Behringer PROMIC2200 User manual

Users Manual
Version 1.2 March 2001
www.behringer.com
ENGLISH
ULTRAGAIN® PRO MIC2200

2
ULTRAGAIN PRO MIC2200
This s mbol, wherever it appears, alerts
ou to the presence of uninsulated
dangerous voltage inside the enclosure
- voltage that ma be sufficient to con-
stitute a risk of shock.
This s mbol, wherever it appears, alerts
ou to important operating and mainte-
nance instructions in the accompan ing
literature. Read the manual.
SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electrical shock, do not remove
the cover (or back). No user serviceable parts inside;
refer servicing to qualified personnel.
WARNING: To reduce the risk of fire or electrical shock, do not
expose this appliance to rain or moisture.
DETAILED SAFETY INSTRUCTIONS:
All the safet and operation instructions should be read before the appliance is operated.
Retain Instructions:
The safet and operating instructions should be retained for future reference.
Heed Warnings:
All warnings on the appliance and in the operating instructions should be adhered to.
Follo instructions:
All operation and user instructions should be followed.
Water and Moisture:
The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundr tub, in a wet
basement, or near a swimming pool etc.).
Ventilation:
The appliance should be situated so that its location or position does not interfere with its proper ventilaton. For
example, the appliance should not be situated on a bed, sofa rug, or similar surface that ma block the
ventilation openings: or placed in a built-in installation, such as a bookcase or cabinet that ma impede the
flow of air through the ventilation openings.
Heat:
The appliance should be situated awa from heat sources such as radiators, heat registers, stoves, or other
appliance (including amplifiers) that produce heat.
Po er Source:
The appliance should be connected to a power suppl onl of the t pe described in the operating instructions
or as marked on the appliance.
Grounding or Polarization:
Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.
Po er-Cord Protection:
Power suppl cords should be routed so that the are not likel to be walked on or pinched b items placed
upon or against them, pa ing particular attention to cords and plugs, convenience receptacles and the point
where the exit from the appliance.
Cleaning:
The appliance should be cleaned onl as recommended b the manufacturer.
Non-use Periods:
The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.
Object and Liquid Entry:
Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
Damage Requiring Service:
The appliance should be serviced b qualified service personnel when:
- The power suppl cord or the plug has been damaged; or
- Objects have fallen, or liquid has been spilled into the appliance; or
- The appliance has been exposed to rain; or
- The appliance does not appear to operate normall or exhibits a marked change in performance; or
- The appliance has been dropped, or the enclosure damaged.
Servicing:
The user should not attempt to service the appliance be ond that is described in the Operating Instructions. All
other servicing should be referred to qualifield service personnel.

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ULTRAGAIN PRO MIC2200
FOREWORD
Dear Customer,
Welcome to the team of ULTRAGAIN PRO users and thank ou ver much for expressing our confidence in
BEHRINGER products b purchasing this unit.
It is one of m most pleasant tasks to write this letter to ou, because it is the culmination of man months of
hard work delivered b our engineering team to reach a ver ambitious goal: making an outstanding device
better still. The ULTRAGAIN has for quite a long time been a standard tool used b numerous studios and P.A.
rental companies. The task to improve one of our best-selling products certainl meant a great deal of respon-
sibilit , which we assumed b focusing on ou, the discerning user and musician. It also meant a lot of work
and night shifts to accomplish this goal. But it was fun, too. Developing a product usuall brings a lot of people
together, and what a great feeling it is when ever bod who participated in such a project can be proud of what
weve achieved.
It is our philosoph to share our jo with ou, because ou are the most important member of the BEHRINGER
famil . With our highl competent suggestions for new products ouve greatl contributed to shaping our
compan and making it successful. In return, we guarantee ou uncompromising qualit (manufactured under
ISO9000 certified management s stem) as well as excellent technical and audio properties at an extremel
favorable price. All of this will enable ou to full unfold our creativit without being hampered b budget
constraints.
We are often asked how we can make it to produce such high-grade devices at such unbelievabl low prices.
The answer is quite simple: its ou, our customers! Man satisfied customers means large sales volumes
enabling us to get better conditions of purchase for components, etc. Isnt it onl fair to pass this benefit back
to ou? Because we know that our success is our success, too!
I would like to thank all people whose help on Project ULTRAGAIN PRO has made it all possible. Ever bod
has made ver personal contributions, starting from the designers of the unit via the man staff members in our
compan to ou, the user of BEHRINGER products.
M friends, its been worth the trouble!
Thank ou ver much,
Uli Behringer

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ULTRAGAIN PRO MIC2200
MIC2200
ULTRAGAIN PRO
Ultra low-noise discrete Microphone/Line Preamplifier
sMic input stages are based on super-high qualit , discrete conjugate transistor pair circuitr
sUltra-wide bandwidth from 2 Hz to 200 kHz for open sound
sBuilt-in high-qualit vacuum tube for outstanding, ultra-musical tube sound
sOur special vacuum tube circuitr warms up our music without unwanted noise
sTwo high-end Parametric EQs with centre frequenc , bandwidth and level being full user adjustable
sIndependent line driver to convert -10 dBV into +4 dBu pro level
sCompletel versatile DI-Box due to servo-balanced inputs and outputs
sSoft Mute +48 V Phantom Power to avoid switch-on thumps
sFull tunable and switchable 12 dB high-pass filter
sSwitchable Phase Reverse to correct phase problems
sUltra-low noise 4580 audio operational amplifiers for outstanding sound performance
sAccurate 12-segment LED metering for output level
sServo-balanced gold-plated XLR and 1/4" TRS inputs and outputs
sRela -controlled input switch for maximum signal integrit
sHigh-qualit detented potentiometers and illuminated switches
sManufactured under ISO9000 certified management s stem

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ULTRAGAIN PRO MIC2200
TABLE OF CONTENTS
1. INTRODUCTION..................................................................................................................... 6
1.1 Technical background ...................................................................................................................... 7
1.1.1 Noise as a ph sical phenomenon ......................................................................................... 7
1.1.2 What are audio d namics? ...................................................................................................7
1.2 The tube used in the ULTRAGAIN PRO ...........................................................................................8
1.2.1 Tube histor .......................................................................................................................... 8
1.2.2 Design and functional principle of tubes ................................................................................ 9
1.2.3 Properties of tubes .............................................................................................................. 10
1.2.4 The best of both worlds ........................................................................................................ 11
1.2.5 Studio applications ............................................................................................................... 11
2. THE DESIGN CONCEPT ..................................................................................................... 11
2.1 High qualit components and design .............................................................................................. 11
2.2 Inputs and outputs ......................................................................................................................... 11
2.2.1 Balanced inputs and outputs ................................................................................................11
3. INSTALLATION ..................................................................................................................... 11
3.1 Rack mounting .............................................................................................................................. 12
3.2 Mains voltage ................................................................................................................................12
3.3 Audio connections ........................................................................................................................ 12
4. CONTROL ELEMENTS ....................................................................................................... 13
4.1 Front panel control elements ......................................................................................................... 13
4.2 Rear panel control elements .......................................................................................................... 14
5. APPLICATIONS ..................................................................................................................... 15
5.1 The ULTRAGAIN PRO as a microphone preamplifier ..................................................................... 15
5.1.1 Basic setting....................................................................................................................... 15
5.1.2 MIC GAIN control ................................................................................................................ 15
5.1.3 PHASE REV. switch ........................................................................................................... 16
5.1.4 LO CUT function ................................................................................................................. 16
5.1.5 Phantom power ................................................................................................................... 16
5.2 The ULTRAGAIN PRO as a level translator .................................................................................... 17
5.3 The ULTRAGAIN PRO as a direct-injection box ............................................................................. 17
5.4 The ULTRAGAIN PROs parametric equalizer ................................................................................ 17
5.5 The ULTRAGAIN PRO as a tube interface ..................................................................................... 18
6. SPECIFICATIONS .................................................................................................................. 19
7. WARRANTY ........................................................................................................................... 20

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ULTRAGAIN PRO MIC2200
1. INTRODUCTION
With the ULTRAGAIN PRO ou have purchased an extremel musical and flexible microphone preamplifier.
Our ULTRAGAIN range of devices has been a hit ever since we introduced our first model some 5 ears ago.
This high-end microphone preamp is based on man ears of experience and findings in amplifier technolog
and is used throughout the world in renowned studios, sound reinforcement s stems as well as in broadcast
and television studios. Improving the legendar 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, specifications and workmanship.
Future-oriented BEHRINGER technology
Compared to its predecessor models, the ULTRAGAIN PRO not onl has additional features, but also boasts
dramaticall enhanced audio qualities. For example, it uses a special tube stage to provide the program
material with t pical tube warmth, and has a full parametric equalizer per channel, which gives ou even
more sound-processing flexibilit .
The heart of the ULTRAGAIN PRO is an extremel low-noise microphone preamp circuit that uses discrete
components to produce a highl transparent sound. In combination with our BEHRINGER tube technolog , the
operational amplifiers 4580 and a sophisticated circuit topolog , the ULTRAGAIN PRO ields excellent noise
and distortion properties! The switchable +48 V phantom power suppl allows for connecting almost an 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 circuitr (particularl for our
ULTRAGAIN PRO) and adapt it to meet the high sound qualit and d namics requirements of modern, pro-level
audio technolog . The fact that we are still fascinated b antique tube radios and amps as well as the fine and
warm tonal character that we usuall associate with them, are the reasons wh vacuum tubes have kept their
ground even in state-of-the-art circuit topologies used especiall in professional audio technolog or so-called
high-end devices. We are particularl proud that we have found a highl effective s mbiosis between solid-state
and tube technologies making them affordable to almost an bod in audio technolog .
The parametric equalizer
Parametric equalizers represent the most advanced form of equalization s stems. Basicall , the user has
control over the three parameters that define the so-called Gaussian equalization curve: bandwidth, frequenc
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 filter. 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 specifications are well within the so-called high-end
class. Its on-board equalizer can be used not onl to tweak the frequenc response but also to creativel
process audio material, thus giving ou undreamed of equalization flexibilit . Both in creative audio-processing
applications in recording and broadcast/TV studios, in video post-production, and on stage, equalizers are
highl efficient and all-purpose audio tools ideall 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 easil connect tape/video recorders and other hi-fi devices to professional equipment (and vice versa, i.e.
reducing studio levels to match those of semi-professional equipment).
+The follo ing operational manual ill introduce you to the BEHRINGER ULTRAGAIN PRO and
its various functions. After reading the manual carefully, make sure it is al ays on hand for
future reference.
1. INTRODUCTION

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ULTRAGAIN PRO MIC2200
1.1 Technical background
B emplo ing current modern analog technolog it is possible to manufacture audio equipment with a d namic
range of up to 130 dB. In contrast to analog techniques, the d namic range of digital equipment is
approximatel 25 dB less. With conventional record and tape recorder technolog , as well as broadcasting,
this value is further reduced. Generall , d namic restrictions are due to nois storage in transmission media
and also the maximum headroom of these s stems.
1.1.1 Noise as a physical phenomenon
All electrical components produce a certain level of inherent noise. Current flowing through a conductor leads
to uncontrolled random electron movements. For statistical reasons, this produces frequencies within the
whole audio spectrum. If these currents are highl amplified, the result will be perceived as noise. Since all
frequencies are equall affected, we term this white noise. It is fairl 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 effect is similar when repla ing a tape. The non-directional magnetic particles passing the repla 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 onl  provide signal-to-noise ratios of about 70 dB, which is not
acceptable toda since the demands of listeners have increased. Due to the laws of ph sics, improving the
design of the magnetic carrier is impossible using conventional means.
1.1.2 What are audio dynamics?
A remarkable feature of the human ear is that it can detect the most wide ranging amplitude changesfrom the
slightest whisper to the deafening roar of a jet-plane. If one tried to record or reproduce this wide spectrum of
sound with the help of amplifiers, cassette recorders, records or even digital recorders (CD, DAT etc.), one
would immediatel be restricted b the ph sical limitations of electronic and acoustic sound reproduction
technolog .
The usable d namic range of electro-acoustic equipment is limited as much at the low end as at the high end.
The thermal noise of the electrons in the components results in an audible basic noise floor and thus
represents the bottom limit of the transmission range. The upper limit is determined b the levels of the internal
operating voltages; if the are exceeded, audible signal distortion is the result. Although in theor , the usable
d namic range sits between these two limits, it is considerabl smaller in practice, since a certain reserve
must be maintained to avoid distortion of the audio signal if sudden level peaks occur. Technicall speaking,
we refer to this reserve as headroomusuall this is about 10 - 20 dB. A reduction of the operating level would
allow for greater headroom, i.e. the risk of signal distortion due to level peaks would be reduced. However, at
the same time, the basic noise floor of the program material would be increased considerabl .
Ear
Microphone Amplifier
Power Amplifier
Tape Recorder
Radio
Cassette
Recorder
P/dB
140
120
100
80
60
40
Fig. 1.1: The dynamic range capabilities of various devices
1. INTRODUCTION

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ULTRAGAIN PRO MIC2200
It is therefore useful to keep the operating level as high as possible without risking signal distortion in order to
achieve optimum transmission qualit .
t
P/dB
+20
0
-20
-40
-60
-80
Clipping
Headroom
Operating level
Effective SNR
Noise floor
Fig. 1.2: The interactive relationship between the operating level and the headroom
1.2 The tube used in the ULTRAGAIN PRO
A closer look at developments and trends in audio technolog shows that tubes are enjo ing a renaissance
toda , in a time when even amateur musicians are free to use digital effects processors and recording media,
and ever more affordable digital mixing consoles are becoming a natural part of the equipment of man semi-
professional studios. Manufacturers tr with ever new algorithms to get the most out of DSPs (Digital Signal
Processors), the heart of an digital s stem.
Still, man audio engineers, particularl old hands often prefer using both old and new tube-equipped devices.
As the want to use their warm sound character for their productions, the are read to accept that these little
darlings produce a higher noise floor than modern, transistor-based devices. As a consequence, ou can find
a variet of tube-based microphones, equalizers, preamps and compressors in toda s recording and
mastering environments. The combination of semiconductor and tube technologies gives ou the additional
possibilit of using the best of both worlds, while being able to make up for their specific drawbacks.
1.2.1 Tube history
Due to man patent litigations, it is difficult to determine exactl when the tube was born. First developments
in tube technolog were reported between 1904 and 1906. It was a research task of that time to find a suitable
method for receiving and rectif ing high frequencies. On April 12, 1905, a certain Mr. Fleming was granted a
patent for his hot-cathode valve which was based on Edisons incandescent lamp. This valve was used as a
rectifier for high-frequenc signals. Robert von Lieben was the first to discover (probabl b chance) that the
anode current can be controlled b means of a perforated metal plate (grid)one of the milestones in the
development of amplification tubes. In 1912, Robert van Lieben finall developed the first tube for the
amplification of low-frequenc signals. Initiall , the biggest problem was to produce sufficient volume levels,
which is wh resonance step-ups (though impairing the frequenc response) were used to maximize the
attainable volume. Later, the objective was to optimize the electroacoustic transducers of amplifiers in such a
wa that a broad frequenc band could be transmitted with the least distortion possible.
However, a tube-specific problem is its non-linear amplification curve, i.e. it modifies the sound character of the
source material. Despite all efforts to ensure a largel linear frequenc response, it had to be accepted that
tube devices produce a bad sound. Additionall , the noise floor generated b the tubes limited the usable
d namics of connected storage media (magnetic tape machines). Thus, a one-to-one reproduction of the audio
signals d namics (expressed as the difference between the highest and lowest loudness levels of the program
material) proved impossible. To top it all, tube devices required the use of high-qualit and often costl
transducers and sophisticated voltage supplies.
1. INTRODUCTION

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ULTRAGAIN PRO MIC2200
With the introduction of semiconductor technologies in the field of audio amplification, it soon became clear
that the tube would have to give wa to the transistor, as this device featured an enormousl enhanced signal-
to-noise ratio, required a less complex power suppl and ielded an improved frequenc response. Plus,
semiconductor-based circuits can be realized much more easil for less mone .
Two decades later, the introduction of binar signal processing meant the beginning of a new era of recording
media that provided plent of d namic response and allowed for the loss-free cop ing of audio signals. As
digital media were enhanced, however, man people began to miss the warmth, power and liveliness the
knew from analog recordings. This is wh purists still toda consider digital recordings as sterile in sound.
1.2.2 Design and functional principle of tubes
Tubes can be roughl classified according to the number of electrodes the use. There are tubes with two,
three or five electrodes usuall referred to as diodes, triodes or pentodes.
Fig. 1.3: diode
The diode contains two electrodes in a vacuum glass bulb that have electrical connection to the outside. The
vacuum allows for a free movement of electrons. When one of the electrodes is heated up (= thus becoming a
cathode), it begins to emit electrons. When a positive DC voltage is applied to the other electrode (= anode),
the negative electrons start to migrate from the cathode to the anode. With reverse polarit between cathode
and anode, a current flow is not possible because the unheated anode emits more or less no electrons. This
design was used, for example, as a rectifier in the power supplies of amplifiers. The magnitude and velocit of
the flow of electrons depend on the cathodes temperature, the material it consists of, and the magnitude of the
anode voltage. When the electrons hit the anode the produce heat that is dissipated b using large anode
plates.
Fig. 1.4: triode
The triode has an additional metal grid between anode and cathode. B appl ing a negative voltage, this grid
can be used to control the internal resistance of the tube, and hence the anode current. When the grid bias
voltage (voltage between cathode and grid) becomes negative, the current flowing to the anode is reduced
because the negativel charged grid repels the arriving electrons. As a consequence, there are less electrons
to reach the anode. When the bias voltage is raised towards zero, the flow of electrons accelerates. When it
finall becomes zero or even positive, the grid current begins to flow which considerabl reduces the current
flowing to the anode and can possibl destro the tube. Triodes are most commonl used in preamps, often in
pairs arranged in one tube (twin triode).
1. INTRODUCTION

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ULTRAGAIN PRO MIC2200
Fig. 1.5: pentode
In a triode the capacitance between grid and anode is a problem with regard to high frequencies and large
amplification factors. For this reason, the pentode has a positivel charged screen grid between the control grid
and the anode. However, the positive charge of the screen grid attracts electrons emitted from the anode plate
when it is hit b arriving electrons. To prevent this electron emission, a decelerating or suppressor grid is
placed between anode and screen grid. As it is negativel charged it blocks the electrons, so that the cannot
reach the screen grid. Pentodes are most commonl used in power stages.
1.2.3 Properties of tubes
In general, the saturation (overdriving) of both transistor and tube-based circuits results in various t pes of
distortion. These phenomena are quite complex in the real world, but for the sake of a straightforward
mathematical description we are going to classif them as linear and non-linear distortion. Linear distortion is
produced b frequenc -dependent amplification or attenuation processes such as the occur in all kinds of
filters and equalizers. Linear-distortion signals have the same frequenc portions both on the input and output
sides, but with different phase positions and amplitudes. Non-linear distortions have additional harmonics and
distortion components that were not contained in the original input signal.
For example, when the simplest of all oscillations, a sine wave with a fixed frequenc f, is overdriven, new
oscillations with frequencies of 2 f, 3 f, etc. (integral multiples of the original frequenc ) are produced. These
new frequencies are referred to as upper harmonics grouped as odd and even harmonics.
Unlike the transistor, saturated tubes mostl produce even harmonics which are perceived b the human ear
as more pleasant in sound than odd harmonics. Another important aspect lies in the fact that tubes produce
distortion more graduall than transistors, which is wh we speak of the saturation of a tube stage. When ou
overdrive a transistor ou get a sudden square deformation of the sine signal applied at the input, which
produces an extreme harmonic spectrum at the output.
Non-linear distortions are measured with a distortion factor that consists of the total harmonic distortion [k] and
partial harmonic distortions [kn]. The latter are defined as the ratio between the voltage of a single harmonic and
the voltage of the distorted overall signal. Thus, the content of even harmonics is expressed as k2, k4, ... and
that of odd harmonics as k1, k3, ... .
U
U
kn
n=
Formula for calculating partial harmonic distortion
The total harmonic distortion is the root of all squared distortion factors of the second and third degrees. Since
the higher harmonics have onl little impact on the measured results, the can be neglected.
kkk=+
2
23 2
Formula for calculating total harmonic distortion
In tube circuits the distortion factor k2 is used to describe an effect which the human ear classifies as
pleasant. Also the frequenc bands in which distortion occurs pla an important role because the human ear
differentiates ver clearl , in particular, in the frequenc range of human speech.
1. INTRODUCTION