Behringer Microphone B 2 Pro User Manual

User Manual  
DUAL DIAPHRAGM CONDENSER  
MICROPHONE B-2 PRO  
Gold-Sputtered Large Dual-Diaphragm Studio  
Condenser Microphone  
 
3
DUAL DIAPHRAGM CONDENSER MICROPHONE B-2 PRO User Manual  
1. Power Supply  
6. Level Setting/Adjusting the  
Basic Sound  
Your condenser mic B-2 PRO needs a +48 V phantom power supply.  
Behringer assumes no liability for any damage caused by a defective phantom  
power supply. Always mute the sound reinforcement system before you  
switch on the phantom power supply. After power-up, the B-2 PRO needs  
about 6 seconds to stabilize.  
Adjust the gain control in the microphone channel of your mixing console so  
that the peak LED lights up only occasionally or never at all. The EQ controls  
in the microphone channel should be set to mid-travel position to start with;  
low-cut filter and level attenuator should be off. Try to achieve the desired  
sound by experimenting with the microphone position. Use the omnidirectional,  
cardioid and figure eight directivity patterns (see chapter 3). Often, it will be  
useful to set up acoustic barriers (“gobos”) at various angles towards the signal  
source. Only when the desired basic sound has been achieved, should you start to  
use equalizers and signal processors, if any at all (Remember: less is often more!)  
2. Directivity  
With the switch on the front, you can set your B-2 PRO to provide a cardioid,  
omnidirectional or figure eight directivity pattern. If the microphone is used to  
pick up both the signal source and ambient signals, we recommend to use an  
omnidirectional directivity (switch position: left). However, to pick up specific  
instruments or voices, please set the switch to the cardioid position (right).  
The figure eight directivity pattern (center) is recommended, for example,  
for choir miking. Thanks to the figure eight directivity pattern, your B-2 PRO picks  
up more ambient signals than when it is set to the omnidirectional directivity.  
The B-2 PRO provides a level peak around 12 kHz producing some kind of  
“presence” in this range; so, there is no need for high-frequency EQing which  
could deteriorate the signal and raise the overall noise floor. On the contrary,  
the B-2 PRO provides that much-desired transparency which often gets lost  
during recording and mixing.  
0°  
0 dB  
330°  
30°  
3. Low-Cut Filter and Level  
Attenuation  
The low-cut filter can be activated with the left switch on the rear, in order to  
filter low-frequency interference such as pop sounds, etc. With the low-cut  
filter on, the B-2 PRO provides an almost linear frequency response with signals  
picked up at close proximity to the source. The built-in shielding minimizes the  
microphone’s sensitivity to high-frequency interference.  
-5 dB  
-10 dB  
-15 dB  
300°  
60°  
-20 dB  
-25dB  
-30 dB  
270°  
90°  
240°  
120°  
Use the right switch on the rear to activate the -10 dB level attenuator,  
which should be used with “pulse-type” signal sources producing high sound  
pressure levels (e.g. kick drum).  
250 Hz  
210°  
150°  
4000 Hz  
8000 Hz  
16000 Hz  
500 Hz  
180°  
1000 Hz  
2000 Hz  
4. Mounting Microphone and  
Elastic Suspension  
Attach the enclosed elastic suspension to the microphone stand.  
Fasten the screw, once the suspension has been positioned properly. Open the  
elastic suspension by pressing the two circular levers, then insert the B-2 PRO  
from above.  
Polar pattern (cardioid)  
dB  
20.0  
10.0  
0.0  
-10.0  
-20.0  
Low cut  
5. Audio Connection  
Use a balanced XLR microphone cable with the following pin assignment:  
pin 1 = shielding; pin 2 = +; pin 3 = -. Since your B-2 PRO features gold-plated  
contact points throughout, we recommend that you use only microphone cables  
with gold-plated connectors.  
50.0 100.0  
1000.0  
10k 15k 20k Hz  
Frequency response (cardioid)  
 
4
DUAL DIAPHRAGM CONDENSER MICROPHONE B-2 PRO User Manual  
7. Specifications  
0°  
0 dB  
330°  
30°  
Transducer type  
Operating principle  
Polar pattern  
condenser, 1" dual-diaphragm  
pressure gradient  
-5 dB  
-10 dB  
-15 dB  
300°  
60°  
-20 dB  
-25dB  
-30 dB  
cardioid, omnidirectional  
or figure eight  
270°  
90°  
Connection  
gold-plated balanced XLR connector  
Open Circuit Sensitivity (at 1 kHz)  
cardioid  
240°  
120°  
-36 dBV (0 dBV = 1 V/Pa), 16 mV/Pa  
-37 dBV (0 dBV = 1 V/Pa), 14 mV/Pa  
-35 dBV (0 dBV = 1 V/Pa), 18 mV/Pa  
20 Hz - 20 kHz  
omnidirectional  
figure eight  
250 Hz  
210°  
150°  
4000 Hz  
8000 Hz  
16000 Hz  
500 Hz  
180°  
1000 Hz  
2000 Hz  
Frequency response  
Level attenuation  
Low-Cut filter  
-10 dB (switchable)  
Polar pattern (omnidirectional)  
6 dB/oct. at 150 Hz (switchable)  
Max. SPL (1% THD @ 1 kHz)  
cardioid  
dB  
138 dB (0 dB), 148 dB (-10 dB)  
139 dB (0 dB), 149 dB (-10 dB)  
137 dB (0 dB), 147 dB (-10 dB)  
20.0  
10.0  
0.0  
omnidirectional  
figure eight  
-10.0  
-20.0  
Low cut  
Equivalent SPL (IEC 651)  
cardioid  
50.0 100.0  
1000.0  
10k 15k 20k Hz  
17 dB-A  
18 dB-A  
16 dB-A  
Frequency response (omnidirectional)  
omnidirectional  
figure eight  
0 dB  
330°  
30°  
-5 dB  
Signal-to-Noise Ratio  
cardioid  
-10 dB  
-15 dB  
-20 dB  
-25dB  
-30 dB  
77 dB, A-weighted  
76 dB, A-weighted  
78 dB, A-weighted  
<100 Ω  
300°  
60°  
omnidirectional  
figure eight  
270°  
90°  
Nominal impedance  
Load impedance  
>1 kΩ  
240°  
120°  
Mains Voltage/Fuse  
Supply voltage  
250 Hz  
500 Hz  
210°  
150°  
4000 Hz  
8000 Hz  
16000 Hz  
+48 V  
3 mA  
180°  
1000 Hz  
2000 Hz  
Supply current  
Physical/Weight  
Polar pattern (figure eight)  
Dimensions  
Ø head: 56 mm, Ø shaft: 50 mm,  
length: 210 mm  
dB  
Weight  
approx. 0.55 kg  
20.0  
10.0  
0.0  
-10.0  
-20.0  
Low cut  
50.0 100.0  
1000.0  
10k 15k 20k Hz  
Frequency response (figure eight)  
 
We Hear You  
 

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