User’s Manual
Version 1.0 June 2003
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STUDIO CONDENSER MICROPHONE B-5
If you use the cardioid pattern capsule, the pickup pattern is
such that the sound produced by sources located in front of the
mic is strongly picked up, while sound sources to the side are
picked up less pronouncedly. Therefore, the cardioid pattern
capsule is ideal for directional pickup of acoustic instruments. It
is often used in recording situations in which several sound
sources are present. Since this capsule selectively tones down
the pickup of sounds located to the side of the microphone, this
way you can achieve good separation of sound sources, thus
easily avoiding feedback.
The so-called proximity effect is typical for microphones with
the cardioid pickup pattern. Depending on the distance between
the microphone and the sound source, a slight increase in the
lower frequency range occurs. The shorter the distance, the
more pronounced this effect. By cleverly selecting the position
and the angle of your microphone, you can effectively manipulate
the proximity effect and thus affect how your recording sounds.
Experiment with various positions in order to gain more
experience.
The proximity effect does not occur with the capsule featuring
the omnidirectional pickup pattern; its strength is its ultra-linear
frequency response. With this pickup pattern, your B-5 picks up
a large portion of diffuse ambience sound and is therefore
particularly well suited for atmospherical, natural-sounding
recordings. Similarly, you can also use the omnidirectional pickup
pattern capsule in situations in which several sound sources (e.
g. a group of singers) need to be picked up together.
4. LOW CUT-FILTER AND LEVEL ATTENUATION (-10 dB)
The B-5 features a switchable low-cut filter that eliminates low-
frequency noise such as floor rumble. Set the switch to its
middle position to activate the low-cut filter.
For situations in which the microphone is exposed to extremely
high sound pressure levels, the B-5 features a switchable level
attenuation (“pad”). When the switch is in its “-10 dB” position,
the level attenuation is activated.
When the switch is in its top-most position, the signal is not
influenced in any way.
4. LOW CUT-FILTERAND LEVELATTENUATION (-10 dB) 3
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STUDIO CONDENSER MICROPHONE B-5
5. MICROPHONE INSTALLATION
To properly attach your microphone to a microphone stand, a
clamp is included. First screw this clamp onto your stand before
attaching the microphone itself.
6. CHANGING MICROPHONE CAPSULES
When your B-5 leaves the assembly plant, it has the cardioid
pickup pattern capsule screwed onto its shaft. To loosen the
capsule, hold the shaft firmly and unscrew the capsule turning it
counter-clockwise.
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When installing a capsule, please make sure to
handle both the capsule and the microphone shaft
with attention and care to avoid damaging the
screw thread. In no situation should you ever
apply excessive force.
7. AUDIO CONNECTION
To connect the B-5 to your equipment, use a balanced XLR
microphone cable with the following pin assignment: Pin 1 =
shielding, pin 2 = +, pin 3 = -. Since all contact points of the B-5
are gold-plated, your microphone cable too should feature gold-
plated connectors, if possible.
8. LEVEL SETTING / ADJUSTING THE 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 filter and level attenuation
should be off. Try to achieve the desired sound by experimenting
with the microphone position. Often, it will be useful to set up
acoustic barriers (“baffles”) at various angles towards the signal
source. Only when the desired basic sound has been achieved,
should you start using equalizers and signal processors, if any
at all. Remember: less is often more!
9. WARRANTY
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For our current warranty terms and conditions,
please visit our website at http://
e-mail ([email protected]), fax (+49 2154 9206
4199), or telephone (+49 2154 9206 4166).
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9. WARRANTY
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STUDIO CONDENSER MICROPHONE B-5
10. SPECIFICATIONS
Transducer type:
true condenser, 18 mm
(0.71") single diaphragm
Operating principle:
cardioid:
omnidirectional:
Polar pattern:
pressure gradient
pressure operated
1 x cardioid
1 x omnidirectional,
exchangeable
Connection:
gold-plated balanced
XLR connector
Open circuit sensitivity (at 1 kHz):
cardioid:
-38 dBV (0 dBV = 1 V/Pa),
12.6mV/Pa
omnidirectional:
-40 dBV (0 dBV
= 1 V/Pa), 10 mV/Pa
20 Hz - 20 kHz
-10 dB (switchable)
6 dB/oct. at 150 Hz
(switchable)
Frequency response:
Level attenuation:
Low-cut filter:
Max. SPL (1% THD @ 1 kHz):
Equivalent SPL (IEC 651):
140 dB (0 dB)
150 dB (-10 dB)
16 dB-A (cardioid)
18 dB-A (omnidir.)
Signal-to-noise ratio:
cardioid:
78 dB A-weighted
76 dB A-weighted
70 Ω
omnidirectional:
Nominal impedance:
Load impedance:
Supply voltage:
Supply current:
Dimensions:
>1 kΩ
+48 V
3 mA
∅ shaft: 20 mm,
length: 120 mm
approx. 0.09 kg (0.21 lbs.)
Weight:
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 existing products without prior
notice. Specifications and appearance may differ from those listed or illustrated.
10. SPECIFICATIONS
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STUDIO CONDENSER MICROPHONE B-5
Polar pattern (cardioid)
Frequency response (cardioid)
Polar pattern (omnidirectional)
Frequency response (omnidirectional)
10. SPECIFICATIONS
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