User Manual
DUAL DIAPHRAGM CONDENSER
MICROPHONE B-2 PRO
Gold-Sputtered Large Dual-Diaphragm Studio
Condenser Microphone
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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)
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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)
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