Behringer MIC2200 Microphone User Manual


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5 ULTRAGAIN PRO MIC2200 User Manual
1. Introduction
With the ULTRAGAIN PRO you have purchased an extremely musical and exible
microphone preamplier. Our ULTRAGAIN range of devices has been a hit ever
since we introduced our rst model some 5 years ago. This high-end microphone
preamp is based on many years of experience and ndings in amplier
technology and is used throughout the world in renowned studios, sound
reinforcement systems as well as in broadcast and television studios. Improving
the legendary ULTRAGAIN even further was a real challenge, and we are proud of
our success. The BEHRINGER ULTRAGAIN PRO meets highest and no-compromise
requirements in terms of operation, sound, specications and workmanship.
Future-oriented BEHRINGER technology
Compared to its predecessor models, the ULTRAGAIN PRO not only has additional
features, but also boasts dramatically enhanced audio qualities. For example,
it uses a special tube stage to provide the program material with typical tube
“warmth”, and has a fully parametric equalizer per channel, which gives you even
more sound-processing exibility.
The heart of the ULTRAGAIN PRO is an extremely low-noise microphone preamp
circuit that uses discrete components to produce a highly transparent sound.
Incombination with our BEHRINGER tube technology, the operational ampliers
4580 and a sophisticated circuit topology, the ULTRAGAIN PRO yields excellent
noise and distortion properties! The switchable +48 V phantom power supply
allows for connecting almost any kind of microphone and suppresses power-up
thumps with its “soft mute” function.
BEHRINGER tube circuitry
Our engineering team has made it possible to enhance the traditional tube
circuitry (particularly for our ULTRAGAIN PRO) and adapt it to meet the
high sound quality and dynamics requirements of modern, pro-level audio
technology. The fact that we are still fascinated by “antique” tube radios and
amps as well as the ne and warm tonal character that we usually associate
with them, are the reasons why vacuum tubes have kept their ground even
in state-of-the-art circuit topologies used especially in professional audio
technology or so-called high-end devices. We are particularly proud that we have
found a highly eective symbiosis between solid-state and tube technologies
making them aordable to almost anybody in audio technology.
The parametric equalizer
Parametric equalizers represent the most advanced form of equalization systems.
Basically, the user has control over the three parameters that dene the so-called
Gaussian equalization curve: bandwidth, frequency and amplitude.
The ULTRAGAIN PRO’s on-board parametric equalizer combines the technical
properties of a parametric equalizer with those of a narrow-band notch lter.
Capable of eliminating feedback frequencies, a parametric equalizer is a
perfect match for a microphone preamp. Moreover, as its design is based on our
well-known ULTRA-Q, the ULTRAGAIN PRO’s audio qualities and specications
are well within the so-called “high-end” class. Its on-board equalizer can be used
not only to “tweak” the frequency response but also to creatively process audio
material, thus giving you undreamed of equalization exibility. Both in creative
audio-processing applications in recording and broadcast/TV studios, in video
post-production, and on stage, equalizers are highly ecient and all-purpose
audio tools ideally complementing microphone preamps.
The universal level translator
In addition to a high-grade microphone preamp, the ULTRAGAIN PRO features
a separate level translator which can both raise and lower line level signals.
Youcan use it to translate home recording to studio levels so as to easily connect
tape/video recorders and other hi- devices to professional equipment (and vice
versa, i.e. reducing studio levels to match those of semi-professional equipment).
◊ The following operational manual will introduce you to the BEHRINGER
ULTRAGAIN PRO and its various functions. After reading the manual
carefully, make sure it is always on hand for future reference.
1.1 Online registration
Please register your new BEHRINGER equipment right after your purchase
by visiting http://behringer.com and read the terms and conditions of our
warrantycarefully.
Should your BEHRINGER product malfunction, it is our intention to have it
repaired as quickly as possible. To arrange for warranty service, please contact
the BEHRINGER retailer from whom the equipment was purchased. Shouldyour
BEHRINGER dealer not be located in your vicinity, you may directly contact
one of our subsidiaries. Corresponding contact information is included in the
original equipment packaging (Global Contact Information/European Contact
Information). Should your country not be listed, please contact the distributor
nearest you. A list of distributors can be found in the support area of our website
(http://behringer.com).
Registering your purchase and equipment with us helps us process your repair
claims more quickly and eciently.
Thank you for your cooperation!
1.2 Technical background
By employing current modern analog technology it is possible to manufacture
audio equipment with a dynamic range of up to 130 dB. In contrast to analog
techniques, the dynamic range of digital equipment is approximately 25dB
less. With conventional record and tape recorder technology, as well as
broadcasting, this value is further reduced. Generally, dynamic restrictions are
due to noisy storage in transmission media and also the maximum headroom of
thesesystems.
1.2.1 Noise as a physical phenomenon
All electrical components produce a certain level of inherent noise.
Currentowing through a conductor leads to uncontrolled random electron
movements. For statistical reasons, this produces frequencies within the
whole audio spectrum. If these currents are highly amplied, the result will be
perceived as noise. Since all frequencies are equally aected, we term this white
noise. Itis fairly obvious that electronics cannot function without components.
Even if special low-noise components are used, a certain degree of basic noise
cannot beavoided.
This eect is similar when replaying a tape. The non-directional magnetic
particles passing the replay head can also cause uncontrolled currents and
voltages. The resulting sound of the various frequencies is heard as noise.
Even the best possible tape biasing can “only” provide signal-to-noise ratios of
about 70 dB, which is not acceptable today since the demands of listeners have
increased. Due to the laws of physics, improving the design of the magnetic
carrier is impossible using conventional means.
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