mshilarious, your reply is spot on; thank you. I actually think it's good to specify what an appropriate load impedance for a piece of equipment might be. I'm only complaining when manufacturers give that as the "impedance" of their own equipment, since that confuses the heck out of a lot of people. For example, some manufacturers might say that the impedance of their microphone is "600 Ohms" when they really mean that the microphone should always be looking into a load of at least 600 Ohms (at the input of any preamp, mixer or recorder that you connect it to).
If a microphone really had a 600 Ohm output impedance, then it should only be connected to an input that's at the very least 3 kOhms, and preferably 6 kOhms or greater. But studio microphones are supposed to have an output impedance of 200 Ohms or less, by European standards anyway.
The concept of "impedance matching" is simply out of place in any discussion of baseband analog audio in the post-World War II era. And yes, among other things that implies that many ads for high-priced cables in Stereophile, etc., are based on technical nonsense whether the writers of those ads realize it or not. It's just Ohm's Law in action. If audiophiles in general understood Ohm's Law, which is really not hard to learn, it would simple things up a whooooooole lot in this business ...
--best regards