David Mellor's RecordProducer.com - From Home Recording Studio to PRO Recording Studio
 
Next article: Your compressor adds noise to your recording. Why does it do that?...

Output impedance - does it matter how much current an output can supply?

This is a tricky concept to explain and understand. But once you do understand it you'll feel an awful lot better. In fact, you'll probably feel so good you will consider yourself one of the 'elite' of sound engineering and look down upon lesser mortals who do not understand it...

Follow RecordProducer.com on Twitter...

Output impedance - does it matter how much current an output can supply?

This is a tricky concept to explain and understand. But once you do understand it you'll feel an awful lot better. In fact, you'll probably feel so good you will consider yourself one of the 'elite' of sound engineering and look down upon lesser mortals who do not understand it!

Electricity consists of three quantities (OK, simplifying, but bear with me)...

  • Voltage
  • Resistance (similar to impedance)
  • Current

There is an old but effective analogy with a water tank...

A water tank placed high up will supply a healthy pressure of water. The higher the tank, the greater the pressure.

Voltage is like 'electrical pressure'.

The water tank may be connected to a pipe. The narrower this pipe, the greater the resistance to the flow of water. The wider the pipe, the less the resistance to the flow of water.

Resistance is analogous to the 'narrowness' of the pipe.

If the tank is placed very high up, and the pipe is wide, then water will flow in great quantity. If the tank is low down and the pipe is narrow, then not much water will flow.

Current is like the amount of water flowing.

Simple!!

So to put this in purely electrical terms, the greater the voltage, the more current will flow. The lower the resistance the more current will flow.

Always think of electrical quantities in this order - voltage because nothing happens without voltage, then resistance (or impedance) which controls how much current will flow.

At this level we can consider impedance to be the same as resistance.

Now let's put this into the context of a real world electrical circuit, such as the connection between a microphone and a preamplifier...

It makes sense if an output has the ability to deliver loads of current. For three reasons...

  • It doesn't matter if some is lost.
  • Any interfering signal will have a hard job having an influence on that current.
  • One output can easily supply several inputs.

For 'loads of current' we either need a high voltage or a low impedance. The voltage of most equipment is standardized at a level that is as high as practical, so the next priority is to provide low impedance so that plenty of current can flow.

So where it is practical, any output will have a low impedance so that it can supply lots of current. For any equipment that is mains-powered, this is easy and outputs can supply masses of current.

For any equipment that is battery powered, then to preserve battery life the output impedance is often not quite so low as mains-powered equipment, but still low enough.

Microphones are also designed with a lowish output impedance, once again low enough for most purposes.

Some equipment however is exceptional. The electric guitar, due to the nature of guitar pickups, has a high output impedance.

This results in a signal that is prone to loss and interference and therefore demands a special circuit known as a 'DI Box' (direct inject box) to connect to sound engineering (rather than music) equipment.

There's a lot to get your head around here. But once you understand it, believe me you will feel sooooo good!

Publication date Saturday March 21, 2009

Bookmark and Share
Next article: Your compressor adds noise to your recording. Why does it do that?...

 

Enter your e-mail address to receive notifications of new comments on this topic...
(You can unsubscribe quickly and easily.)

Follow RecordProducer.com on Twitter...

Discussion on this article's topic...

 

There is no discussion on this topic yet. You could be the first!

 


UPDATE - Posting of comments has been disabled. RecordProducer.com has been targeted by a botnet posting spam comments. The facility to post comments will return when this problem has been resolved.

We welcome your addition to the discussion on the topic of this article. If you feel that the article is inaccurate in any way, please let us know by e-mail at . We read all messages sent to this address but we cannot promise a reply.

Your name:

Your e-mail address (will not be published):

Your town:

Your country:

Share your comments on this topic...

RecordProducer.com reserves the right to select readers' comments for publication.


Setting the gain of the microphone preamplifier correctly is one of the basic skills of audio. So why don't mic preamps need meters? Read more...
If you have a studio business, doubtless you want it to continue for decades to come. But if you don't understand the client life cycle then you'll soon be in trouble. Read more...
A pro recording studio for £135 a day (around $200 USD), with access to just about any exotic gear you could possibly want - could this possibly be true? Read more...
Ah, that mysterious Q control in your EQ. Does it actually do anything? Read more...
Everyone should build a loudspeaker at least once in their life. But for this would-be loudspeaker builder, their first attempt was something of a disaster... Read more...
Chopping up beats from pre-existing drum loops has long been a standard part of the production process. But can you be a Beat Slicer for a living? Read more...
'If you don't ask, you don't get!' That's a good old proverb. But have you asked anyone recently? This guy has... Read more...
Love it or hate it, the sound of the vuvuzela is an intrinsic feature of the FIFA World Cup in South Africa. So what if you hate it? Read more...
What is it about your studio that makes it look and feel like a recording studio, and a nice place to work? Or is it just another room in your house? Read more...
A RecordProducer.com visitor asks whether a good analog-to-digital converter is necessary. Or will any old converter do? Read more...
In contrast to my recent article where I said that choice of microphone often doesn't matter, there are times where selecting the right microphone can make an enormous difference to your sound. Read more...
What makes a hit record? Sometimes it's the song, sometimes it's the sound. But who decides whether a certain 'sound' will sell? Read more...
Everyone knows that you should compress the snare and kick drum. But why should you do it, and how should you do it? Read more...
Low-pass and high-pass filters often have a 'slope' control. What is the slope of a filter? How do you select the right slope? Read more...
While the iPad might be something less than a computer, it is definitely something more than many of the other computer-like devices in our lives. Read more...
Suppose you worked on a recording, but you didn't get a credit. Would this matter to you? You bet it would! Read more...
One of the most enduring myths in recording has been the endless quest for more and more tracks, which grew exponentially from the real need to overdub in the 60's. Prior to 4 track, overdubs were made by compiling sounds from one machine to another - with a generation loss of sonics every time... Read more...
It's tricky to find a good place to set up a studio. If you live in an apartment, then unless you live in a very old building with really thick walls, you might as well forget it, or just record the electronic components of your music at home, monitoring on headphones... Read more...
Do you still use DAT? CD recorders? Outboard effects units? Come on and admit it - you're a dinosaur! Read more...
An RP visitor enquires whether the Genelec 8240A with digital inputs and DSP is suitable for the home recording studio. Hmm... Read more...
You Could Be Making PRO Recordings In Your Home Recording Studio...
The Audio Masterclass Music Production and Sound Engineering Course
Music Production and Sound Engineering Online Course. Turn your home recordings into PRO recordings in just 12 weeks.
Sign up now for the FREE COURSE TOUR!

We will not disclose your personal information. You can unsubscribe quickly and easily at any time.

Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone
Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone
The Neumann U87 is the world's most popular microphone - certainly the most desired. Find out exactly what it's like to get your hands on one and use it to its full potential in Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone
Using Headset Microphones On Stage
Using Headset Microphones On Stage
You don't have to use a stand-mounted microphone on stage. You can enjoy the freedom of a headset mic and get really great contact with the audience. Learn the advantages, and the potential problems, here. Using Headset Microphones On Stage
Class D Power Amplification
Class D Power Amplification
"Class D Power Amplification" starts by explaining how conventional power amplifiers work, including Class A, Class B, Class AB and Class C. It goes on to show how and why Class D power amplifiers are smaller, lighter and more efficient than conventional types. It also goes on to explain Class G and Class H. Essential reading for the live sound engineer. Class D Power Amplification
Understanding Audio Specifications
Understanding Audio Specifications
Baffled by audio specifications? Frequency response, signal-to-noise, distortion - what does it all mean? Do manufacturers always tell the whole truth about their products? And how can you tell from the specifications which equipment is best? Find the answers here in Understanding Audio Specifications! Understanding Audio Specifications
The Anna Neale Microphone Preamplifier Test at Abbey Road Studio 3
The Anna Neale Microphone Preamplifier Test at Abbey Road Studio 3
Hear five amazing mic preamps on female vocal, recorded in studio master quality at Abbey Road Studio 3. The tests include the Avalon M5 (Wow!), Universal Audio vacuum tube Solo/610 and the $50 Behringer MIC100. Can you hear the difference? PLUS video recordings of all of the tests. The Anna Neale Microphone Preamplifier Test at Abbey Road Studio 3
The Delon Brooks Microphone Test at Abbey Road Studio 2
The Delon Brooks Microphone Test at Abbey Road Studio 2
Hear ten PRO microphones on male vocal, recorded in studio master quality at Abbey Road Studio 2. The tests include the $6000 AEA A440 ribbon mic, the twin-tube sE Electronics Gemini II, plus eight other mics you NEED to know. PLUS video recordings of all of the tests in this Multimedia Set™. Mic list: ADK Vienna, AEA A440, Audio Technica AT4050, Bruel & Kjaer (DPA) 4011, STC (Coles) 4038, Neumann U47, Rode NT1A, sE Electronics Gemini II, sE Electronics Z5600a Mk II, Violet Design Amethyst. The Delon Brooks Microphone Test at Abbey Road Studio 2
The Charlotte Roel Microphone Test at Abbey Road Studio 3
The Charlotte Roel Microphone Test at Abbey Road Studio 3
Hear nine classic and modern microphones on female vocal, recorded in studio master quality at Abbey Road Studio 3. The tests include classic tube Neumann U47 and AKG C12 mics, plus five other amazing mics you NEED to know (some costing as little as $300!). PLUS video recordings of all of the tests. The Charlotte Roel Microphone Test at Abbey Road Studio 3
Focusrite Liquid 4PRE All Emulations Tested
Focusrite Liquid 4PRE All Emulations Tested
The Focusrite Liquid 4PRE is a modeling microphone preamplifier. This audio and video Multimedia Set™ tests all 41 emulations. Original session recorded in Abbey Road Studio 3. Focusrite Liquid 4PRE All Emulations Tested
The Chilli Gold Microphone Test at Abbey Road Studio 3
The Chilli Gold Microphone Test at Abbey Road Studio 3
Hear nine classic microphones on female vocal, recorded in studio master quality at Abbey Road Studio 3. The tests include TWO classic tube Neumann U47 and TWO classic tube AKG C12 mics, plus five other mics you NEED to know. PLUS video recordings of all of the tests. The Chilli Gold Microphone Test at Abbey Road Studio 3
Microphone Polar Patterns and Stereo Configurations
Microphone Polar Patterns and Stereo Configurations
Microphone polar patterns and basic stereo configurations are fundamental to audio. Many people have read about them, but few have tested them for themselves. Here, you can hear and see all the basic patterns and stereo configurations recorded at Abbey Road Studio 2. Microphone Polar Patterns and Stereo Configurations
The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
Three amazing microphones and two amazing preamplifiers tested at Abbey Road Studio 2. This Multimedia Set™ includes the original Studio Master recordings, 48 kHz and AAC versions for easier downloading, videos in both high and medium resolution, and session notes. You will see and hear clearly the differences between the three microphones and two preamplifiers. Also, each preamplifer is demonstrated in two settings, giving further examples of how they can sound. The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
Four Exotic Microphones on Acoustic Guitar
Four Exotic Microphones on Acoustic Guitar
Three tube mics, one ribbon mic compared on acoustic guitar. From the super-low-cost CAD M9 and Golden Age Project TC1 all the way up to the mega-expensive Telefunken ELA M12F. These tests show, in audio and video, exactly how these mics sound on a Martin OM-21 acoustic guitar in a variety of positions. Instantly downloadable. Four Exotic Microphones on Acoustic Guitar
Equipping Your Home Recording Studio
Equipping Your Home Recording Studio
Choose the right equipment, and you can make pro-quality recordings right from the start - even with a basic setup. Choose the wrong equipment and you may spend years sorting out a studio setup that is right for you. And all the time you spend doing that, you could have been recording. Equipping Your Home Recording Studio
Four Classic Compressors Compared on Female Vocal
Four Classic Compressors Compared on Female Vocal
The Fairchild 660, Neve 33609, Teletronix LA-2A and the Universal Audio 1176 - reputedly the best compressors in the world. Hear them all on female vocal recorded at Abbey Road Studio 3. Who knows... The Beatles might have used some of these compressors in their heyday. Audio and video Multimedia Set™. Four Classic Compressors Compared on Female Vocal
The Niccie Simpson Microphone Test at Abbey Road Studio 2
The Niccie Simpson Microphone Test at Abbey Road Studio 2
Hear ten PRO microphones on male vocal, recorded in studio master quality at Abbey Road Studio 2. The tests include the ultra-classic RCA 44BX 'Elvis' ribbon mic, the equally classic AKG C12 vintage tube, plus eight other mics you NEED to know. PLUS video recordings of all of the tests in this Multimedia Set™. Mic list: ADK Hamburg, AEA A440, Audio Technica AT4050, Bruel & Kjaer (DPA) 4011, Neumann U47, sE Electronics 4400a, sE Electronics Gemini II, STC (Coles) 4038, Violet Design Amethyst, Violet Design Globe. The Niccie Simpson Microphone Test at Abbey Road Studio 2