Thanks for the confirmation, James.
I have been looking at construction details of AES cables from the big professional companies, such as Belden, Mogami, and Gotham.
Mogami's AES cables:
http://www.mogamicable.com/category/bulk/dig_interface/aes_ebu/Mogami uses what they call 100% spiral shield (single Reussen?) around the two conductors and an attached drain wire which is inside the shield along with the conductors.
Belden's 1800F's construction is similar to that of Mogami's (3080, 3173 etc.) with the use of drain wire inside of the shield. However, rather than using a spiral shield, Belden uses a French braid shield.
Gotham GAC-2 AES:
https://gothamcables.com/en/gothamcables/digital110ohmaes/10601gac2aesDouble Reussen shield. Two separate spiral shields going in opposite direction and crossing at 90 degrees with the 2 conductors inside of the shield. No drain wire.
Gotham GAC-2 AES Ultra Pro:
https://gothamcables.com/en/gothamcables/digital110ohmaes/10666gac2aesultrapro4 shields in total. Each conductor gets its own copper and aluminum shield. Then all of that is further wrapped in a double Reussen shield.
There is a paper on how the different shielding types performs at different frequencies:
https://www.rane.com/note166.htmlI'd be interested in hearing from others, as well as James and Bryston team, on how they decide what's the best design (with sound as top priority in mind) for analog XLR use or for digital AES use with the particular frequency range they operate in. If James/Bryston wants to expand on the above posted Rane paper and how Bryston designs their own gear, I'd love to hear more technical related information. Thanks!
