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Good XLR attenuators?

JTC

JTC

PFM Villager...
A recent system re-shuffle has my subwoofer driven by RCA outputs and my active speakers via XLR balanced outputs. All is good, except that the RCA output level is a bit on the low side relative to the XLR, such that at low listening levels my SVS subwoofer's signal detection feature decides that there's nothing playing and puts the sub into sleep mode; even turning this off, I get the feeling that there's also something else at play, muting the input when the levels are very low. I've backed the gain of the Genelecs as low as they will go but still I am finding that for low-level listening the sub isn't always operating. In further annoyance, for all that the Eversolo DMP-A8 is still perhaps the best audio purchase I've made, it doesn't allow you to independently trim the RCA and XLR output levels as far as I can tell. You can output to XLR, RCA or both simultaneously - which is how I have it - but for that last setting you are stuck with one gain applied equally to both.

Other than a different connection scheme (XLR splitting into XLR and XLR->RCA cables, per side, which works but which introduces a bit of a ground loop) I think my only option is to either listen really loud (tempting, but think of the neighbours) OR attentuate the XLR output by (say) 10 or 20dB, to bring things back into relative balance.

With that in mind, can anyone recommend good XLR attenuators, ideally ones that aren't too long/chunky (since I'd prefer to have them at the speaker end, but that's not essential as I have space at the back of the A8)? ta.
 
I'm assuming the Rothwell balanced attenuators remain a good choice, but is there a better one for not much more or (preferably) less?

Annoyance 3: I had a pair of balanced attenuators that I sold a few years back. They'd have been ideal :sigh:
 
Oh, one more thing: are Rothwell XLR attenuators and their ilk directional, i.e. does it matter whether I have the signal going into the male or the female end? If they're not directional, it would allow me placement flexibility :).
 
Yes Rothwell's are directional jtc. They're meant for the amp input in the situation where the source level is too hot saturating the input. They also do not fit into all sockets depending on the brand of socket so beware. If they fit they are excellent!
 
So, are they designed to go at the source or the destination end? I'm trying to work out whether they'd work connected to my Genelecs. I'm away from home for a few days so can't check, but I *think* the Genelecs have a female XLR input, so would need a male XLR plug at the downstream end of the attenuator; do you know if that's how the Rothwells work, or are they the other way around, i.e. source->destination being male->female plugs? (Does that make sense?)
 
So in an active speaker that would be at the XLR input to the speaker?

Which is my only slight concern: will they fit the Genelecs, whose inputs are fairly standard but the route to which is constrained by a slight curvature at the bottom of the speaker...

71JcMRQiWhL._AC_UF1000,1000_QL80_.jpg
 
JTC said:
Which is my only slight concern: will they fit the Genelecs, whose inputs are fairly standard but the route to which is constrained by a slight curvature at the bottom of the speaker...
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sorry I can't answer that. The issue I had was with the thickness of the metal of the plug. Mine were Switchcraft sockets and those are not so that's a good start potentially. That is the correct way round though, a male plug into a female socket.

I know analogue seduction sell them so give them a call. They're too expensive to take a punt in the dark
 
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JTC said:
So, are they designed to go at the source or the destination end?
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With the XLR versions you can do either, because XLR interconnect cables, and the XLR attenuators, have opposite genders on either end. Use them at the output of the preamp or the input into the speaker, the direction remains the same.

I have a pair of Rothwells here you can borrow if you want to give them a try. I can’t remember if they are 10dB or 15dB though.
 
Could you get someone to solder 3 (for a H-Pad, I think) resistors into your current cables? Someone in the DIY room will be able to come up with values needed.
 
Disarmamant said:
With the XLR versions you can do either, because XLR interconnect cables, and the XLR attenuators, have opposite genders on either end. Use them at the output of the preamp or the input into the speaker, the direction remains the same.
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Yes that's right, you can't put them the wrong way around! I was going off the item description and read it literally. The only consideration is that they fit physically.
 
Disarmamant said:
With the XLR versions you can do either, because XLR interconnect cables, and the XLR attenuators, have opposite genders on either end. Use them at the output of the preamp or the input into the speaker, the direction remains the same.

I have a pair of Rothwells here you can borrow if you want to give them a try. I can’t remember if they are 10dB or 15dB though.
Click to expand...
Might take you up on that. I think 15dB would be enough, not sure if 10dB would be however.
 
Assuming my RCA outputs are putting out half the voltage of the XLRs (by definition), would that result in 6dB less gain at the sub than at the speaker? In which case I'd hope that a 10dB reduction on the balanced side would be enough to bring the RCA gain up high enough (for a given listening level) so that it clears the signal detection/noise gate feature of the sub.
 
JTC said:
Assuming my RCA outputs are putting out half the voltage of the XLRs (by definition), would that result in 6dB less gain at the sub than at the speaker? In which case I'd hope that a 10dB reduction on the balanced side would be enough to bring the RCA gain up high enough (for a given listening level) so that it clears the signal detection/noise gate feature of the sub.
Click to expand...
One might be "pro" line level the other "consumer". One is +4dBu the other -10dBu. That's about 12dB I think

Here's a cheap option but out of stock. They're called "pads" in the studio world...

www.studiospares.com

Studiospares 20dB In-Line XLR Attenuator

precision attenuators for overcoming overloads when interfacing equipment.
www.studiospares.com www.studiospares.com
 
Beware. I have observed that XLR attenuators come in (at least) three types. "200 ohm", "600 ohm" and high impedance.

The Rothwells are high impedance and are safe for this use. They cannot be fitted the wrong way round. But they add some extra impedance to the source output impedance so should normally be fitted at the destination/input end of the cable. Use at the source end risks causing some high frequency roll-off, although that usually only happens with long leads and mid-value attenuators of 6 dB and 10 dB.

I think ones that are labelled for attenuating microphone circuits are often 200 ohm. Far too low an impedance for this use. Avoid these. Avoid any whose impedance you are not sure of.

I think ones that are labelled "600 ohms" are probably OK since the Stereophile test of the DMP-A8 found it was OK working into a 600 ohm load. They will be sold in reasonable quantities to studios and so will be be cheaper than the Rothwells. However I have a suspicion that the resistor network inside may not be balanced like it is in the Rothwells, as that is cheaper to make. I would enquire closely before using 600 ohm attenuators.

FYI the Rothwell 10 dB attenuators (I use a pair) are constructed from three 8.2 kOhm resistors. An easy load for almost any audio source. I use them at the destination/loudspeaker end of 5 metre XLR leads.
 
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