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

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ULTRAGAIN PRO MIC2200
1.2.4 The best of both orlds
Despite man efforts neither manufacturers nor developers have succeeded so far in simulating these positive
properties of the tube b means of other devices. Additionall , the natural capabilities of the tube to act as a
soft limiter can onl be mimicked with highl sophisticated circuitr . Toda s studio technolog requirements
are therefore met b a combination of both high-grade semiconductor and tube technologies. In this context,
tubes do not serve an longer their original purpose as amplifiers, but are used for the detailed shaping of the
sound.
1.2.5 Studio applications
In a recording studio tubes have not the same task as the have in an overdriven guitar amp, where the
considerabl higher saturation of the tube(s) leads to a full and often deliberate modification of the input signal
(in man cases combined with a heav increase in noise floor levels). In the studio more subtle effects are
needed. Here, tube circuits add life to the signals tonal character and increase its power to make itself heard.
Often, tubes also increase the signals perceived loudness (in relation to the unprocessed signal), i.e. the
perceived loudness goes up although the volume level remains the same. This is because the d namic range
of the applied audio signal is limited b the tube circuit, while the amplitude of the signal with the lowest
loudness is raised. Thus, increasing tube saturation produces a slight compression effect over the entire
d namic range.
A similar effect can be perceived when analog tape is saturated. This saturation effect also compresses the
recorded audio material and produces additional harmonics.
2. THE DESIGN CONCEPT
2.1 High uality components and design
The philosoph behind BEHRINGER products guarantees a no-compromise circuit design and emplo s the
best choice of components. The operational amplifiers NJM4580 which are used in the ULTRAGAIN PRO, are
exceptional. The boast extreme linearit and ver low distortion characteristics. To complement this design
the choice of components includes high tolerance resistors and capacitors, detent potentiometers and several
other stringentl selected elements.
For the first time, the ULTRAGAIN PRO MIC2200 uses SMD technolog (Surface Mounted Device). These
sub-miniature components known from aerospace technolog allow for an extreme packing densit , plus the
units reliabilit could be improved. Additionall , the unit is manufactured in compliance with a ISO9000
certified management s stem.
2.2 Inputs and outputs
2.2.1 Balanced inputs and outputs
As standard, the BEHRINGER ULTRAGAIN PRO is installed with electronicall servo-balanced inputs and
outputs. The new circuit design features automatic hum and noise reduction for balanced signals and thus
allows for trouble-free operation, even at high operating levels. Externall induced mains hum etc. will be
effectivel suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and
adjusts the nominal level internall to avoid level differences between the input and output signals (correction
6 dB).
3. INSTALLATION
Your BEHRINGER ULTRAGAIN PRO was carefull packed in the factor and the packaging was designed to
protect the unit from rough handling. Nevertheless, we recommend that ou carefull examine the packaging
and its contents for an signs of ph sical damage, which ma have occurred in transit.
+If the unit is damaged, please do not return it to us, but notify your dealer and the shipping
company immediately, other ise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
2. THE DESIGN CONCEPT

12
ULTRAGAIN PRO MIC2200
3.1 Rack mounting
The BEHRINGER ULTRAGAIN PRO fits into one standard 19" rack unit of space (1 3/4"). Please allow at least
an additional 4" depth for the connectors on the back panel. Be sure that there is enough air space around the
unit for cooling and please do not place the ULTRAGAIN PRO on high temperature devices such as power
amplifiers etc. to avoid overheating.
3.2 Mains voltage
Before you connect your ULTRAGAIN PRO to the mains, please make sure that your local voltage
matches the voltage required by the unit! The fuse holder on the female mains connector has 3 triangular
markers, with two of these triangles opposing each other. Your ULTRAGAIN PRO is set to the operating
voltage printed next to these markers, and can be set to another voltage b turning the fuse holder b 180°.
CAUTION: this instruction does not apply to export models exclusively designed, e.g. for 115 V op-
eration!
+Please refer to the specifications for detailed information about specific voltage supplies!
3.3 Audio connections
The audio inputs and outputs on the BEHRINGER ULTRAGAIN PRO are full balanced. If possible, connect
the unit to other devices in a balanced configuration to allow for maximum interference immunit .
+Please ensure that only qualified persons install and operate the ULTRAGAIN PRO. During
installation and operation the user must have sufficient electrical contact to earth. Electro-
static charges might affect the operation of the ULTRAGAIN PRO!
Unbalanced use of
mono 1/4" jack plugs
Ring
Balanced use of
stereo 1/4" jack plugs
Balanced use with XLR connectors
1 2
3
2 1
3
Input Output
Tip =
Signal Tip =
hot (+ve)
Sleeve =
Ground / Shield Sleeve =
Ground / Shield
Tip Tip
Sleeve Sleeve
Strain relief clamp Strain relief clamp
Ring =
cold (-ve)
For connection of balanced and
unbalanced plugs, ring and sleeve have
to be bridged at the stereo plug.
1 = Ground / Shield
2 = hot (+ve)
3 = cold (-ve)
For unbalanced use pin 1 and pin 3 have to be bridged
Fig. 3.1: Different plug types
3. INSTALLATION

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ULTRAGAIN PRO MIC2200
+Never use unbalanced XLR connections ith microphone cables, as this ould short-circuit
any phantom po er transmitted over these cables!
4. CONTROL ELEMENTS
4.1 Front panel control elements
Fig. 4.1: Control elements on the front panel
1This +48 V switch activates the +48 V phantom power circuit that uses the signal leads to suppl
condenser microphones with the required operating voltage.
+Please check the connected signal source for matching specifications before you s itch
phantom po er on, so as to avoid damage to the microphone, etc.
2Use the MIC/LINE switch to toggle between MIC and LINE modes. When the switch is pressed, the unit
works in MIC mode (now ou can press the +48 V switch if required; in LINE mode this function is
disabled).
+Please note that the input phone jack is disabled in MIC mode, i.e. you must use the XLR
connector to access the microphone amp.
3The MIC GAIN control is enabled in MIC mode onl and allows for appl ing gain from 10 to 60 dB to the
input signal. In view of the extremel high gain levels that can be applied, ou should verif that the gain
control is properl set before ou power up the unit. In case of doubt, set the control full counter-
clockwise, and start from there slowl raising the gain. High gain settings and the resulting levels can
damage subsequent devices.
4The CLIP LED signals that a level of at least +18 dBu is present after the microphone amp stage. With
too high a level the CLIP LED warns ou to reduce the gain with the MIC GAIN control, so as to avoid
distortion caused b overloading. During normal operation, the LED should not light up at all.
5With the PHASE REV. switch the input signal is reversed in phase b 180°. This function is available
both in MIC and LINE modes.
6When the high-pass filter is switched on (LO CUT switch pressed), the FREQUENCY control defines
the filters cut-off frequenc . With a setting range from 12 to 320 Hz the filters main task is to eliminate
bottom-end rumble noise, etc.
7The LO CUT switch activates/deactivates the high-pass filter.
The follo ing 6 control elements refer to the parametric equalizer only.
8The FREQUENCY control is used to select the frequenc to be modified. Please note that the frequenc
range can be lowered/raised with the switches x0.1 and x10. In this wa , ou can process the entire
audio range between 10 Hz and 20 kHz. With both switches out, the FREQUENCY control can be
swept over a range from 100 Hz to 2 kHz.
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14
ULTRAGAIN PRO MIC2200
9The x 0.1 switch lowers the working range of the FREQUENCY control to 10 - 200 Hz, so that ou can
process the bass end of the audio spectrum.
10 The x 10 switch raises the working range of the FREQUENCY control to 1 - 20 kHz, so that ou can
process the treble end of the audio spectrum.
11 The BANDWIDTH control determines the slope or qualit of the filter. Bandwidth ranges from 0.03
(Q = 43) to 2 octaves (Q = 0,67).
12 With the LEVEL control ou can set the amount of level reduction/gain applied to the filter. The setting
range is from -15 to +15 dB.
13 The EQ IN/OUT switch activates/deactivates the parametric EQ. Please switch the EQ off unless ou
need it for our specific audio application.
14 The OUTPUT control raises/lowers the output level of the device b a maximum of 20 dB (+/- 20 dB).
With the control in mid-travel position, no level change is applied. Available both in MIC and LINE
modes.
15 The OUTPUT LEVEL LED chain displa s the output level within a range from -30 to +18 dB. The displa
is referenced to a level of +4 dBu.
4.2 Rear panel control elements
Fig. 4.2: Rear panel elements of the ULTRAGAIN PRO
11 SERIAL NUMBER. Please take the time to fill in and return the warrant card within 14 da s after the
date of purchase, so as to benefit from our extended warrant . Or use our online registration option
available on the World Wide Web at www.behringer.com.
12 FUSE HOLDER / VOLTAGE SELECTOR. Please make sure that our local voltage matches the
voltage indicated on the unit, before ou attempt to connect and operate the ULTRAGAIN PRO. Blown
fuses ma onl be replaced b fuses of the same t pe and rating.
13 MAINS CONNECTION. Use the enclosed power cord to connect the unit to the mains. Please also note
the instructions given in the INSTALLATION chapter.
14 AUDIO IN. These are the audio inputs of our ULTRAGAIN PRO. The XLR connector is the common
mic/line input. The line input is based on jack connection.
15 AUDIO OUT. These are the audio outputs of our ULTRAGAIN PRO. Matching phone jack and XLR
connectors are wired in parallel.
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15
ULTRAGAIN PRO MIC2200
5. APPLICATIONS
This section describes some t pical applications of the BEHRINGER ULTRAGAIN PRO. Starting from the
following basic settings ou can use it to solve the majorit of audio problems.
Please take our time to stud the application examples, so as to be able to full exploit the ULTRAGAIN PRO
and its variet of features.
Basicall , the ULTRAGAIN PRO can be used in five areas of application:
1. Using the ULTRAGAIN PRO as a high-qualit microphone preamp.
2. Using the ULTRAGAIN PRO to convert home recording to studio levels, and vice versa.
3. Using the ULTRAGAIN PRO to balance unbalanced signals (DI box).
4. Using the ULTRAGAIN PRO as a parametric equalizer specificall tweaking the frequenc response.
5. Using the ULTRAGAIN PRO to enhance the sound of the program material b adding tube warmth.
5.1 The ULTRAGAIN PRO as a microphone preamplifier
Before ou can use the BEHRINGER ULTRAGAIN PRO as a preamp, we recommend that ou stud the
various functions of the device. The high gain factors provided b the microphone preamp can produce extreme
levels on the output side, which ma damage subsequent devices. So, ou should start with the following basic
setting:
5.1.1 Basic setting
Control elements position
+48 V switch OUT
MIC GAIN control 10 dB
MIC/LINE switch LINE
PHASE REV. Control OUT
LO CUT switch OUT
EQ IN/OUT switch OUT
OUTPUT control 0 dB
Tab. 5.1: Basic setting of the ULTRAGAIN PRO
Reduce the volume level of the subsequent audio s stem to a minimum, and connect a microphone to the XLR
input connector on the BEHRINGER ULTRAGAIN PRO. Use either the jack or XLR output connectors to
connect the audio s stem. Owing to its output-side servo balancing circuit, the ULTRAGAIN PRO detects
whether ou use a balanced or unbalanced configuration and adjusts the level internall .
Now, power up the entire equipment and press the MIC/LINE switch to activate the microphone preamp. If ou
wish to use a condenser mic requiring +48 V phantom power, please press the +48 V switch (to avoid electrical
damage, please read chapter 5.1.5 +48 V switch below).
5.1.2 MIC GAIN control
Configure the equipment according to the application on hand, speak into the microphone and turn the GAIN
control clockwise until the 0 dB LED lights up. If our DAT recorder, mixing console or other subsequent
devices have high-precision level meters, ou can use these to verif the correct level setting.
The maximum output level depends on the device that follows next in the audio chain, and must therefore be
set specificall . The high-precision level meter on the ULTRAGAIN PRO indicates the current operating level.
The CLIP LED lights up at a level of +18 dBu signaling that ou have an additional headroom of 5 dB available,
5. APPLICATIONS

16
ULTRAGAIN PRO MIC2200
before the microphone preamp starts overloading. If distortion/overloading occurs at high volume levels, ou
should reduce the gain with the MIC GAIN control.
5.1.3 PHASE REV. s itch
The PHASE REV. switch reverses the audio signals phase b 180°. Usuall , ou wont need this switch.
However, in some cases, it might be necessar to reverse the signal phase, for example, if a microphone cable
has been connected incorrectl (pins 2 and 3 interchanged), or if several microphones are used and specific
circumstances with regard to room acoustics are causing problems (e.g. frequenc cancellations are usuall
caused b phase problems). The phase reverse function will help ou locate and eliminate an such problem.
5.1.4 LO CUT function
When ou pick up acoustic signals with microphones, it is usuall necessar to eliminate low-end signal
portions, such as rumble or pop noise, or other interference frequencies. Often, such frequencies have ver
high amplitudes and do not onl deteriorate the sound qualit but can also damage the power amps or
speakers. Your ULTRAGAIN PRO features a tunable high-pass filter with a ver high slope. Press the LO CUT
switch and adjust the FREQUENCY control, so that an disturbing frequencies are faded out as much as
possible, with the least damage done to the actual audio signals. Press/release the LO CUT switch several
times to make an A/B comparison.
5.1.5 Phantom po er
Condenser microphones need a specific suppl voltage polarizing the condenser diaphragm. This voltage can
be furnished from an internal batter , or an external power suppl that is either connected directl to the
microphone or supplies the voltage through the microphone cable. In practice, this technique is usuall referred
to as +48 V or phantom power suppl , and uses the microphone cable to carr both the audio signal and the
suppl voltage required for the microphone.
Please read this chapter thoroughl : phantom power can damage the microphone, if used improperl .
Fig. 5.1: Functional diagram of phantom power supply
We speak of phantom power when a microphone cable is used to carr several signals, with a DC voltage
la ered on the actual audio signal. The t pical phantom DC voltage is +48 V, which is applied both to the
positive (pin 2) and negative inputs (pin 3) of the XLR connector, using current-limiting resistors. As the
phantom voltage is split up in a balanced configuration among the signal leads, there is no need to appl it
directl to the microphone transducer or the microphone itself, where it could damage the transducer and/or
capsule. In an unbalanced configuration, DC voltage would be applied directl , which would inevitabl lead to
disturbing noise or could even damage the electronics.
To eliminate this risk, the BEHRINGER ULTRAGAIN PRO automaticall disables the unbalanced phone jack
in MIC mode. Microphones can thus onl be connected to the XLR connector.
5. APPLICATIONS

17
ULTRAGAIN PRO MIC2200
Never switch on the +48 V suppl when ou use unbalanced microphones, as this could cause electrical
damage.
Some people hold that the sound of d namic microphones is affected when the +48 V suppl is on, or that
ribbon microphones cannot be operated from an input equipped with +48 V phantom power. None of these
statements is true. As a matter of fact, problems of this kind are caused b one of the following reasons:
1. When the output transformer of the microphone suffers from a short circuit or leakage current at an point,
disturbing noise, clicks or hum can occur. In this case, ou should have the microphone repaired.
2. When ou connect a microphone while the +48 V suppl is switched on, it cannot be guaranteed that both
signal leads of the XLR connectors establish the electrical contact precisel at the same point of time. There-
fore, detrimental current could flow because the connection is temporaril unbalanced. We recommend that
ou switch off the +48 V suppl before ou attempt to connect a microphone.
+Please make sure that you are using an appropriate microphone before you s itch on the
+48 V supply. Read the operating instructions accompanying the microphone. Some condenser
mics might need another type of po er supply, older dynamic microphones could be
damaged by the +48 V voltage, and unbalanced microphones should never be operated in
combination ith a +48 V po er supply.
5.2 The ULTRAGAIN PRO as a level translator
Semi-professional devices in hi-fi and home recording environments are usuall operated with a nominal level of
-10 dBV (0.316 V), while the level used in studios is 0 dBu (0.775 V) or +4 dBu (1.23 V). So, when ou connect
devices of both t pes to each other, ou should do this via some kind of level translator.
The BEHRINGER ULTRAGAIN PRO is excellentl suited for this application. In LINE mode, the OUTPUT
control allows ou to raise or lower the input signal level b as much as 20 dB. The functions PHASE REV. and
LO CUT are also enabled in this mode.
5.3 The ULTRAGAIN PRO as a direct-injection box
When electrical signals delivered b instruments such as guitars, ke boards, etc. are transported over long
unbalanced lines, the transmission qualit ma be affected b hum or other interference signals induced in the
cable. This problem is usuall encountered in studio or stage environments, where long cable lengths and
magnetic fields of great magnitude ma produce interference.
So-called direct-injection (DI) boxes are used to counter this effect: the DI box converts the unbalanced signal
coming from the instrument into a balanced signal that is sent over the line. Interference induced in balanced
cables is then eliminated b a subsequent differential amplifier (as explained in chapter 3.3).
Using the ULTRAGAIN PRO for this kind of application is eas . Simpl connect the line output of our
ke board to the phone jack input on the ULTRAGAIN PRO. Then use the ULTRAGAIN PROs balanced output
to send the signal to a stage box or other transmission chain. You can use both the XLR and phone jack
connectors of the ULTRAGAIN PRO. Set the unit to LINE mode, with an additional functions switched off (an
exception being the OUTPUT control which can be used to adjust levels, if necessar ).
5.4 The ULTRAGAIN PROs parametric e ualizer
In contrast to graphic equalizers with their fixed frequencies and qualities, parametric EQs allow for setting all
filter parameters, such as center frequenc , bandwidth and amplitude.
The possibilit of determining both the bandwidth and center frequenc as well as frequenc boost/cut adds a
new dimension to our EQ applications. The high precision of the state-variable filter used in the ULTRAGAIN
PRO enables ou to fine-tune frequencies and process our audio material in such a creative wa that has
been impossible up to now. The frequenc -selection feature allows ou to process the entire audio range from
20 Hz to 20 kHz.
Parametric equalizers can be used both as separate signal processors and in combination with conventional
1/3-oct. equalizers, for example, in a sound reinforcement s stem: while the 1/3-oct. equalizer does the
rough correction of the overall frequenc response, the ULTRAGAIN PRO could be used to fine-tune the
sound.
5. APPLICATIONS

18
ULTRAGAIN PRO MIC2200
Notching out specific interference frequencies and narrow-band resonances (uncontrolled frequenc peaks)
is one of the ULTRAGAIN PROs major tasks: b tuning the EQ in to the precise trouble frequenc ,
interference such as hum and noise caused b air conditioners, etc. can be eliminated without affecting
adjacent frequenc ranges. Basic acoustic problems usuall encountered in studios and stage s stems can
be solved elegantl with the ULTRAGAIN PRO.
It has proven useful in practice to start with all controls set to mid-travel position and the EQ IN/OUT switch set
to OUT, so as to avoid even before powering up the s stem that applied input signals with high amplitudes are
raised in level b the ULTRAGAIN PRO and hence lead to distortion or damage in subsequent devices or
speakers, or to anno ing feedback in P.A. s stems caused b improper basic settings.
Once the filter curve of our choice has been set, it can be necessar to correct the overall level. If the filter
setting used raises the overall level, ou can use the OUTPUT control to lower it again and avoid possible
distortion.
When the overall level is lowered b the filter setting, the OUTPUT control allows for raising it b a maximum
amount of +20 dB. Use the EQ IN/OUT switch for a direct A/B comparison, so that ou can estimate the
required amount of level compensation.
5.5 The ULTRAGAIN PRO as a tube interface
In our dail studio work, the ULTRAGAIN PRO can be used for a variet of applications that provide subtle
sound enhancement. For example, it gives percussion instruments more punch, or improves the
transparenc of other instruments, particularl those rich in upper harmonics. The source material is enriched
in sound volume and brilliance. Enhanced depth makes it easier to locate individual instruments. Vocal
sounds gain in presence and volume, without masking other instruments. Thus, voices become a more integral
part of the overall mix. S nthetic sound, especiall MIDI guitar sounds become more real and natural than
without the ULTRAGAIN PRO. So, with the ULTRAGAIN PRO ou can adopt a more active approach during
the mix-down process and work out subtleties, while focusing particularl on the musical aspects of our
recordings.
For this purpose, connect the device to the insert points on our mixing console or recording/pla back
machine, and operate the ULTRAGAIN PRO in LINE mode. If ou wish to use the tube function onl , make
sure that all PHASE REV., LO CUT and EQ IN/OUT switches are OUT. Set the OUTPUT control to mid-travel
position and enjo the warmth of pure tube sound.
5. APPLICATIONS

19
ULTRAGAIN PRO MIC2200
6. SPECIFICATIONS
AUDIO INPUT
Microphone
Connectors XLR
Type transformerless, DC-decoupled input
Impedance 3 k Ohms alanced
Maximum input level +10 dBu alanced and un alanced
CMRR typ. 40 dB, >55 dB @ 1 kHz
Line
Connectors XLR and 1/4" jack
Type transformerless, DC-decoupled input
Impedance 60 kOhms alanced
Maximum input level +23 dBu alanced and un alanced
CMRR typ. 40 dB, >55 dB @ 1kHz
AUDIO OUTPUT
Connectors XLR and 1/4" jack
Type electronically servo- alanced output stage
Impedance 60 Ohms alanced, 30 Ohms un alanced
Maximum output level +21 dBu alanced and un alanced
SYSTEM SPECIFICATIONS
Frequency response 10 Hz to 200 kHz, +/- 3 dB
Noise >94 dBu, unweighted, 22 Hz to 22 kHz
THD 0.011 % typ. @ +4 dBu, 1 kHz, Gain 1
IMD 0.01 % typ. SMPTE
Crosstalk <-88 dB, 22 Hz to 22 kHz
FUNCTION CONTROLS
Mic gain varia le (+10 dB to +60 dB)
Frequency (lo cut) varia le (12 to 320 Hz)
Frequency (PEQ) varia le (10 Hz to 20 kHz), dependent on x 10 and x 0.1 switch
Bandwidth varia le (0.03 to 2 octaves)
Level varia le (-15 dB to +15 dB)
Output varia le (-20 dB to +20 dB)
FUNCTION SWITCHES
+48 V activates phantom power
Mic/line switches from line to mic preamplifier
Phase rev. phase reverse (180°)
Lo cut activates the high-pass filter
x 0.1 switches the frequency control to 10 Hz - 200 Hz
x 10 switches the frequency control to 1 kHz - 20 kHz
EQ in/out activates the parametric filter
INDICATORS
Clip clipping control LED
Output level 12-segment LED display: -30/-24/-18/-12/-6/-3/0/+3/+6/+9/+12/+18 dB
function switch LED indicator of every switch
POWER SUPPLY
Mains voltages USA/Canada 120 V ~, 60 Hz
U.K./Australia 240 V ~, 50 Hz
Europe 230 V ~, 50 Hz
General Export Model 100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz
Power consumption max. 20 Watts
Fuse 100 - 120 V ~: T 500 mA H
200 - 240 V ~: T 250 mA H
Mains connection standard IEC receptacle
PHYSICAL
Dimensions (H * W * D) approx. 1 3/4" (44.5 mm) * 19" (482.6 mm) * 8 1/2" (217 mm)
Net weight approx. 3 kg
Shipping weight approx. 4.2 kg
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may e
made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or
illustrated.
6. SPECIFICATIONS

20
ULTRAGAIN PRO MIC2200
7. WARRANTY
The information contained in this manual is su ject to change without notice. No part of this manual may e reproduced or
transmitted in any form or y any means, electronic or mechanical, including photocopying and recording of any kind, for any
purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik Gm H.
BEHRINGER and ULTRAGAIN are registered trademarks.
ALL RIGHTS RESERVED. © 2001 BEHRINGER Spezielle Studiotechnik Gm H.
BEHRINGER Spezielle Studiotechnik Gm H, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany
Tel. [phone] / 92 06-0, Fax [phone] / 92 06-30
7. WARRANTY
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To e protected y the extended warranty, the uyer must com-
plete and return the enclosed warranty card within 14 days of
the date of purchase to BEHRINGER Spezielle Studiotechnik
Gm H, in accordance with the conditions stipulated in § 3. Fail-
ure to return the card in due time (date as per postmark) will void
any extended warranty claims.
Based on the conditions herein, the uyer may also choose to
use the online registration option via the Internet
(www. ehringer.com or www. ehringer.de).
§ 2 WARRANTY
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik Gm H in-
cluding all BEHRINGER su sidiaries listed on the enclosed page,
except BEHRINGER Japan) warrants the mechanical and elec-
tronic components of this product to e free of defects in mate-
rial and workmanship for a period of one (1) year from the
original date of purchase, in accordance with the warranty regu-
lations descri ed elow. If the product shows any defects within
the specified warranty period that are not due to normal wear
and tear and/or improper handling y the user, BEHRINGER shall,
at its sole discretion, either repair or replace the product.
2. If the warranty claim proves to e justified, the product will e
returned to the user freight prepaid.
3. Warranty claims other than those indicated a ove are ex-
pressly excluded.
§ 3 RETURN AUTHORIZATION NUMBER
1. To o tain warranty service, the uyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal usiness
hours BEFORE returning the product. All inquiries must e ac-
companied y a description of the pro lem. BEHRINGER will then
issue a return authorization num er.
2. Su sequently, the product must e returned in its original
shipping carton, together with the return authorization num er to
the address indicated y BEHRINGER.
3. Shipments without freight prepaid will not e accepted.
§ 4 WARRANTY REGULATIONS
1. Warranty services will e furnished only if the product is
accompanied y a copy of the original retail dealers invoice.
Any product deemed eligi le for repair or replacement y
BEHRINGER under the terms of this warranty will e repaired or
replaced within 30 days of receipt of the product at BEHRINGER.
2. If the product needs to e modified or adapted in order to
comply with applica le technical or safety standards on a na-
tional or local level, in any country which is not the country for
which the product was originally developed and manufactured,
this modification/adaptation shall not e considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not e held responsi le for any cost resulting
from such a modification/adaptation.
3. Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused y improper
handling of the product y the user.
This also applies to defects caused y normal wear and tear, in
particular, of faders, potentiometers, keys/ uttons and similar
parts.
4. Damages/defects caused y the following conditions are not
covered y this warranty:
smisuse, neglect or failure to operate the unit in compliance
with the instructions given in BEHRINGER user or service
manuals.
sconnection or operation of the unit in any way that does not
comply with the technical or safety regulations applica le in
the country where the product is used.
sdamages/defects caused y force majeure or any other
condition that is eyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out y unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product y BEHRINGER shows that the
defect in question is not covered y the warranty, the inspection
costs are paya le y the customer.
7. Products which do not meet the terms of this warranty will e
repaired exclusively at the uyers expense. BEHRINGER will
inform the uyer of any such circumstance. If the uyer fails to
su mit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also e invoiced sepa-
rately when the uyer has sent in a written repair order.
§ 5 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original uyer (cus-
tomer of retail dealer) and is not transfera le to anyone who
may su sequently purchase this product. No other person (re-
tail dealer, etc.) shall e entitled to give any warranty promise on
ehalf of BEHRINGER.
§ CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall
not entitle the uyer to claim (consequential) damages. In no
event shall the lia ility of BEHRINGER exceed the invoiced value
of the product.
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This warranty does not exclude or limit the uyers statutory
rights provided y national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The warranty regulations mentioned herein are applica le
unless they constitute an infringement of national warranty law.