Filter
Top Products
3 DUAL DIAPHRAGM CONDENSER MICROPHONE B-2 PRO User Manual
Power Supply1.
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.
Directivity2.
With the switch on the front, you can set your B-2 PRO to provide a cardioid,
omnidirectional or gure 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 specic
instruments or voices, please set the switch to the cardioid position (right).
The gure eight directivity pattern (center) is recommended, for example,
for choir miking. Thanks to the gure eight directivity pattern, your B-2 PRO picks
up more ambient signals than when it is set to the omnidirectional directivity.
Low-Cut Filter and Level 3.
Attenuation
The low-cut lter can be activated with the left switch on the rear, in order to
lter low-frequency interference such as pop sounds, etc. With the low-cut
lter 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.
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).
Mounting Microphone and 4.
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.
Audio Connection5.
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.
Level Setting/Adjusting the 6.
Basic Sound
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 lter and level attenuator should be o. Try to achieve the desired
sound by experimenting with the microphone position. Use the omnidirectional,
cardioid and gure 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!)
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 oor. On the contrary,
the B-2 PRO provides that much-desired transparency which often gets lost
during recording and mixing.
30°
60°
90°
120°
150°
180°
210°
240°
270°
300°
330°
-30 dB
-25dB
-15 dB
-20 dB
-10 dB
-5 dB
0 dB
250 Hz
500 Hz
2000 Hz
1000 Hz
4000 Hz
0°
8000 Hz
16000 Hz
Polar pattern (cardioid)
20.0
10.0
-10.0
-20.0
50.0 100.0 1000.0 10k 15k 20k Hz
0.0
Low cut
dB
Frequency response (cardioid)