I am having a problem with my PC38X with Xbox X. My first headset was and is the SteelSeries Arctis 7X+ and when playing online with others, they are able to hear me. When I switch over to the PC38X (plugged into the Xbox wireless controller), they are not able to hear me. I can switch back and forth between the two headsets, and they hear me immediately with the 7X+ and then can't hear me the second I switch over to the PC38X. The Xbox software shows in the controller settings that the headset mic is set to on, and I have mic monitoring turned all the way up and can hear myself talking into the mic. But even while hearing my mic'd voice say "Testing, can you hear me?" they tell me they can't. Is there anything I'm forgetting to set?
Feb 12, 2024
Every cable in a system has the potential to add noise into a system, which can comprimise the audio quality of the system it connects.
An unbalanced cable consists of two connectors with two conductors each, connected by two wires inside the cable—a signal wire and a ground wire.
Inside the cable itself, the signal wire is typically in the center of the cable with the ground wire surrounding it. The ground wire serves two functions—it carries part of the audio signal and serves to shield the main signal wire to some degree from outside interference from noise such as the hum from lights and transformers, as well as RF (radio frequency) interference that comes from TV and radio transmissions. It does a decent job of rejecting noise, but unfortunately, the wire itself also acts like an antenna and picks up noise.
Unbalanced cables should have a maximum length of 15-20 feet (4-6 meters), especially when used in noisy environments and with signals that are low level to begin with, such as those from keyboards, guitars, MP3 devices and so on.
A balanced cable, by contrast, has three conductors in the connector and three wires in the cable: two signals wires plus a separate ground wire. As in the unbalanced cable, the ground wire still surrounds the signal wires and is used as a shield against interference. But what makes a balanced cable special is the way the gear utilizes that extra signal wire.
Balanced cables use two signal wires; both carry a copy of the signal, but the two copies are sent with their polarity reversed. If you sum two signals that are identical but are reversed in polarity, the signals cancel out, leaving you with silence. (Just like adding positive and negative numbers: +15 added to -15 equals 0.)
So why would you want audio gear that flips the polarity of your signal? In this case, because the receiving gear will flip the inverted signal back into its original orientation. But because both copies of the signal picked up the same noise as they traveled along the cable—and that noise is identical on the two wires in the cable—flipping the polarity of what arrives at the receiving gear will produce the original signal intact and noise which now has reversed polarity. Summing that gives you a welcome result: signal that’s preserved and noise that’s canceled.
Because of this, balanced cables can support much longer cable runs; 50 to 100 feet (15-30 meters) is not uncommon, though even shorter runs will often use balanced wiring to protect against noise. The wiring for microphones, and the interconnect cables between consoles, signal processors, and amps, etc., in a pro sound system or recording studio environment are typically of the balanced variety. Standard connectors designed for use with balanced signals are XLR and TRS (or “tip-ring-sleeve”).