I'd be very curious if SSL had published anything about their common-mode bootstrap "in the mid-'80s."
Indeed, I have never found schematics which verify when that was used. The 4K series schematics on the technical documents forum of this site (ca. 1993) do not use that technique.
But this circuit then, through a coupling capacitor, directly drives input bias resistors CM3 and CM4
Yes, strange that it is drawn as unbuffered. I have never seen the full service documents for that device, so possibly that figure was an over-simplified drawing to fit within the size constraints. Also possible that it just accepted as good enough the increase in CM impedance, even though it would be much lower than could be achieved with a buffered CM signal.
Fig 12 from the same preprint (attached), where "TYPICAL IMPERFECT RECEIVER WITH UNEQUAL INPUT Z" is used to describe the garden-variety op-amp and 4 equal resistor "diff-amp." In the context of common-mode impedances, which are what's wholly responsible for the noise rejection in a balanced input stage, this statement is wrong!
If you look at the accompanying text in section 3.2.1 that is not about CM noise rejection, but about the behavior of the original cross-coupled output topology (i.e. pre-OutSmarts style design). The contention was that the unequal receiver resistances for each signal leg caused unequal current through the output sense resistors, which generates a common mode signal that the output circuit attempts to compensate, but due to limited loop gain in the common mode feedback loop increases the distortion of the output stage with increasing frequency.
The Sony Oxford design used an isolated DC-DC converter to float the entire output circuit so that it was truly floating, not trying to emulate a floating output like the cross coupled output circuit.
PrismSound do (or at least did in the past) do something similar. See for example the description of the output circuit in sections 6.1 and 6.2 of the DA2 converter from the late '90's (from this link, quoted below, emphasis mine):
Prism Sound DA2 manual
6.1. Analogue output connectors
Conventional connections to a balanced analogue input should use a screened twisted
pair lead. The DA-2 output pins 2 and 3 should be wired to the two conductors of the pair
and pin 1 to the cable screen. The other end of the cable should be connected in a similar
manner with the screen connecting to the chassis of the analogue input.
The DA-2 should be connected to an unbalanced input using only pins 1 and 2 of the output
XLR. Pin 2 should connect to the signal input and pin 1 should connect to the input ground.
Using this method the signal level is half the nominal value.
NOTE: It is possible to drive unbalanced inputs from pins 2 and 3 of the DA-2 analogue output but, because the
connection has been unbalanced, this will give slightly worse performance. However, if the output is connected
in that way, it is important that pin 1 is not connected at the unbalanced input end as this will short circuit one leg
of the
floating output driver.
6.2. Interconnect screens - the pin 1 conditions
'Screen' connects directly to the chassis for the digital XLR and BNC connectors. The
RCA digital coaxial connections are transformer isolated with the screen coupled to the
chassis using a capacitor at the connector. The analogue output screens are the mid
points of the
floating differential outputs. They are coupled to the chassis using a capacitor
from pin 1 to the chassis.
That output shield connection seems strange to me, but was probably to ensure no CM voltage between the output signal wires and shield.