In the field of microphone and preamplifier applications, "impedance matching" is a topic of widespread misunderstanding. Because in fact, most microphones and most preamplifiers can form a satisfactory combination with each other, without the need for so-called "true" impedance matching. As for the "impedance matching" problem, it only makes sense to pursue a certain sound quality, tone, coloration and features.
Before explaining this problem in detail, let's first explain what is impedance. We know that any microphone will inevitably have an output impedance, and any preamplifier will inevitably have an input impedance. The term "impedance" as used herein refers to the "resistance" encountered when the signal current flows out of the microphone circuit and flows to the preamplifier circuit.
Since the impedance is usually expressed in "z", the term "hi-z (high impedance)" is specifically used to describe the input and output interface (the guitarist should be familiar with this term). In practical applications, the input impedance of the preamplifier will have a significant impact on the acoustics of the input signal. This is mainly because the interaction between the output impedance of the microphone and the input impedance of the preamplifier affects the final effect of the sound signal, such as different sound equalization effects and different overshoot characteristics. and many more. Furthermore, the interaction between the input impedance of different preamplifiers and the input impedance of different microphones is different in the way and extent.
Below we use the pipes used for watering in the garden and the nozzles in front of the pipes to make an analogy. The microphone is like a pipe, which is a low-impedance source. That is to say, the resistance of the water flow is relatively small; while the front-mounted microphone is like a nozzle, and the impedance is high. First of all, if we turn off the nozzle valve, the input resistance (the input impedance of the preamplifier) ​​will be sharp, the water pressure (voltage) will rise to the maximum value, and the flow (current) of the water flow in the nozzle will be Becomes 0.
Next, if we open the valve a little more, the input resistance and water flow pressure will be smaller (although still very large), and the water flow will start to appear, but at this time the nozzle will make a "beep" sound (high frequency). Later, as the nozzle valve was not broken, the input resistance and water flow pressure began to decrease, and the flow rate of the water flow began to increase. At this time, the "click" sound began to gradually disappear. From this comparison, we can find that the lower the impedance of the preamplifier, the less obvious the high frequency part of the sound signal becomes.
In practice, it is completely wrong to set the impedance of the microphone and the preamplifier at the same level, because this will reduce the level and signal-to-noise ratio of the sound signal by 6db. In general, for dynamic microphones and condenser microphones, the optimal input impedance of the preamplifier should be about 10 times the microphone output impedance. For the emerging preamplifiers (such as focusriteisa428, summit2ba-221, etc.) whose input impedance can be adjusted on the market, the above standards can be modified. Because the transformer level of this preamplifier and its interaction with the microphone impedance can be adjusted, a variety of microphones/fronts can be manufactured under the balancing effect mentioned above. Put the "coloring" effect.
The biggest advantage of this type of preamplifier is that it can realize free combination and adjustment of frequency content without adding an equalizer to the signal path during recording, thereby avoiding possible problems caused by too many devices used in the signal path. Increased noise and signal attenuation. In addition, when using this amplifier, in addition to the input impedance can be adjusted according to the above 10:1 standard, it is also possible to perform multiple tests on the input impedance setting as needed without damaging the device. Until you find the sound effect you are satisfied with.
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