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As for microphones...eh, they all record...you can work out the foibles of any mic to your advantage Yes. Even the SM57/58 — both sound less than ideal into a modern solid state interface due to mismatched high impedance (these were designed to see the 600Ω Bell Telephone spec found in nearly everything in the '50s–'60s). A little tweak to a barrel connector or a mic cable fixes that and turns these into the excellent mics that they were designed to be. I recommend reading this article on the problem, then the sidebar on what you can do inexpensively to fix it. Recording Mag article on SM57 Wouldn't something with switchable impedance like a VTB1 preamp do the same thing? Seems to here. I don't trust my soldering .. <grin> Perhaps and perhaps not. Here is why Certain things need to be known. What is the impedance of the input device? If you want to calculate a load resistor that’s tailored to your preamp/board’s actual resistance, it’s easy to do. The formula is: 1/Rg = 1/Zd – 1/Za where Rg is the resistor to be used in the Gizmo, Zd is the desired total load impedance, and Za is the actual load impedance of the input. A Mackie board with XDR Pro preamps has an input impedance of 1300 ohms; plugging the numbers into the equation, we get: 1/Rg = 1/500 – 1/1300 = 0.002 – 0.000769 = 0.00123 Pushing the “1/x” button on the calculator, the answer is: Rg = 812.5 ohms The nearest value in the 1% tolerance series of resistors is 806 ohms, so that would be the one to use. I did not download a schematic for the VTB1 but Sweetwates shows specifications as Switchable Impedance between 50/200 Ohm which would not work for a 600-ohm mic. I will try to find a variable impedance device or schematic. A little electrical stuff. A microphone produces an alternating current (AC). So...things get a little more complex as opposed to direct current (DC) like coming out of your flashlight. Impedance is not really easy to understand. Take a simple circuit, battery connected to a resistor. The battery pushes current through the resistor, which "resists" this. Thus, the higher the resistance offered, the lower the current through the circuit. But there are also AC circuits that involve capacitors (C) and inductors (L). Each of these also contributes to the overall "resistance" offered by the circuit, except this combined "resistance" is called impedance for the simple reason that it involves not just the resistors, but also the capacitors and inductors in the circuit. It "impedes" the flow of current through the circuit. The term reactance is used to refer to the non-resistive component of the capacitors and inductors. Yes, as I said it is not exactly simple. If I knew the impedance of your input device and knew the impedance of your mic I could add a resistor into the circuit in five minutes. It is also possible to change the impedance of you input device but that can cause other issues. Billy EDIT: I found this video pretty well explains this subject in an easy-to-understand way. It also shows how to build a variable impedance device for an SM57. I will go build one and check it out.
Last edited by Planobilly; 02/17/22 02:55 PM.
“Amazing! I’ll be working with Jaco Pastorius, Charlie Parker, Art Tatum, and Buddy Rich, and you’re telling me it’s not that great of a gig?
“Well…” Saint Peter, hesitated, “God’s got this girlfriend who thinks she can sing…”
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Re old bell 600 ohms. there are several variable imp devices that address the problem...eg ? https://artproaudio.com/product/rp-1-mic-preamp/specs say imp variable tween 150 ohms – 10k ohms. useing this would mean also one doesnt need to crank the pre on the usb audio interface. see you tube for tests of this type of gizmo made by various manufacturers...down to 40 bucks ive seen them. om
Last edited by justanoldmuso; 02/17/22 02:51 PM.
my songs....mixed for good earbuds...(fyi..my vocs on all songs..) https://soundcloud.com/alfsongs(90 songs created useing bb/rb) (lots of tips of mine in pg tips forum.)
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Here is a short article by Rob Jones about this subject. https://www.microphone-data.com/media/filestore/articles/Mic%20impedance-10.pdfRob Jones deals with technical aspects of marketing at Focusrite Audio Engineering Ltd. He is a graduate of the Tonmeister course, University of Surrey . Once upon a time he used to be an actor but then found music to be far more interesting. A SM57 will work in any interface. How it will sound is the question. Changing the impedance is the easiest way to change how it sounds. Running it through a tube pre will add distortion in the 1st, 2nd, and 3rd harmonic generally considered by most people to add a "warm" sound to the mic. Low-cut filters can be added for cheap giving even more control. For those of you who are unsure about soldering, it can be learned in a very short time with many instructional videos on youtube. It is really not hard to learn to do. It is a very useful skill if you own a guitar or a microphone as something is going to fail sooner or later. Billy
“Amazing! I’ll be working with Jaco Pastorius, Charlie Parker, Art Tatum, and Buddy Rich, and you’re telling me it’s not that great of a gig?
“Well…” Saint Peter, hesitated, “God’s got this girlfriend who thinks she can sing…”
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There's no such thing as "can't sing." Singing is a natural part of the human voice. If you can speak, you can sing. https://youtu.be/58hISyYdt5Ehttps://youtu.be/RY_dYVTZkfI
Byron Dickens BIAB. CbB. Mixbus 32C 8 HP Envy. Intel core i7. 16GB RAM W10. Focusrite Scarlett 18i 20. Various instruments played with varying degrees of proficiency. https://soundcloud.com/athanorsoundlabs
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Hey Bryon, Excellent stuff on your site. I particularly liked "Princess Of The Forrest". Very nice work. Regards, Bob
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I did not download a schematic for the VTB1 but Sweetwates shows specifications as Switchable Impedance between 50/200 Ohm which would not work for a 600-ohm mic. The specs on Sweetwater don't tell the full story, the actual impedance used is different than the specs you observed. From the manual ( http://studioprojects.com/pdf/vtb1_manual.pdf)page 3 "Mic Input (Rear switch in 200 ohm position): 2000 ohms Mic Input (Rear switch in 50 ohm position): 300 ohms" So with the switch at 50 ohm position, it yields 300 ohm .. not sure why there is a difference in this, which is why I asked. I am NOT an electrical engineer type guy (I don't even like soldering, except for stuff like copper pipe; my electronics soldering has always ended dismally) To me the VTB1 makes both my LCD and my SM57 sound better than the Focusrite or other devices. I was honestly asking if this may be why .. In other words, my original question wasn't meant to be rhetorical, but rather quizzical in nature so I can learn more, so I asked .. and yes the VTB1 does have an adjustable amount of tube added (12AX7 that can be replaced with a non-stock one), so it becomes more complicated at that point It allows hybrid tube/solid state mix My usual setting is about 40% tube, and I have no idea if this would increase/decrease the end result impedance, like I said it gets complicated, but I do like it and wonder if there is a empirical explanation Never looked for the schematics, but I'm sure they are out there .. they would mean absolutely nothing to me
Last edited by rharv; 02/20/22 06:24 PM.
I do not work here, but the benefits are still awesome
Make your sound your own!
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Electronic DIY hobbyists are changing out the opamps for "better" ones in the VTB1. I mention this because they are asking for schematics with no response which is very often the case for devices like this. This is all the technical information I could dig up. The microphone front end is a solid‑state Class AB circuit, which feeds a TRS jack insert point, allowing additional processing to be inserted into the signal path. According to the circuit description, a balanced, current‑source‑fed parallel transistor arrangement feeds into a bipolar op‑amp. The transistors provide up to 45dB of gain and the op‑amp a further 15dB. Both the mic input and line output are on balanced XLRs. The line switch is on the front panel next to the instrument/line input jack. A FET is used in the line input circuit, to present a high input impedance when the device is switched to instrument mode. (In this mode, the input impedance is 1.5MΩ.) Unusually for a preamp in this price range, the input also offers variable input impedance, via a rear‑panel switch, to suit both 50Ω and 200Ω microphones. The actual input impedance of the VTB1 is 2kΩ in the 200Ω position and 300Ω in the 50Ω position, as it is normal to feed mics into an impedance an order of magnitude greater than their own impedance. Whatever theory suggests, your best bet is to try both positions for each application and see which sounds best to you; usually, you'll hear a subtle difference at the low end. This unit is certainly not designed to accommodate all mics but of course, it will work. I think a SM57 is about 310 Ohm actual, rated at 150 Ohms. Most reviews I have read say this is a pretty good device for a low-cost device of this type. Without a schematic or the actual unit setting here to take apart and reverse engineer, it is impossible for me to say anything more than what I have read from a couple of electronic DIY sites. The simple answer to all these impedance issues is to buy or build a variable impedance device. Under $50 to buy and around $20 to build yourself. All the best, Billy EDIT: This describes the impedance issues with microphones in an understandable way. https://mynewmicrophone.com/what-is-a-good-microphone-output-impedance-rating/
Last edited by Planobilly; 02/20/22 09:07 PM.
“Amazing! I’ll be working with Jaco Pastorius, Charlie Parker, Art Tatum, and Buddy Rich, and you’re telling me it’s not that great of a gig?
“Well…” Saint Peter, hesitated, “God’s got this girlfriend who thinks she can sing…”
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This may or may not be helpful...
A dynamic microphone uses a diaphragm to capture the air-pressure (sound) waves and convert that into a physical movement that in turn moves a coil in a magnetic field to create an electrical. The system is the exact reverse of a conventional loudspeaker, which changes an electrical signal to air pressure waves.
Amongst the challenges with these processes is getting the mechanical and electrical parts to behave as cleanly as possible, with no resonances to cause peaks or notches in the sound.
The mic/speaker designers will do their best to minimise any such resonances, but there will always be some.
Resonances in this context are like a weights on springs. When you put energy into them they bounce around, and once they start, they can continue for some time unless there is something to take the energy out again.
A car has the same problem and car makers solve it with shock absorbers "damping" the bounce.
In a mic/speaker, the diaphragm, its support and the air around them will form part of that damping. There's also the coil within the microphone that acts as a kind of spring in an electrical sense. There are actually several different little resonances in every such assembly.
One of the few places left after that mechanical damping for a microphone to get rid of the energy in that resonance is to dissipate it into the load resistance, so the load resistance is a significant part of the damping.
The microphone designer will plan that the final resonances will be damped as best they can be with a particular load resistance, but as is obvious, load resistances vary, so all they really can do is to aim for a "best chance" load.
Years and years ago, telephone designers discovered that telephone wire pairs have natural impedance(*) of around 600 Ohms, and as early microphones often had quite long cables from mic to pre-amp, it made sense to use that natural impedance as best one could.
For ideal signal transmission, the three components, mic, cable and pre-amp, would all have the same impedance, but in practice that's not really necessary and it also happens that matching too well is usually not ideal for sound quality.
A kind of consensus formed for a microphone impedance of around 300 Ohms, the cable at around 600 Ohms and the pre-amp around 1500 to 2000 Ohms.
The final piece of the equation is how much of that damping the listener wants. Should the microphone sound bright (lower damping) or dull (higher damping)?
Condenser microphone have their own pre-amp, so little of the above applies to them.
(*)Impedance is approximately analogous to resistance, but accounts for the effects of capacitance and inductance in the circuit.
Jazz relative beginner, starting at a much older age than was helpful.
AVL:MXE Linux; Windows 11
BIAB2025 Audiophile, a bunch of other software.
Kawai MP6, Ui24R, Focusrite Saffire Pro40 and Scarletts
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Band-in-a-Box 2026 Video: AI Stems & Notes - split polyphonic audio into instruments and transcribe
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Introducing XPro Styles PAK 10 – Now Available for Mac Band-in-a-Box 2025 and Higher!
We've just released XPro Styles PAK 10 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 28 RealTracks and RealDrums!
Few things are certain in life: death, taxes, and a brand spankin’ new XPro Styles PAK! In this, the 10th edition of our XPro Styles PAK series, we’ve got 100 styles coming your way! We have the classic 25 styles each from the rock & pop, jazz, and country genres, and rounding out this volume's wildcard slot is 25 styles in the Praise & Worship genre! A wide spanning genre, you can find everything from rock, folk, country, and more underneath its umbrella. The included 28 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
Here’s just a small sampling of what you can look forward to in XPro Styles PAK 10: Soft indie folk worship songs, bumpin’ country boogies, gospel praise breaks, hard rockin’ pop, funky disco grooves, smooth Latin jazz pop, bossa nova fusion, western swing, alternative hip-hop, cool country funk, and much more!
Special offers until December 31st, 2025!
All the XPro Styles PAKs 1 - 10 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 10 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Introducing Xtra Styles PAK 21 – Now Available for Mac Band-in-a-Box 2025 and Higher!
Xtra Styles PAK 21 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest Xtra Styles PAK installment—the all new Xtra Styles PAK 21 for Band-in-a-Box version 2025 (and higher)!
Rejoice, one and all, for Xtra Styles PAK 21 for Band-in-a-Box® is here! We’re serving up 200 brand spankin’ new styles to delight your musical taste buds! The first three courses are the classics you’ve come to know and love, including offerings from the rock & pop, jazz, and country genres, but, not to be outdone, this year’s fourth course is bro country! A wide ranging genre, you can find everything from hip-hop, uptempo outlaw country, hard hitting rock, funk, and even electronica, all with that familiar bro country flair. The dinner bell has been rung, pickup up Xtra Styles PAK 21 today!
In this PAK you’ll discover: Energetic folk rock, raucous train beats, fast country boogies, acid jazz grooves, laid-back funky jams, a bevy of breezy jazz waltzes, calm electro funk, indie synth pop, industrial synth metal, and more bro country than could possibly fit in the back of a pickup truck!
Special offers until December 31st, 2025!
All the Xtra Styles PAKs 1 - 21 are on special for only $29 each (reg $49), or get all 21 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 21.
Video: Xtra Styles PAK 21 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 21 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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