3
STUDIO CONDENSER MICROPHONE B-2
4. MOUNTING MICROPHONE ND EL STIC SUSPENSION
The low-cut filter can be activated with the switch on the rear (position: left), in order to filter low-
frequency interference such as pop sounds, etc. With the low-cut filter on, the B-2 provides an
almost linear frequency response with signals picked up at close proximity to the source. The built-
in shielding minimizes the microphones sensitivity to high-frequency interference.
Use the same switch to activate the -10 dB level attenuator (position: right), which should be used
with pulse-type signal sources producing high sound pressure levels (e.g. kick drum). With the
switch set to its center position, both functions are disabled.
4. MOUNTING MICROPHONE AND ELASTIC SUSPENSION
ttach the enclosed elastic suspension to the microphone stand. Fasten the screw, once the
suspension has been positioned properly. Open the elastic suspension by pressing the two circular
levers, then insert the B-2 from above.
5. AUDIO CONNECTION
Use a balanced XLR microphone cable with the following pin assignment: pin 1 = shielding;
pin 2 = +; pin 3 = -. Since your B-2 features gold-plated contact points throughout, we recommend
that you use only microphone cables with gold-plated connectors.
6. LEVEL SETTING / AD USTING THE BASIC SOUND
djust the gain control in the microphone channel of your mixing console so that the peak LED lights
up only occasionally or never at all. The EQ controls in the microphone channel should be set to
mid-travel position to start with; low-cut filter and level attenuator should be off. Try to achieve the
desired sound by experimenting with the microphone position. Use both omnidirectional and cardioid
directivity patterns (see chapter 3). Often, it will be useful to set up acoustic barriers (gobos) at
various angles towards the signal source. Only when the desired basic sound has been achieved,
should you start to use equalizers and signal processors, if any at all (Remember: less is often
more!)
The B-2 provides a level peak around 12 kHz producing some kind of presence in this range; so,
there is no need for high-frequency EQing which could deteriorate the signal and raise the overall
noise floor. On the contrary, the B-2 provides that much-desired transparency which often gets lost
during recording and mixing.
7. WARRANTY
+Please find our current warranty terms on our web site under http://www.behringer.com
telephone +49 0) 2154 920666).
