Impedance ?

Fancy

Fancy

pickle tanker
Currently recording using outboard pres, and I want to bypass my mixer pres. My outboard preamp is outputting at 600 ohms, and the line input on my mixer is 50K. I have an impedance transformer that goes from 600 ohm to 22K. Should I match the the output impedance of my preamp to the line input perfectly, or would the improvment be negligable if matching to 50K?

Hope this makes sense, thanks!
 
This is the way it is supposed to be. The input impedance should be at least 10 times what the output impedance is.

This is the way everything works. If you matched the impedances, it would sound like crap.
 
10x 600ohms would be 6K. I'm at a loss, it seems it should be a more precise science.

Thanks, much!
 
The idea is to have something above 10 X. How far above doesn't matter much. Anything below 10x will load down the output and it will roll off the high end and mess with the signal strength.
 
NO. Just plug the output of the preamp into the line input. There is no reason to put anything else in the chain. you are making this harder than it needs to be.
 
Farview said:
NO. Just plug the output of the preamp into the line input. There is no reason to put anything else in the chain. you are making this harder than it needs to be.
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I have a knack for doing that. Thank you so much!!!!!! :) :) :) :)
 
Anyway, your transformer would turn your 600 ohm output and turn it into a 22k output. That would mean that you would need at least a 220k input (which you don't have)


The input of the divice you are plugging into needs to be at least 10 X the impedance of the the sending device. If you put the transformer between the two, the transformer becomes the sending device as far as the line input is concerned.

Also, the input of the transformer would need tohave a 6k ohm impedance so it didn't load down the output of the preamp.
 
Farview, Another question...

If I put my D112 into the soundhole of the kickdrum, and my snare mic is angled in the same direction, can I have the overheads pointed in the drummer's perspective, or should they be in the same direction that my kick and snare mics are pointed? I'm trying to eliminate phase issues.
 
Fancy said:
Farview, Another question...

If I put my D112 into the soundhole of the kickdrum, and my snare mic is angled in the same direction, can I have the overheads pointed in the drummer's perspective, or should they be in the same direction that my kick and snare mics are pointed? I'm trying to eliminate phase issues.
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Sure you can. If you have phase problems, which normally rear their ugly head when you have many more mics than you are using, you can always just fix it in the computer. You can do this by either sliding the tracks in time or reversing the polarity of the offending track. ( or both)
 
It's just a simple 4 mic set up, one in the soundhole of the kick, one angled towards the side of the snare, and two overheads. I'm wondering where the overheads should be in relation to the kick and snare mics?
 
Fancy said:
I want to nip the issues in the bud before the digital domain.
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That's good thinking, but judging by the drum clip you posted a couple of days ago, you're doing well already.
 
Fancy said:
It's just a simple 4 mic set up, one in the soundhole of the kick, one angled towards the side of the snare, and two overheads. I'm wondering where the overheads should be in relation to the kick and snare mics?
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In a simple 4 mic setup, you really should not have any phase issues. If you don't hear them, they either are not there or they don't matter.
 
Thank you, I'm finding when I push the fader up on my kick channel it's fightling with the overheads. It shouldn't be very hard to place 4 mics. I guess I want to know if people are putting their overheads directly above the kit, at the drummers listening perspective, or in front of the kit to keep phase coherance?
 
Fancy....Like Fairview said, with a 4 mic set-up, you won't have too many headaches with phase cancellation. If you do, it will probably be with the snare, not the kik. If that's the case, just flip the phase on the snare.
I use the same set-up (with the same kik mic you have) as you do and I usually just reverse the phase on my snare. I used to have my mics in an X-Y configuration. Now I use another configuration (Glyn Jons) that wold take too long to explain here. But the main point is, just make sure each overhead is the same distance from the snare and you should be OK.
 
reverse the polarity of the kick. I usually have the overheads in an x/y pattern over the kit. I always mic the toms, so I'm really only trying to get the cymbals and snare ambience out of the overheads. I've done it the way you are doing it, I don't remember having any real phase issues. If you do, just reverse the polarity of the offending track.

Remember, the kick mic is the only one on the kit that sees the head moving towards it when it is struck, all the other mics see the head moving away.
 
Farview said:
Remember, the kick mic is the only one on the kit that sees the head moving towards it when it is struck, all the other mics see the head moving away.
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WOW! That's so cool. I never realised that. Cool little revelation. Thanx.
 
So my overheads can be at the drummer's perspective, with little phase issue if I reverse the phase of my kick?
 
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