An email response from engineering at PS Audio confirmed that pin 1 should be connected to the cable shield.
However, there are independent sources that suggest pin 1 be connected to the shield at one end of the cable only, the source end. This could prevent ground loops between the two chassis while still providing a grounded shield. If the receiving device is transformer coupled (and I think the Bryston is) this should work fine.
I think I'll build two cables, one with shield connections on both ends and one with it lifted at the D/A end and see if there is are any sonic differences.
I understand what you mean by standardized wiring practice. I just wanted to confirm that AES/EBU XLRs were wired exactly like analog XLRs. When I did a GOOGLE search for AES/EBU wiring I got a response on the (DYI Audio) forum where one author cited leaving pin 1 disconnected and use the connector body as ground. This is clearly not audio XLR standard practice. There is also some discussion that hot (pin 2) and cold (pin 3) are reversed in some older equipment. For balanced digital this does not matter, but would result in polarity inversion in analog audio connections.
However, there are independent sources that suggest pin 1 be connected to the shield at one end of the cable only, the source end. This could prevent ground loops between the two chassis while still providing a grounded shield. If the receiving device is transformer coupled (and I think the Bryston is) this should work fine.
I think I'll build two cables, one with shield connections on both ends and one with it lifted at the D/A end and see if there is are any sonic differences.
I understand what you mean by standardized wiring practice. I just wanted to confirm that AES/EBU XLRs were wired exactly like analog XLRs. When I did a GOOGLE search for AES/EBU wiring I got a response on the (DYI Audio) forum where one author cited leaving pin 1 disconnected and use the connector body as ground. This is clearly not audio XLR standard practice. There is also some discussion that hot (pin 2) and cold (pin 3) are reversed in some older equipment. For balanced digital this does not matter, but would result in polarity inversion in analog audio connections.