xlr pin assignments

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XLR Pinouts for Audio

Following are standard pinouts for audio (specifically XLR type connectors). Keep-in-mind that some manufacturers do not follow the pinouts displayed below.

Manufacturers may not follow standards listed below. Please refer to documentation for specific pinouts. Failure to do so may result in damage to your equipment. Clark Wire and Cable does not accept responsibility, or liability for any loss, damage, cost, or expense that you may incur as a result of following the suggestions provided below.

3-Pin XLR Audio Pinout

Sony 4-pin xlr d.c. power supply pinout, 5-pin xlr dmx cable.

Traditionally DMX designates a male 5-pin XLR  for input and female 5 pin XLR for output.

3-Pin XLR DMX Cable

3-pin xlr clear-com®, 6-pin xlr clear-com®.

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Wiring Guide For XLR Connectors

Published: December 23, 2023

XLR Connector Overview

Understanding the xlr connector: a comprehensive guide.

When it comes to audio connectivity, the XLR connector stands as a stalwart, known for its robustness and reliability. Originally developed by James Cannon in the mid-20th century, the XLR connector has become a ubiquitous feature in professional audio equipment, finding extensive use in microphones, amplifiers, and other audio devices.

The XLR connector is renowned for its three-pin design, which ensures secure and balanced connections, effectively minimizing interference and noise. This makes it the preferred choice in live sound reinforcement, studio recording, and various audio applications where clarity and fidelity are paramount.

One of the distinguishing features of the XLR connector is its locking mechanism, which provides a secure connection, preventing accidental disconnection during performances or recording sessions. This feature adds to its appeal in professional settings, where uninterrupted audio signals are crucial.

Moreover, the XLR connector is designed to facilitate the transmission of both audio and control signals, making it versatile and adaptable to a wide range of applications. Whether it’s conveying phantom power to microphones or transmitting line-level signals between audio components, the XLR connector proves its mettle in diverse scenarios.

With its robust construction and ability to carry balanced audio signals over long distances without signal degradation, the XLR connector has earned its reputation as an industry standard, embodying the pinnacle of professional audio connectivity.

Types of XLR Connectors

Exploring the variants of xlr connectors.

Within the realm of audio connectivity, XLR connectors manifest in various configurations, each tailored to specific applications and requirements. Understanding the distinct types of XLR connectors is essential for selecting the appropriate variant to suit diverse audio setups. Here are the primary types:

• XLR-3: The standard XLR connector, featuring three pins, is commonly utilized in balanced audio applications. It is prevalent in microphones, amplifiers, and audio interfaces, offering reliable signal transmission and noise rejection.
• XLR-5: This variant incorporates five pins and is often employed in lighting control systems and DMX (Digital Multiplex) applications. The additional pins enable the transmission of control signals alongside audio, expanding its utility beyond traditional audio connections.
• XLR-4: With four pins, this XLR configuration is frequently utilized in intercom systems and certain types of professional headphones. Its design allows for the transmission of audio signals along with a separate communication channel, enhancing its functionality in specific audio setups.
• XLR-6: Featuring six pins, this XLR variant is utilized in specific industrial and medical equipment, where the additional pins accommodate specialized signal requirements, such as power, data, or control signals, alongside audio transmission.

Each type of XLR connector is engineered to meet the demands of distinct audio and control signal applications, underscoring the versatility and adaptability of the XLR standard. Understanding the nuances of these variants empowers audio professionals to make informed decisions regarding connector selection, ensuring seamless and reliable signal transmission in diverse audio environments.

Pin Configurations

Deciphering the pin configurations of xlr connectors.

Understanding the pin configurations of XLR connectors is fundamental to harnessing their full potential in audio and control signal applications. The arrangement of pins within an XLR connector determines the functionality and compatibility with various devices and systems. Here are the standard pin configurations found in XLR connectors:

• Pin 1 (Ground): Serving as the ground connection, this pin ensures proper shielding and grounding of the audio signal, minimizing the risk of interference and noise contamination.
• Pin 2 (Hot/Send): Often designated as the “hot” or “send” pin, it carries the positive phase or signal of the balanced audio transmission, playing a pivotal role in maintaining signal integrity.
• Pin 3 (Cold/Return): Also known as the “cold” or “return” pin, it complements Pin 2 by transmitting the inverted phase or signal, contributing to the balanced audio transmission and facilitating noise cancellation at the receiving end.

These pin configurations align with the balanced audio transmission scheme, essential for minimizing electromagnetic interference and preserving signal quality over extended cable runs. Additionally, the pin configurations of XLR connectors may vary in multi-pin variants, accommodating additional functionalities such as control signals, data transmission, or power delivery, depending on the specific application requirements.

Moreover, the standardized pin configurations of XLR connectors enable seamless interoperability among audio devices and systems, fostering a universal approach to audio connectivity. Whether it’s linking microphones to mixing consoles, interfacing with amplifiers, or integrating lighting control systems, the consistent pin layouts of XLR connectors streamline the setup and operation of audio and control signal networks.

By comprehending the significance of pin configurations in XLR connectors, audio professionals can optimize signal flow, ensure compatibility across equipment, and harness the full potential of these robust and reliable connectors in diverse audio and control signal environments.

Wiring XLR Connectors

Mastering the art of wiring xlr connectors.

Properly wiring XLR connectors is a foundational skill for audio professionals, as it ensures seamless signal transmission and connectivity in various audio setups. Whether it’s configuring microphones, patch panels, or audio interfaces, understanding the wiring process for XLR connectors is essential. Here’s a comprehensive guide to wiring XLR connectors:

• Identifying Pins: Before commencing the wiring process, it’s crucial to identify the pin assignments of the XLR connector. Typically, Pin 1 is designated for ground, Pin 2 for the positive phase or “hot” signal, and Pin 3 for the negative phase or “cold” signal in balanced audio applications.
• Stripping and Preparing Cables: Begin by carefully stripping the outer insulation of the audio cable to expose the inner conductors. Ensure that the conductors are neatly twisted and free from any frayed ends or damage, as this directly impacts signal integrity.
• Soldering Connections: With the cables prepared, proceed to solder the conductors to their respective pins on the XLR connector. The positive phase conductor connects to Pin 2, the negative phase conductor to Pin 3, and the cable shield or ground conductor to Pin 1. Precision and attention to detail are crucial during the soldering process to avoid shorts and ensure reliable connections.
• Securing the Connector: Once the soldering is complete, carefully secure the XLR connector, ensuring that the internal connections remain intact and insulated. The connector’s strain relief feature should be utilized to prevent cable tension from affecting the soldered connections.

This meticulous approach to wiring XLR connectors guarantees robust and enduring connections, vital for maintaining signal integrity and minimizing the risk of signal loss or interference. Additionally, adhering to industry best practices and standards for wiring XLR connectors is imperative for ensuring compatibility and interoperability across audio equipment and systems.

By mastering the art of wiring XLR connectors, audio professionals can confidently configure audio interfaces, stage boxes, and various audio components, fostering seamless signal flow and reliability in live sound reinforcement, studio recording, and other audio applications.

Soldering XLR Connectors

The craft of soldering xlr connectors: ensuring reliable connections.

Soldering XLR connectors is a critical aspect of audio equipment installation and maintenance, requiring precision and attention to detail to achieve durable and reliable connections. The soldering process not only establishes electrical continuity but also contributes to the overall integrity of the audio signal path. Here’s a step-by-step guide to soldering XLR connectors:

• Preparation: Begin by gathering the necessary tools, including a soldering iron, solder, wire strippers, and heat shrink tubing. Ensure that the work area is well-ventilated and that safety precautions, such as eye protection, are in place.
• Stripping and Tinning: Carefully strip the outer insulation of the audio cable to expose the inner conductors. Subsequently, “tin” the exposed conductors by applying a small amount of solder to each conductor, ensuring they are uniformly coated and free from frayed ends or stray wires.
• Connector Preparation: Inspect the XLR connector to verify the correct pin assignments. Prepare the connector by loosening the strain relief and disassembling the housing to access the solder cups or terminals for each pin.
• Soldering Process: With the prepared cable and connector, carefully solder the tinned conductors to their corresponding pins on the XLR connector. The positive phase conductor connects to Pin 2, the negative phase conductor to Pin 3, and the cable shield or ground conductor to Pin 1. Apply the soldering iron briefly to the solder cup, ensuring the solder flows evenly and forms a secure bond with the conductor.
• Insulation and Strain Relief: Once the connections are soldered, insulate each conductor and its respective pin with heat shrink tubing, providing an additional layer of protection and strain relief. Reassemble the connector housing, ensuring the strain relief is secured to prevent cable tension from affecting the soldered connections.

By meticulously following these steps, audio professionals can execute the soldering process with precision, resulting in robust and enduring connections within XLR connectors. Furthermore, adhering to industry standards and best practices for soldering XLR connectors is essential for maintaining signal integrity and ensuring the longevity of audio installations and equipment.

The craft of soldering XLR connectors embodies the commitment to excellence in audio connectivity, empowering professionals to establish reliable signal paths and uphold the fidelity of audio transmissions across diverse applications and environments.

Testing XLR Connections

Ensuring seamless signal integrity: the importance of testing xlr connections.

Upon completing the wiring and soldering of XLR connectors, thorough testing is imperative to validate the integrity of the connections and ensure optimal signal flow. Testing XLR connections not only verifies the accuracy of the wiring and soldering processes but also safeguards against potential signal disruptions and performance issues. Here’s a comprehensive approach to testing XLR connections:

• Visual Inspection: Begin by visually inspecting the soldered connections and wiring within the XLR connectors. Ensure that the conductors are securely soldered to the respective pins, with no exposed wires or solder bridges that could lead to short circuits or signal interference.
• Continuity Testing: Employ a multimeter set to the continuity or resistance mode to verify the electrical continuity of each conductor within the XLR connector. By probing the soldered connections and cable conductors, any breaks or irregularities in the electrical path can be identified, allowing for timely rectification.
• Signal Path Testing: Utilize a signal generator and oscilloscope or audio analyzer to inject and trace test signals through the XLR connections. This comprehensive testing method enables the assessment of signal fidelity, phase coherence, and the absence of noise or distortion within the audio path.
• Cable Testing: If applicable, conduct cable testing to assess the overall performance and integrity of the entire XLR cable assembly. This includes evaluating the cable’s shielding effectiveness, impedance characteristics, and signal transmission capabilities, ensuring it meets the required specifications for reliable audio connectivity.

Thorough testing of XLR connections serves as a critical quality assurance measure, validating the efficacy of the wiring and soldering processes while mitigating the risk of signal anomalies and performance degradation. By meticulously examining the connections and subjecting them to rigorous testing, audio professionals can instill confidence in the reliability and fidelity of the XLR connections within their audio systems.

Additionally, documenting the testing procedures and results contributes to a comprehensive record of the installation or maintenance process, providing valuable insights for future troubleshooting and system optimization. Ultimately, the commitment to thorough testing ensures that XLR connections uphold the highest standards of signal integrity and performance across diverse audio applications.

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Full XLR Pinout(XLR3, 4,5,6) – Types & Advantages

XLR is an electrical connector mainly used for cabling in audio and video applications . These connectors are also used in lighting control, low-voltage power supplies, etc. XLR connector was discovered by James H Cannon (the founder of Cannon Electric in Los Angeles). Hence they are also known as Cannon Connectors .

The XLR connectors are circular. The most common XLR is the 3-pin connector , but there are other connector variants whose number of pins ranges from two to seven . All these variants have both male and female versions.

XLR3 pinout

The number 3 here shows that it is a 3-pin XLR connector . It is the most common industry standard for balanced audio signals. We can see this XLR port in the majority of professional microphones. They are also used in electric wheelchairs and scooters. The pinout diagram of XLR3 is given below.

XLR4 pinout

XLR5 pinout

XLR5 is the standard connector for  DMX512 digital lighting control . It is used to carry dual-element audio signals like stereo signals. The XLR connector with 5 pins is almost similar to that of XLR4 except that it has an additional one pin for power.

XLR6 pinout

Hot plugging

This ensures that no unnecessary noise enters the system while making the connection. Hence XLR connector gives better performance while using them in a live session.

Advantages of XLR connectors

A 7-pin XLR connector is commonly used for specialized audio applications requiring additional features like remote control, powering accessories, or multi-channel audio transmission.

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XLR Connectors

Description | Applications | Pin Assignments | Assembly Instructions

Description

Robust connector available in 3 to 5 pole versions. 3 pole version normally used on professional audio equipment for balanced connections both at microphone and line level. Provides a mono connection, for stereo signals a pair of connections will be needed (as for phono). Sometimes used for speaker connections on professional high-powered rigs, however for safety Speakon connectors should be used since this wiring carries high voltages and currents. 3 and 5 pole versions are used in lighting control systems.

Typical Applications

Audio - Microphones, Mixers, Amplifiers, Effect units etc.

Loudspeakers, however Speakon connectors should be used instead for safety

Lighting - DMX512 lighting control protocol

Wheelchairs / Scooters - Charging connection

Pin Assignments

Balanced Audio (3 pole XLR):

Pin 1: Ground / Screen Pin 2: In phase / +ve / Hot Pin 3: Out of phase / -ve / Cold

Unbalanced Audio (3 pole XLR):

Pin 1: Ground / Screen Pin 2: Signal Pin 3: Ground / Screen (connect to pin 1)

DMX512 (5 pole XLR):

Pin 1: Ground Pin 2: Data -ve Pin 3: Data +ve

Pins 4 & 5 are normally unused, but this can vary. They can be used to carry a second DMX universe, or power. In particular, some Pulsar & Clay Paky equipment carries 25V on pin 5, with respect to ground on pin 1. This is against the DMX specification, and care should be taken when interconnecting equipment using fully-wired 5-pole connectors and 5-core cables.

Originally the extra pair of pins were intended for return data, but the RDM protocol used on some modern equipment sends data on the same pins as the DMX data, and does not require connection of pins 4 & 5 to function correctly.

DMX512 (3 pole XLR):

The body of the XLR connector should not be connected to the screen / ground

Equipment manufactured by Martin may have the -ve and +ve swapped. 3 pole XLR connectors are not part of the USITT DMX specification, but are often used instead of 5 pole versions, particularly on cheaper fixtures & devices to save costs. Some devices may have both 3 and 5 pole connectors for flexibility, alternatively adaptors can be made to convert between the two connector types.

Connector Assembly Instructions

Normally solder terminals. Remember to thread the cover onto the cable before soldering. Some connectors (Neutrik or similar) have a chuck-type strain relief, others have a metal cable clamp. Squeeze this shut with pliers AFTER soldering, or the heat may melt the cable sheath.

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XLR Connectors & Wiring

The connector is often known as a cannon plug or cannon connector in reference to its original manufacturer, James H. Cannon who was the founder of Cannon Electric in Los Angeles, California. The connector was originally called the “Cannon X” series, subsequent versions added a Latch (“Cannon XL”) and then a Rubber compound surrounding the contacts, which led to the abbreviation XLR.  Many companies now make XLR connectors the most notable being Neutrik and Switchcraft.

The initials “XLR” have nothing to do with the pinout of the connector. XLR connectors can have other numbers of pins besides three – models with 4, 5, 6, and 7 pins have been made, but 3 and 5 pin models are the most common. Mini XLR connectors are also available with 3, 4 or 5 pins.

XLR connectors are superficially similar to the older, smaller, and less rugged DIN connector range, but are not physically compatible with them.

History of the Connector

Originally developed by Cannon (now ITT Cannon) the connector was derived from some of its older predecessors, the O, P, UA and X connectors from the Cannon range.

The X connector was similar to the current connector but it had no latch.  Cannon rearranged the pins and added a latch, and the XL (X series with Latch) was born. One of the great features of this connector is that the female pin 1 contact was placed forward in the shell and thus made connection first and broke connection last. Since pin 1 was used for the cable shield this greatly reduced the chance for hum or buzz as connectors were plugged and unplugged. This is the connector others such as Switchcraft and later Neutrik have copied.

Later Cannon modified the female end only to put the contacts in a Resilient polychloroprene compound. They called this new version the XLR series. No other company has copied this feature. It is amusing that XLR has become the generic term since what everyone else copied was the XL and not the XLR! The XLR line also was the first to introduce smaller rectangular flanges on the panel mounting versions of the connector. This allowed a higher density of connectors on a panel.

The IEC standardised the dimensions of the XLR type connector but specified a very loose tolerance for the distance from the end of the female contact carrier to the body of the connector. Switchcraft brand connectors (and copies of them from Asia) are made to the shorter end of the allowed tolerance range, while Neutrik brand connectors (and copies of them from Asia) are made towards the long end of the allowed tolerance range. At times this results in connectors that will not latch when manufacturers don’t properly follow the IEC Standard for their male connectors.

The PIN numbers are usually identified on the connectors.  To determine which is which from the connection or solder side, hold the item with the two pins at the top and the single pin at the bottom:

• When looking at the ‘holes’ of a female connector, the top left hole is 2, top right is 1, and bottom is 3.
• When looking at the pins of a male connector, the top left pin is 1, top right is 2, and bottom is 3.

XLR for Audio

The female XLR connectors are designed to first connect pin 1 (the earth pin), before the other pins make contact, when a male XLR connector is inserted. With the ground connection established before the signal lines are connected, the insertion (and removal) of XLR connectors in live equipment is possible without picking up external signals (as it usually happens with, for example, RCA connectors).

An unbalanced microphone can only be used up to a maximum of 10 meters away from the amplifier. Any more than this and noise problems become apparent. A balanced microphone will allow cable runs of up to 100m without any loss of performance. .For unbalanced operation, a single core screened microphone cable can be used, but for a balanced line a twin core screened cable is required.

BALANCED operation

• Pin 1 connects to screen (Signal earth)
• Pin 2 connects to signal + (Live)
• Pin 3 connects to signal – (Return)

UNBALANCED operation

• Pins 1 & 3 connect to the screen of the cable
• Pin 2 connects to signal conductor

An easy way to remember how they should be wired for balanced Audio is:

• X = Earth (Pin 1)
• L = Live (Pin 2)
• R = Return (Pin 3)

XLR for Loudspeakers

XLR speaker connections only use two of the three pins, and it is critical not to get speaker and microphone cables confused when setting up equipment.  If you use a speaker XLR cable for microphone you will get a lot of rather nasty noise.  If you use a microphone cable for connecting a speaker it will work for some time but the sound will get worse and worse over time and the cable will be damaged by the higher voltage and will not work properly if used with a microphone at a later date.  The wiring for this type of connection is:

XLR for DMX Lighting

DMX cables are most commonly made with 2 core shielded data cable terminated at either end with 3 or 5 pin XLR connectors (one male, one female). The DMX data itself requires only 2 of the cable cores plus the shield so recent devices have moved to the 3 pin format. However some older units still use the 5 pin connectors with only three pins used.

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In this day and age such excellent service is sadly not that common and in this case because we had originally ordered the leads incorrectly on the advice of our telecoms engineer your prompt action was all the more appreciated. To have done this at no additional cost is all the more remarkable and I wanted to express my appreciation. I shall certainly recommend your services where appropriate. Thank you for your help.

I must thank your staff for not only picking up the phone on a Saturday morning, but also being so incredibly knowledgeable, friendly and helpful. Let me tell you that is NOT the norm for other retailers I have contacted and requested assistance. Great customer experience - and although I don't buy a great deal of this type of electrical equipment, I now have Leads Direct on my favourites and you will be my first call every time. Many thanks.

I just wanted to say how professional and helpful your staff are even though I did not end up making a purchase as a new lead would not solve my problem. Thank you - keep up the excellent service!

So all the testimonials on your website were right! Best price by far, Delivery in a flash! and the best all round service I think I have ever had from a mail order firm. Your use of pre-used packaging materials to save the environment was also appreciated, a thing we often do when mailing items to friends and relations but I have not seen this adopted sensibly by business. Very well done!

Many thanks, have now received goods. For your information I would confirm that the lead did in fact fit and work with my Olympus camera and was less than 25% of the cost of a proprietary item even including post & packing. I will certainly be in touch when I require any more leads etc.

... we received them today, exactly as required. I'm very impressed you can take a request for a custom cable and make ten of them within a few days and ship them out, and charge a very reasonable price. I recommend you to a lot of people - I've told a lot of colleagues and contacts at other companies how good you are. thanks!

Order arrived safe and well. Thanks for the excellent service. I never imagined buying leads could be fun!

Great company and great service. We have used Leads Direct on various occasions for all sorts of weird and wonderful leads that we use in the telecoms industry. From helpful advice on the phone, to speed of order completion and delivery (even on custom made cables) I can't fault them. We will continue to use them for all our non-standard cable requirements.

I must say that I'm impressed!!! The last time I was in the local music store, there was a never ending stream of moans from customers about the inability of the store to supply leads!, and the time people had to wait to get any kind of service. I'll be putting "the word" around.

Leads just arrived - very nice - tried them and they work a treat. I think you should have a section on your web site saying that you can make leads for early Quad stuff. There is also another company called I think "naim" they both use strange DIN / Jones types leads, and to buy from that company can cost big time.

Just a quick note to say THANK YOU for your help and advice and the unbelievable turnaround on the leads. Order one day and get just over 24hrs later is great but for the Highlands is nearly a miracle. Thanks again, if I need any other equipment I will definitely be back in touch.

I would like to thank the gentleman in your sales office who dealt with our order 2 days ago. We were desperate for a next day delivery and the leads were with us by 1pm yesterday lunchtime. Thank you for your efforts - i am sure we would buy from you again.

Now that is what I call a great service! Many Thanks

The leads work perfectly thank you so much. Great quality and speedy delivery. I shall spread the word!

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Have a look at this site - I used it to buy some gold plated scart leads. Pass on to anyone who you feel may be interested. The customer service is the best I have come across for an website.

Cable just arrived - outstanding service - thankyou.

Wanted to drop you a quick note to thank you and your colleagues for the cable. It arrived yesterday and all is working splendidly. It has added hitherto untapped functionality to a couple of now joined (by your cable) late 1980’s pieces of hi-fi equipment.

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audio or video connector or cable

5 pin xlr connector pins and signals.

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• 3 pin XLR connector pinout
• 4 pin XLR connector pinout
• 6 pin XLR connector pinout
• XLR to 1/4 Mono pinout

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XLR connectors are rugged electrical connectors which are used mostly in professional audio and video electronics cabling applications.

Some examples of application areas of XLR connectors are:

• Sound and video mixers
• Microphones
• Studio equipment like amplifiers, professional CD players, mastering deck, etc.
• Active loudspeakers
• Lighting applications
• Industrial applications (Control circuits, etc.)

The international application standard IEC 60 268-12 defines wiring of XLR connectors. The following is a brief description of the 3 pole version. Pin 1 --> X ternal of cable (shield/ground) Pin 2 --> L ive (“Hot” /+ polarity) Pin 3 --> R eturn (“Cold” /- polarity)

Currently there are two configurations of conventional 6 pole XLRs. The NEUTRIK 6 pole XLR meets the industry standard according IEC 61076-2-103. Nevertheless NEUTRIK offers both types of 6 pin configurations. The standard NEUTRIK 6 pin has a black insert - the insert of the non-standard configuration is gray. The difference in the part #s is the additional “S”: NC6MX - standard 6 pole male XLR cable connector, nickel housing, silver contacts NC6MSX - same product with non-standard pin configuration

Yes, according to our tests they work properly for digital AES/EBU signals but we recommend our EMC and XCC series with a 360° ground contact to the chassis connector and a circumferential cable shield connection. These connectors are ideal for digital AES/EBU transmissions and optimized regarding EMI and RF-leakage.

The 2 piece D-Series connectors consist of an insert and a shell, this allows soldering the insert onto the PCB and locking it into the shell afterwards. In the middle of the insert your can see a hole with a slot. Use a '00' size flathead screwdriver (part # SD-1) to lock/unlock the insert in the housing.

Yes, you can remove the latch at the AA-, 3 pole A- and 3 pole B-Series.

Screws for chassis connectors with through holes depend on panel material and panel thickness. We suggest the following: Metal panel (Steel, Aluminum, Zinc) - Flat head thread forming screws, Pozidriv, DIN 7500 M, zinc plated, M3 x length (drilled hole ~ 3.1 mm) - Flat head metric machine screws, Pozidriv, DIN 965A, zinc plated, M3 x length (thread M3) Plastic Panels PT-flat head screws, WN 1413, zinc plated, KA30 x length (depends on material, ~ 2.4 mm) For various chassis mount versions we offer correspondig screws. (A-Screw-1-8, B-Screw-1-8, E-Screw-1-12)

It is possible to use any aluminum 1/8'' or 3.2 mm 90° countersunk blind rivet. We suggest drilling a hole diameter of 3.3mm for the panel. It is possible to use pneumatic, electrical or hand riveting tools.

The REAN tiny XLR is a miniature XLR connector. Please see www.rean-connectors.com .

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The usual way to connect a 3-pin XLR to a 1/4" TRS (AKA stereo jack plug) is to use the following pin allocation:

• XLR pin 1 to 1/4" plug sleeve
• XLR pin 2 to 1/4" plug tip
• XLR pin 3 to 1/4" plug ring

This wiring configuration gives you a balanced mono audio cable.

Audio Cables and Connections

• Audio Cables
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• XLR to 1/4" mono jack
• Stereo jack to 2 x RC
• XLR to stereo jack
• XLR to 2 x RCA

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Part names and functions.

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ENJOYING SOUND

Useful functions, enjoying in multiple rooms (zones), configurations, troubleshooting.

• Connecting playback devices
• Connection other than HDMI with a playback device

AUDIO connection with an audio device such as a CD player

Connect audio devices such as CD players to the unit.

Depending on the audio output jacks available on your audio device, choose one of the following connections.

• Before connecting an XLR balanced cable, refer to the instruction manual of your device and verify that its XLR jacks are compatible with the pin assignments.
• For XLR input jacks, match the pins and insert the “male” plug of the XLR balanced cable until you hear a click. When disconnecting the cable from the unit, hold down the PUSH button on the unit and then pull the plug out.
• The PHONO jack of the unit is compatible with an MM cartridge. To connect a turntable with a low-output MC cartridge, use a boosting transformer.
• Connecting the turntable to the GND terminal of the unit may reduce noise in the signal. (This GND terminal is not a safety ground.)
• Part names and functions of the rear panel
• Connecting the FM antenna
• Connecting the DAB/FM antenna

Plenty of DIY electronics and reviews including vacuum tube audio, new and vintage gear, custom audio cables, headphones, experiments, and retro video gaming.

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February 19, 2016

Headphone connectors & pins / pinouts for diy.

19 comments:

Hello, thank you for this great blog! Those informations are invaluable. However, I think I found a mistake. You list the HifiMan HE400S under the 2.5 mm TRS plug, with assignment L, R, G. This makes no sense because the HE400S has already separated jacks at both cups left and right. It can be connected by a simple 2.5 mm TS plug on both sides. I built a balanced cable and tested it successfully with this wiring: +, -, no G. The same applies to the HifiMan Edition X. Please tell your objection.

Thanks eehmke, I'm glad you are getting use out of it and encourage you point out anything that looks off so everyone gets the best info possible. Yes you are correct, the stock cables are 2.5mm TRS with the ring not being used, I'd imagine because 2.5mm TRS or cheaper or easier to come by... so a 2.5mm TS can also be used if desired. The proper connections are in the description, but the image is confusing, so I will modify that. Again, thanks for checking out the blog and feel free to chime in whenever you like ;)

Hello, you might include a reference to the mini XLR connector that is used sometimes for modified balanced headphones. See https://robrobinette.com/BalancedCable.htm as an example. I have modified two headphones (DT770 PRO, ATH-M50x) according to this setup, and this should be established as a standard.

This is the best blog post on this topic I have seen, thank you, thank you, thank you!!!!

Glad this is proving helpful for people. Looking forward to adding several more connectors soon. Thanks to companies like Sony we should have several hundred "standards" of balanced headphone connectors ;)

Added a few extra connectors including the 2.5mm TRRS for Oppo and HiFiMan DAP, as well as dual 3 pin XLR.

Doing some re-cabling, thanks for the information.

Excellent post, I've bookmarked it because I still haven't worked with XLR enough to memorize it. Might I suggest that for balanced 3.5mm TRRS plugs, an L+, R+, L-, R- setup (from Tip to Ring) ought to be considered the normal default setup? The reason is, this setup can easily be used in 3.5mm SE jacks with a connector that simply shorts the two negatives together. My Fiio E11 amp, for example, does this internally already, an unheralded but extremely useful feature for me.

I agree. More logical. TRRS to TRS.

Quick question where do I find the female end of the Furutech ft-2ps?

I don't think they make such as thing, it's intended to plug directly into Sennheiser headphones. Soniccraft.com carries the male side.

I agree! I’ve been searching and searching for this info. Thank you!!!

Does anyone know how the cups in new Hifiman Sundara (3,5") are soldered/configured in order to get balanced with them?

i am making 4pin xlr female to male 2,5mm trrs. what standard do i choose a&k or hifiman ?

If you are connecting to a HiFiMan device use HiFiMan config, if Astell and Kern, use A&K config. If neither, consult the maker of the device for the appropriate pinout information. I believe the A&K is more common.

Hey, I'm totally confused here. I've been looking for information on the topic for a few hours now. I would like to build a Balanced cable for my HE400i's and my BTR5. It seems that some manufactureres use different pinouts for their 2.5 mm jacks. Could someone clear that up for me that would be much apreciated. I've never built a balanced cable before as might be apearant. I can't seem to find information on which pin on the 2.5 mm port i have to connect to the two 3.5 mm ports on the headphones themselfes. Thanks in advance David

This should help you: http://m.fiio.net:8000/forum.php?mod=viewthread&tid=45366&extra=page%3D1

Hi, I would like to make a balanced cable for my AKG Y500 headphones with a mobile phone with a headphone amplifier with a Shanling UA2 DAC. TRRS 2.5mm jack on both ends. Can someone advise me how to connect the individual parties, please? Many thanks in advance!

Hi Milan, I doubt Shanling would be using a different balanced TRRS connection than what is illustrated above. You can contact their customer service if you are unsure. https://en.shanling.com/category/254

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XLR PIN Assignment/Reverse Polarity Question

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I know this sounds like a silly question but I'm going to ask it anyhow: First the setup: Pre-Pro using Pin 2 as hot on the XLR Pin assignment on the outputs (Marantz AV7704) Amp using Pin 3 as hot XLR Pin assignment on the inputs (Emotiva XPA Gen3) Speakers are now out of phase due to the reverse polarity of PIN's 2 and 3 in the XLR connectors between the Pre/Pro and the AMP I was going to buy "XLR (F) - XLR (M) COUPLER--POLARITY CROSSWIRED. PHASE REVERSE" but was told the better option is to just reverse the speaker wire + and - at the amp end. So the question:..... Will reversing the speaker wire at the amp end have ANY side effects or negative impacts on the AMP/Speakers/Sound or anything in the chain?  

As is often pointed out in the various Marantz pre/pro Owner's threads ... Marantz is using the U.S. and industry standard for XLR connections with pin 2 the + (hot) connection. The Owner's manual is in error. Audyssey often finds speakers to be found "out of phase" for numerous reasons (eg. room acoustics) even when the wiring is correct. Simply select "Ignore" and continue with the EQ.  

The Manual shows 2 is hot and the back of the chassis shows the same too. But I think Emotiva has the Hot on pin 3 no?  

This issue has me confused also. Is it a concern the Marantz & Emotiva use different pin assignments or not?  

Yes. But their answer to me was the above. Swap the + and - of the speaker wire at the amp end. So I asked the question. " Will reversing the speaker wire at the amp end have ANY side effects or negative impacts on the AMP/Speakers/Sound or anything in the chain?"  

SOWK said: I know this sounds like a silly question but I'm going to ask it anyhow: First the setup: Pre-Pro using European XLR Pin assignment on the outputs (Marantz AV7704) Amp using the USA XLR Pin assignment on the inputs (Emotiva XPA Gen3) Speakers are now out of phase due to the reverse polarity of PIN's 2 and 3 in the XLR connectors between the US and European standards. I was going to buy "XLR (F) - XLR (M) COUPLER--POLARITY CROSSWIRED. PHASE REVERSE" but was told the better option is to just reverse the speaker wire + and - at the amp end. So the question:..... Will reversing the speaker wire at the amp end have ANY side effects or negative impacts on the AMP/Speakers/Sound or anything in the chain? Click to expand...

bigguyca said: Marantz has pin 2 hot which is the standard, EIA Standard RS-297-A. Emotiva has pin 3 hot, which is not standard, and is very rarely seen. Don't bring countries and continents into all this, you are just confusing the issue for no reason. Refer to the Technical usage information section, Three-pin audio use , on this Wikipedia page: https://en.wikipedia.org/wiki/XLR_connector Click to expand...

So now that it is official... Emotiva is strange. Can someone answer the question " Will reversing the speaker wire at the amp end have ANY side effects or negative impacts on the AMP/Speakers/Sound or anything in the chain?" I know logic says NO... but just in case I would like a professionals answer if possible.  

No. Longer answer: In practice it will not matter. There are those who claim to hear absolute polarity, but (a) not all source material maintains absolute polarity, (b) sound is an AC signal so you won't hear it anyway, and (c) your AVR or pre/pro will automatically compensate for it whether you swap wires or not. Swap if it makes you feel better but the end result will be the same. Aside: There used to be differences among continents and regions but for some time now (many years) everyone has followed the same convention with respect to XLR pin-out. FWIWFM - Don  

Just out of curiosity I asked Emotiva to confirm how they wire the connectors on their amps, and this is the response I received a few minutes ago from their tech support: "All Gen 3 amps are pin 3 hot, pin 2 cold (out of phase). If using with Marantz XLR outputs, flip the negative and positive speaker wire leads at the amp (hook them up backward). " So that is why when I ran Audyssey with a Marantz amp I have it was reported that all of my speakers were out of phase. Interesting. EDIT: After getting the above response, I asked if there was some reason for the doing it this way. Their answer was: "It was too technical for me to understand. I asked engineering one day and he told me the technical reason why it lowers the floor noise to do it this way, and he lost me. This has been several months ago and I don't recall the specifics. But it does help with the floor noise to flip the incoming phase. " Regards  

Well, yes, if Emotiva has it backwards, then if you want to be correct, you wire the speaker backwards. Basically when the signal goes one way, the speaker cone gets sucked in, and when it goes the other way, it gets pushed out. The thing that really matters is the phase is correct for all speakers - so when the signal all goes the same way, the speaker cones move the same way (in or out). Very few people can detect absolute phase, but it's easy to detect wrong relative phase. As it is, using the Emotiva flips the phase of the speakers connected to it. Nothing wrong with that, electrically it makes zilch of a difference if you connected the hot to the cold and vice versa. But if you connect the speakers properly, then those speakers will be opposite in phase (180 degrees out). You will have to reverse the phase of all the speakers not hooked to the Emotiva so they all have he same phasing. Of course, the simplest solution is have enough Emotiva amps that flip the phase for every speaker, so it doesn't matter anymore. To flip the phase, either flip a phasing switch, swap the + and - connections to the speakers, or swap it at the input. Speakers aren't inherently polarized, the + and - are there so if you hook them all + to + and - to -, they will be phased correctly. But if something is flipping them 180 degrees, then swap it. Note that phase detection is hard using the measurement mike, as room acoustics play a strong role. The best way to test is a phasing test disc that plays sound in and out of phase and make sure in phase sounds directional, while out of phase sounds indeterminate and fuzzy.  

lovingdvd said: Hi all - just coming across this, and really can't believe what I'm reading. Maybe it does not make a difference in the end, but it would sure have been nice to know, especially had I added a non-Emotiva amp to the mix. Can we get a good explanation for why they are doing this? Can we really say for certain that as long as all speakers are out of phase, the end result is identical? I did blow a couple tweeters for playing my KEFs too loud a few months ago , but I assume this reverse polarity did not exasperate the issue? Are there any other amplifier manufacturers that intentionally reverse polarity as well? I've had a 15 channel all KEF Atmos setup powered by three XPA-5 Gen 3 amps for about 1.5 years. Whenever I would run Audyssey (quite a bit lately in particular, now that I upgraded to the Marantz 8805) it would complain that all the speakers were out of phase. I was 100% certain that the wiring was not crossed at the rack or at the speakers, and read in many places that sometimes Audyssey gets the phase wrong, and if we are sure it's right, just ignore the warning, which I always did. So I had just assumed that Audyssey was incorrectly detecting the speakers as out of phase due to some characteristic of the KEF or my room treatments etc. Now I learn that Emotiva is intentionally reversing the polarity. What could be a possible GOOD reason for them doing this? Also can this in any way damage my speakers or shorten their lifespan? I suppose technically this also means my subwoofers are running out of phase in relation to all the other speakers, since nothing is set to run out of phase. Not sure if that matters, since REW FR sweeps show excellent post-calibration results. Is this REALLY something I can just completely ignore and forget I even knew about, assuming all my speakers are powered by their amps (except the subs), with ZERO implications? If there is any possible implications, is it perfectly safe for the speakers for me to reverse the polarity of the speaker wires at the rack? That would be by far the easiest way for me to reverse it. Although in doing so, it may throw off my excellent subwoofer (x4) calibration, which is ideal as it is, in which case I then may have to reverse its polarity as well. So if you guys can tell me with absolute certainty just to ignore it with zero implications (as long as I remember this if adding speakers in the future not powered by Emotiva) then that's what I'll do. Thanks! Click to expand...

Does anybody know if the Emotiva Gen2 amps are designed the same as the Gen3 with regard to the XLR pins? To me, this is quite alarming.  

SOWK said: I know this sounds like a silly question but I'm going to ask it anyhow: First the setup: Pre-Pro using Pin 2 as hot on the XLR Pin assignment on the outputs (Marantz AV7704) Amp using Pin 3 as hot XLR Pin assignment on the inputs (Emotiva XPA Gen3) Speakers are now out of phase due to the reverse polarity of PIN's 2 and 3 in the XLR connectors between the Pre/Pro and the AMP I was going to buy "XLR (F) - XLR (M) COUPLER--POLARITY CROSSWIRED. PHASE REVERSE" but was told the better option is to just reverse the speaker wire + and - at the amp end. So the question:..... Will reversing the speaker wire at the amp end have ANY side effects or negative impacts on the AMP/Speakers/Sound or anything in the chain? Click to expand...

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Cables & terminations

The typical termination standard between Linn products are:

Audio Transformer

Linn DS/DSM/Hub Output configuration: Fixxed level, there is NO volume control even in Post Eq mode. Linn DS/DSM/Hub Input configuration: 32kHz, 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz : 16bit and 24bit streams

Exakt Cables

ALL FOUR pairs of the cables are used in the Exakt-Link cable. This is NOT an ethernet transport cable but an Exakt transport cable. These pairs are used to transmit the audio data, power triggers and a master timing control to ensure that the audio from all channels are in perfect sync.

The Exakt-link has been designed to operate with the CAT-5 cable electrical specifications for signal timings. There have been NO changes to this design for any other CAT cable standards. (updated 2019)

• CAT 5/5e UTP/FTP
• CAT 6/6a UTP/FTP

Cat-7 and Cat-8 cables may not work well with an Exakt system. For a trouble-free, reliable, high performance installation, we recommend use of Cat 5 or Cat 6.

Typical Ethernet 100Base-T length restrictions guide :

EXAKT-LINK CANNOT be used with:

• Ethernet Network Routers,
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• HomePlugs/Ethernet-over-Mains devices
• WLAN bridges etc

Exakt-Link can ONLY be a CAT5/6 cable from Exakt socket to Exakt socket

EXAKT LINK terminations

• The cables are paired up using OUT > IN style connections.
• Any Linn product with these sockets can be linked together. This means you can link a Klimax DS/2 to a Majik ExaktBox-I and have a fully working Exakt system

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XLR vs. Mini XLR: The Differences Explained

Do you need to connect professional microphones, speakers, or other sound equipment to your computer? Well, then you’re in for a treat! You have two major choices – XLR cables and Mini XLR cables.

The notable differences between XLR and mini XLR cables are that XLR cables are bigger than the latter. Besides, an XLR connector has three to ten pins, while the mini type has three. Also, XLR cables are longer and pricier than mini XLR cables.

These connectors are used in different scenarios, but choosing one might be more difficult if you don’t know their differences. Read on for more information on the differences between XLR and Mini XLR cables and tips on what to consider when buying them.

Table of Contents

The Main Differences Between XLR and Mini XLR

Here are the main differences between XLR and mini XLR cables:

Here’s a rundown of these differences:

The first difference is that Mini XLR cables are smaller but still carry the same signal.

This makes them perfect for microphones that need to be plugged into a computer because they’re small enough not to take up too much space.

This also makes them more convenient to pack when traveling because they take up less space in your bags.

Number of Pins

The next difference is that these connectors come with varying numbers of pins.

Notably, the typical mini XLR connector has three pins. 

In contrast, an XLR connector comes with up to ten pins.

Cable Quality

The third difference between the two types of cables is cable quality.

Because mini XLR cables are made with thinner materials, they can be less durable.

Cable Length

The fourth difference is that the length of an XLR cable is much longer than a mini XLR cable.

The mini XLR cable was not designed to carry signals over long distances. Instead, it can be used for short distances like plugging into a computer or laptop.

An XLR cable has a greater length because it typically carries audio signals between devices in the same room so that you won’t lose signal quality due to interference. In contrast, mini XLR cables are used for short distances.

Another difference is that mini XLR cables are much more affordable than an XLR cable because of their size.

Mini XLR cables are cheaper to produce since they use fewer materials, which means they can be more affordable for you. This makes them great if you’re on a budget.

In summary, mini XLR cables are small and cheap, designed to carry audio signals over short distances. In contrast, an XLR cable is long and can carry audio signals over longer distances.

What To Look For in XLR Cables

Just like with any cable, when you’re looking for an XLR cable, it’s essential to make sure that you’re getting a high-quality product. Look out for the following things when shopping around:

Make sure that the connectors are made from durable materials to withstand constant plugging and unplugging.

The last thing you want is your cable to wear down and lose sound quality or stop working altogether.

Length and Size

An XLR cable should be the correct length for whatever you’re using it for, whether that’s carrying audio signals over short distances between devices in the same room or long distances across a stage before an audio device.

Make sure it’s the right size to accommodate whatever you need it for.

Price and Affordability

As with any cable, price is a significant factor in determining which one you buy.

An XLR cable is more expensive than a mini XLR cable because of the materials used to make it and its size. If you need to save some money when buying cables, go for a mini XLR cable.

• IN THE BOX: 6-foot XLR male to female microphone cable for XLR-compatible PA systems, speakers, and...
• CLEAR TRANSMISSION: All-copper conductors with inner copper spiral shielding to reduce noise...
• DURABLE DESIGN: Zinc alloy 3-pin connectors with nickeling; protective metal housing and flexible...

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Frequently Asked Questions

Are xlr better than trs.

For a better, clearer sound that can stand up to a variety of conditions and interference, XLR cables are the best choice. 

The Differences Between XLR and TRS

One difference between TRS and XLR cables has to do with how they are used in music. The primary purpose of TRS cables is for musical instruments.

They have a 1/4” (0.64 cm) stereo plug, which means they’ll have a tip and a sleeve. XLR cables, on the other hand, are typically used for microphones or by DJs who want to split audio signals from one device into two different ones.

Another difference between the two is that TRS cables can’t carry phantom power. This kind defeats their usefulness in some cases, which is why XLR cables are typically the go-to type of cable.

The last difference between TRS and XLR cables has to do with flexibility. You can bend a TRS cable any direction you want since it’s just one solid cord. An XLR cable, on the other hand, has two distinct cords that have to be connected in a certain way if they’re going to work.

If you want to bend an XLR cable in a different direction, it can cause unwanted interference.

That said, here’s a list of instances where you should choose TRS over XLR cables.

• If you’re on a budget
• If you need patch cables for musical instruments
• When you’re only splitting one signal into two, instead of three or more

What’s the Difference Between a Balanced Cable and an Unbalanced Cable?

A balanced cable has three conductors (two signal wires plus ground) to reduce the noise picked up during transmission. In contrast, an unbalanced connector has only two conductors (one signal wire plus ground).

Balanced cables are usually used on stage because of their ability to reduce noise interference.

Are XLR Connectors Balanced?

XLR connectors are balanced. These cables have three conductors to reduce unwanted noise interference. Because of that, you can use them in live sound situations where equipment is close together, like on stage.

What’s the Difference Between Shielded and Unshielded Cables?

Cable shielding is often used in long connectors where the effects from external noise sources can be more pronounced, such as a stage cable for a microphone.

In a nutshell, here are the instances to use shielded cables:

• If you’re looking for durable, high-quality cables
• For long cable runs of more than 5 meters (16 feet)
• Where there will be a lot of noise present in the signal path

Conversely, here are the scenarios that would allow the use of unshielded cables:

• For short cable runs of up to 5 meters (16 feet)
• If the signal path isn’t going to be impacted by external noise
• Where the cable will only be used as a patch cord between two devices for signal splitting

Is XLR Better Than Jack?

For more insights into the different types of connectors and cables, you’d find the information in this video helpful:

Final Thoughts

XLR cables are longer and pricier than mini XLRs. If you need a cable to connect your microphone or speaker from the mixer to an amplifier or PA system, then this is the type of cable for you.

However, if it’s just between two microphones or speakers on stage, go with mini XLRs instead because they’ll be easier to manage. Lastly, make sure that whichever connector you choose matches what equipment you have available – otherwise, all of these differences won’t matter at all.

• Reddit: Difference Between XLR and “Mini XLR?”

Related posts:

• Audio Interface vs. DAC: The Differences Explained
• Gain Vs Volume: Differences Explained
• Stereo vs Mono for Music: The Differences Explained
• Are Microphone And Speaker Cables The Same?
• Mixing Room vs. Recording Studio: Differences Explained

I'm Vinnie, and I'm here to support you to create your own studio at home, whether it’s for photography, recording audio, podcasts, or videos!

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