Behringer B-5 User manual

STUDIO CONDENSER MICROPHONE B-5
Users Manual
Version 1.0 June 2003
ENGLISH

STUDIO CONDENSER MICROPHONE B-5 STUDIO C
24. LOW CUT-FILTER AND3. PICKUP PATTERNS
1. SAFETY PRECAUTIONS
Detailed safety precautions:
Please rea all safety precautions an operating instructions
before attempting to operate the unit. Keep all safety precautions
an operating instructions for future reference.
Water and moisture:
Con enser microphones are extremely moisture-sensitive. Never
use your microphone in close proximity to water (e.g. bath tubs,
wash basins, sinks, washing machines, pools, etc.). When oing
voice recor ings, always use the enclose popscreen to safely
protect the capsule from moisture.
Power supply:
Always use the power supply specifie in the operating
instructions.
Damage:
Take care not to rop your microphone as this can lea to severe
amage. BEHRINGER assumes no liability for any amage cause
by the user.
Service and care:
After each use, remove the microphone from its mount an wipe
it own with a soft cloth an place it back into its protective
casing (inclu e with the microphone). Then, lay the small bag
containing the moisture-absorbing cristals on top of the
microphone hea .
2. POWER SUPPLY
Phantom power (+48 V) is require to operate your microphone.
We assume no liability for amage cause to your B-5 through
effective phantom power. Before activating phantom power,
mute your playback system an connect the B-5 to the
microphone input of your mixing console. After activating phantom
power, the B-5 requires several secon s to stabilize itself.
3. PICKUP PATTERNS
Your B-5 was elivere with two capsules allowing ifferent
pickup patterns: car ioi ( ) an omni irectional ( ).

HONE B-5 STUDIO CONDENSER MICROPHONE B-5
34. LOW CUT-FILTER AND LEVEL ATTENUATION (-10 B)
If you use the car ioi pattern capsule, the pickup pattern is
such that the soun pro uce by sources locate in front of the
mic is strongly picke up, while soun sources to the si e are
picke up less pronounce ly. Therefore, the car ioi pattern
capsule is i eal for irectional pickup of acoustic instruments. It
is often use in recor ing situations in which several soun
sources are present. Since this capsule selectively tones own
the pickup of soun s locate to the si e of the microphone, this
way you can achieve goo separation of soun sources, thus
easily avoi ing fee back.
The so-calle proximity effect is typical for microphones with
the car ioi pickup pattern. Depen ing on the istance between
the microphone an the soun source, a slight increase in the
lower frequency range occurs. The shorter the istance, the
more pronounce this effect. By cleverly selecting the position
an the angle of your microphone, you can effectively manipulate
the proximity effect an thus affect how your recor ing soun s.
Experiment with various positions in or er to gain more
experience.
The proximity effect oes not occur with the capsule featuring
the omni irectional pickup pattern; its strength is its ultra-linear
frequency response. With this pickup pattern, your B-5 picks up
a large portion of iffuse ambience soun an is therefore
particularly well suite for atmospherical, natural-soun ing
recor ings. Similarly, you can also use the omni irectional pickup
pattern capsule in situations in which several soun sources (e.
g. a group of singers) nee to be picke 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
mi le position to activate the low-cut filter.
For situations in which the microphone is expose to extremely
high soun pressure levels, the B-5 features a switchable level
attenuation (pa ). When the switch is in its -10 B position,
the level attenuation is activate .
When the switch is in its top-most position, the signal is not
influence in any way.

STUDIO CONDENSER MICROPHONE B-5 STUDIO C
410. SPECI
9. WARRANTY
5. ICROPHONE INSTALLATION
To properly attach your microphone to a microphone stan , a
clamp is inclu e . First screw this clamp onto your stan before
attaching the microphone itself.
6. CHANGING ICROPHONE CAPSULES
When your B-5 leaves the assembly plant, it has the car ioi
pickup pattern capsule screwe onto its shaft. To loosen the
capsule, hol the shaft firmly an unscrew the capsule turning it
counter-clockwise.
+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 e cessive force.
7. AUDIO CONNECTION
To connect the B-5 to your equipment, use a balance XLR
microphone cable with the following pin assignment: Pin 1 =
shiel ing, pin 2 = +, pin 3 = -. Since all contact points of the B-5
are gol -plate , your microphone cable too shoul feature gol -
plate connectors, if possible.
8. LEVEL SETTING / ADJUSTING THE BASIC SOUND
A just 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 shoul be set to
mi -travel position to start with; low-cut filter an level attenuation
shoul be off. Try to achieve the esire soun by experimenting
with the microphone position. Often, it will be useful to set up
acoustic barriers (baffles) at various angles towar s the signal
source. Only when the esire basic soun has been achieve ,
shoul you start using equalizers an signal processors, if any
at all. Remember: less is often more!
9. WARRANTY
+For our current warranty terms and conditions,
please visit our website at http://
www.behringer.com or send us a request by
e-mail ([email protected]), fa ([phone]
4199), or telephone [phone]).

HONE B-5 STUDIO CONDENSER MICROPHONE B-5
510. SPECIFICATIONS
10. SPECIFICATIONS
Trans ucer type: true con enser, 18 mm
(0.71") single iaphragm
Operating principle:
car ioi : pressure gra ient
omni irectional: pressure operate
Polar pattern: 1 x car ioi
1 x omni irectional,
exchangeable
Connection: gol -plate balance
XLR connector
Open circuit sensitivity (at 1 kHz):
car ioi : -38 BV (0 BV = 1 V/Pa),
12.6 mV/Pa
omni irectional: -40 BV (0 BV
= 1 V/Pa), 10 mV/Pa
Frequency response: 20 Hz - 20 kHz
Level attenuation: -10 B (switchable)
Low-cut filter: 6 B/oct. at 150 Hz
(switchable)
Max. SPL (1% THD @ 1 kHz): 140 B (0 B)
150 B (-10 B)
Equivalent SPL (IEC 651): 16 B-A (car ioi )
18 B-A (omni ir.)
Signal-to-noise ratio:
car ioi : 78 B A-weighte
omni irectional: 76 B A-weighte
Nominal impe ance: 70 Ω
Loa impe ance: >1 kΩ
Supply voltage: +48 V
Supply current: 3 mA
Dimensions: ∅ shaft: 20 mm,
length: 120 mm
Weight: approx. 0.09 kg (0.21 lbs.)
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 e isting products without prior
notice. Specifications and appearance may differ from those listed or illustrated.

STUDIO CONDENSER MICROPHONE B-5 STUDIO C
6
Polar pattern (cardioid)
Frequency response (cardioid)
Polar pattern (omnidirectional)
Frequency response (omnidirectional)
10. SPECIFICATIONS