Behringer B-2 Bedienungsanleitung

STUDIO CONDENSER MICROPHONE B-2

Users Manual

Version 1.1 May 2001

www.behringer.com

ENGLISH

STUDIO CONDENSER MICROPHONE B-2

1. SAFETY PRECAUTIONS

Detailed safety precautions:

Please read all safety precautions and operating instructions before you attempt to operate the unit.

Keep all safety precautions and operating instructions for future reference.

Water and moisture:

Condenser microphones are extremely moisture-sensitive. Never use your microphone in close

proximity to water (e.g. bath-tubs, wash-basins, sinks, washing machines, pools, etc.). When doing

voice recordings, always use the enclosed popscreen to safely protect the capsule from moisture.

Power supply:

lways use the power supply specified in the operating instructions.

Damage:

Take care not to drop your microphone as this can lead to severe damage. BEHRINGER assumes

no liability for any damage caused by the user.

Maintenance and care:

When the microphone is not in use, please take it out from its elastic suspension, clean it with a soft

cloth, and then place it in its case. Place the bag containing moisture-absorbing crystals close to the

microphone head.

Caution:

Never dismount the screen holding the capsule, as this can damage the microphone! Never try to

modify the printed circuit board inside your B-2! This can lead to microphone damage that cannot be

repaired. ny such attempt will void the warranty.

2. POWER SUPPLY

Your condenser mic B-2 needs a +48-V phantom power supply. Behringer assumes no liability for

any damage caused by a defective phantom power supply. lways mute the sound reinforcement

system before you switch on the phantom power supply. fter power-up, the B-2 needs about 6

seconds to stabilize.

3. DIRECTIVITY, LOW-CUT FILTER AND LEVEL

ATTENUATION

With the switch on the front, you can set your B-2 to provide an omnidirectional or cardioid 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).

1. S FETY PREC UTIONS

STUDIO CONDENSER MICROPHONE B-2

4. MOUNTING MICROPHONE ND EL STIC SUSPENSION

The low-cut filter can be activated with the switch on the rear (position: left), in order to filter low-

frequency interference such as pop sounds, etc. With the low-cut filter on, the B-2 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.

Use the same switch to activate the -10 dB level attenuator (position: right), which should be used

with pulse-type signal sources producing high sound pressure levels (e.g. kick drum). With the

switch set to its center position, both functions are disabled.

4. MOUNTING MICROPHONE AND ELASTIC SUSPENSION

ttach 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 from above.

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 features gold-plated contact points throughout, we recommend

that you use only microphone cables with gold-plated connectors.

6. LEVEL SETTING / AD USTING THE BASIC SOUND

djust 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 both omnidirectional and cardioid

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!)

The B-2 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 provides that much-desired transparency which often gets lost

during recording and mixing.

7. WARRANTY

+Please find our current warranty terms on our web site under http://www.behringer.com

or send us a request by e-mail [email protected]), fax +49 0) 2154 920665), or

telephone +49 0) 2154 920666).

STUDIO CONDENSER MICROPHONE B-2

8. SPECIFICATIONS

Transducer type: condenser, dual-diaphragm

Operating principle: pressure gradient

Polar pattern: omnidirectional / cardioid (switchable)

Connection: gold-plated balanced XLR connector

Open circuit voltage (at 1 kHz): -38 +/-2 dBV (0 dBV = 1 V/Pa)

Frequency response: 20 Hz - 20 kHz

Level attenuation: -10 dB (switchable)

Low-Cut filter: 6 dB/Oct. at 150 Hz (switchable)

Open circuit characteristic: 16 mV/Pa

Max. SPL (1% THD @ 1 kHz): 135 dB (0 dB), 145 dB (-10 dB)

Equivalent SPL (IEC 268-4): 18 dB-

Signal-to-noise ratio: 76 dB, -weighted

Nominal impedance: < 200 W

Load impedance: > 1000 W

Supply voltage: +48 V

Supply current: approx. 3.5 m

Dimensions: Æ head: 56 mm, Æ shaft: 50 mm, length: 210 mm

Weight: approx. 0.520 kg

Polar pattern Frequency response (omnidirectional)

Polar pattern Frequency response (cardioid)

BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be

made from time to time to e isting products without prior notice. Specifications and appearance may differ from those listed or

illustrated.

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