarity is unaffected.


Graham

My bad....my dyslexia flaring up again??

Jeff C.

--
Anti-Spam email address in effect.
My real email should be pretty obvious to an actual human being.