MIC2200

Users Manual

Version 1.2 March 2001

ULTRAGAIN PRO

www.behringer.com

ENGLISH

ULTRAGAIN PRO MIC2200

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. This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to constitute a risk of shock. This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Read the manual.
DETAILED SAFETY INSTRUCTIONS: All the safety and operation instructions should be read before the appliance is operated. Retain Instructions: The safety 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. Follow 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, laundry 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 may block the ventilation openings: or placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings. Heat: The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliance (including amplifiers) that produce heat. Power Source: The appliance should be connected to a power supply only of the type 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. Power-Cord Protection: Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point where they exit from the appliance. Cleaning: The appliance should be cleaned only as recommended by 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 by qualified service personnel when: - The power supply 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 normally 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 beyond that is described in the Operating Instructions. All other servicing should be referred to qualifield service personnel.

FOREWORD

Dear Customer, Welcome to the team of ULTRAGAIN PRO users and thank you very much for expressing your confidence in BEHRINGER products by purchasing this unit. It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of hard work delivered by our engineering team to reach a very ambitious goal: making an outstanding device better still. The ULTRAGAIN has for quite a long time been a standard tool used by numerous studios and P.A. rental companies. The task to improve one of our best-selling products certainly meant a great deal of responsibility, which we assumed by focusing on you, 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 usually brings a lot of people together, and what a great feeling it is when everybody who participated in such a project can be proud of what weve achieved. It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER family. With your highly competent suggestions for new products youve greatly contributed to shaping our company and making it successful. In return, we guarantee you uncompromising quality (manufactured under ISO9000 certified management system) as well as excellent technical and audio properties at an extremely favorable price. All of this will enable you to fully unfold your creativity without being hampered by budget constraints. We are often asked how we can make it to produce such high-grade devices at such unbelievably low prices. The answer is quite simple: its you, our customers! Many satisfied customers means large sales volumes enabling us to get better conditions of purchase for components, etc. Isnt it only fair to pass this benefit back to you? Because we know that your success is our success, too! I would like to thank all people whose help on Project ULTRAGAIN PRO has made it all possible. Everybody has made very personal contributions, starting from the designers of the unit via the many staff members in our company to you, the user of BEHRINGER products.
My friends, its been worth the trouble! Thank you very much,

Uli Behringer

Ultra low-noise discrete Microphone/Line Preamplifier
s Mic input stages are based on super-high quality, discrete conjugate transistor pair circuitry s Ultra-wide bandwidth from 2 Hz to 200 kHz for open sound
s Built-in high-quality vacuum tube for outstanding, ultra-musical tube sound
s Our special vacuum tube circuitry warms up your music without unwanted noise
s Two high-end Parametric EQs with centre frequency, bandwidth and level being fully user adjustable s Independent line driver to convert -10 dBV into +4 dBu pro level s Completely versatile DI-Box due to servo-balanced inputs and outputs s Soft Mute +48 V Phantom Power to avoid switch-on thumps s Fully tunable and switchable 12 dB high-pass filter s Switchable Phase Reverse to correct phase problems

s Ultra-low noise 4580 audio operational amplifiers for outstanding sound performance s Accurate 12-segment LED metering for output level s Servo-balanced gold-plated XLR and 1/4" TRS inputs and outputs s Relay-controlled input switch for maximum signal integrity s High-quality detented potentiometers and illuminated switches s Manufactured under ISO9000 certified management system 4

TABLE OF CONTENTS

1. INTRODUCTION....6
1.1 Technical background..... 7 1.1.1 Noise as a physical phenomenon.... 7 1.1.2 What are audio dynamics?.... 7 1.2 The tube used in the ULTRAGAIN PRO... 8 1.2.1 Tube history.... 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 quality 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... 5.1.1 Basic setting.... 5.1.2 MIC GAIN control.... 5.1.3 PHASE REV. switch.... 5.1.4 LO CUT function..... 5.1.5 Phantom power.... 5.2 The ULTRAGAIN PRO as a level translator... 5.3 The ULTRAGAIN PRO as a direct-injection box.... 5.4 The ULTRAGAIN PROs parametric equalizer... 5.5 The ULTRAGAIN PRO as a tube interface... 17 18
6. SPECIFICATIONS.... 19 7. WARRANTY..... 20

1. INTRODUCTION

With the ULTRAGAIN PRO you have purchased an extremely musical and flexible microphone preamplifier. Our ULTRAGAIN range of devices has been a hit ever since we introduced our first model some 5 years ago. This high-end microphone preamp is based on many years of experience and findings in amplifier technology and is used throughout the world in renowned studios, sound reinforcement systems as well as in broadcast and television studios. Improving the legendary 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 only has additional features, but also boasts dramatically enhanced audio qualities. For example, it uses a special tube stage to provide the program material with typical tube warmth, and has a fully parametric equalizer per channel, which gives you even more sound-processing flexibility. The heart of the ULTRAGAIN PRO is an extremely low-noise microphone preamp circuit that uses discrete components to produce a highly transparent sound. In combination with our BEHRINGER tube technology, the operational amplifiers 4580 and a sophisticated circuit topology, the ULTRAGAIN PRO yields excellent noise and distortion properties! The switchable +48 V phantom power supply allows for connecting almost any 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 circuitry (particularly for our ULTRAGAIN PRO) and adapt it to meet the high sound quality and dynamics requirements of modern, pro-level audio technology. The fact that we are still fascinated by antique tube radios and amps as well as the fine and warm tonal character that we usually associate with them, are the reasons why vacuum tubes have kept their ground even in state-of-the-art circuit topologies used especially in professional audio technology or so-called high-end devices. We are particularly proud that we have found a highly effective symbiosis between solid-state and tube technologies making them affordable to almost anybody in audio technology. The parametric equalizer Parametric equalizers represent the most advanced form of equalization systems. Basically, the user has control over the three parameters that define the so-called Gaussian equalization curve: bandwidth, frequency and amplitude. The ULTRAGAIN PROs 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 PROs audio qualities and specifications are well within the so-called high-end class. Its on-board equalizer can be used not only to tweak the frequency response but also to creatively process audio material, thus giving you undreamed of equalization flexibility. Both in creative audio-processing applications in recording and broadcast/TV studios, in video post-production, and on stage, equalizers are highly efficient and all-purpose audio tools ideally 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 easily 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 following operational manual will introduce you to the BEHRINGER ULTRAGAIN PRO and its various functions. After reading the manual carefully, make sure it is always on hand for future reference.

1.1 Technical background

By employing current modern analog technology it is possible to manufacture audio equipment with a dynamic range of up to 130 dB. In contrast to analog techniques, the dynamic range of digital equipment is approximately 25 dB less. With conventional record and tape recorder technology, as well as broadcasting, this value is further reduced. Generally, dynamic restrictions are due to noisy storage in transmission media and also the maximum headroom of these systems. 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 highly amplified, the result will be perceived as noise. Since all frequencies are equally affected, we term this white noise. It is fairly 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 replaying a tape. The non-directional magnetic particles passing the replay 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 only provide signal-to-noise ratios of about 70 dB, which is not acceptable today since the demands of listeners have increased. Due to the laws of physics, 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 changesfrom 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 immediately be restricted by the physical limitations of electronic and acoustic sound reproduction technology. The usable dynamic 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 by the levels of the internal operating voltages; if they are exceeded, audible signal distortion is the result. Although in theory, the usable dynamic range sits between these two limits, it is considerably smaller in practice, since a certain reserve must be maintained to avoid distortion of the audio signal if sudden level peaks occur. Technically speaking, we refer to this reserve as headroomusually 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 considerably.

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 only little impact on the measured results, they can be neglected.

k = k2 + k3

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 frequency bands in which distortion occurs play an important role because the human ear differentiates very clearly, in particular, in the frequency range of human speech. 10 1. INTRODUCTION
ULTRAGAIN PRO MIC2200 1.2.4 The best of both worlds Despite many efforts neither manufacturers nor developers have succeeded so far in simulating these positive properties of the tube by means of other devices. Additionally, the natural capabilities of the tube to act as a soft limiter can only be mimicked with highly sophisticated circuitry. Todays studio technology requirements are therefore met by a combination of both high-grade semiconductor and tube technologies. In this context, tubes do not serve any 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 they have in an overdriven guitar amp, where the considerably higher saturation of the tube(s) leads to a full and often deliberate modification of the input signal (in many cases combined with a heavy increase in noise floor levels). In the studio more subtle effects are needed. Here, tube circuits add life to the signals tonal character and increase its power to make itself heard. Often, tubes also increase the signals 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 dynamic range of the applied audio signal is limited by 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 dynamic 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 quality components and design

The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the best choice of components. The operational amplifiers NJM4580 which are used in the ULTRAGAIN PRO, are exceptional. They boast extreme linearity and very low distortion characteristics. To complement this design the choice of components includes high tolerance resistors and capacitors, detent potentiometers and several other stringently selected elements. For the first time, the ULTRAGAIN PRO MIC2200 uses SMD technology (Surface Mounted Device). These sub-miniature components known from aerospace technology allow for an extreme packing density, plus the units reliability could be improved. Additionally, the unit is manufactured in compliance with a ISO9000 certified management system.

2.2 Inputs and outputs

2.2.1 Balanced inputs and outputs As standard, the BEHRINGER ULTRAGAIN PRO is installed with electronically 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. Externally induced mains hum etc. will be effectively suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and adjusts the nominal level internally to avoid level differences between the input and output signals (correction 6 dB).

3. INSTALLATION

Your BEHRINGER ULTRAGAIN PRO was carefully packed in the factory and the packaging was designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may 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, otherwise claims for damage or replacement may not be granted. Shipping claims must be made by the consignee. 2. THE DESIGN CONCEPT 11

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 by turning the fuse holder by 180. CAUTION: this instruction does not apply to export models exclusively designed, e.g. for 115 V operation!
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 fully balanced. If possible, connect the unit to other devices in a balanced configuration to allow for maximum interference immunity.
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. Electrostatic charges might affect the operation of the ULTRAGAIN PRO!
Unbalanced use of mono 1/4" jack plugs

Tip = Signal

Balanced use of stereo 1/4" jack plugs
Tip = hot (+ve) Ring = cold (-ve)

Sleeve = Ground / Shield

Tip Sleeve Strain relief clamp

Ring Sleeve

Strain relief clamp For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.
Balanced use with XLR connectors
1 = Ground / Shield 2 = hot (+ve) 3 = cold (-ve)

Output

Input For unbalanced use pin 1 and pin 3 have to be bridged
Fig. 3.1: Different plug types 12 3. INSTALLATION
Never use unbalanced XLR connections with microphone cables, as this would short-circuit any phantom power transmitted over these cables!

4. CONTROL ELEMENTS

4.1 Front panel control elements
Fig. 4.1: Control elements on the front panel
This +48 V switch activates the +48 V phantom power circuit that uses the signal leads to supply condenser microphones with the required operating voltage. Please check the connected signal source for matching specifications before you switch phantom power on, so as to avoid damage to the microphone, etc. Use the MIC/LINE switch to toggle between MIC and LINE modes. When the switch is pressed, the unit works in MIC mode (now you 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. The MIC GAIN control is enabled in MIC mode only and allows for applying gain from 10 to 60 dB to the input signal. In view of the extremely high gain levels that can be applied, you should verify that the gain control is properly set before you power up the unit. In case of doubt, set the control fully counterclockwise, and start from there slowly raising the gain. High gain settings and the resulting levels can damage subsequent devices. The 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 you to reduce the gain with the MIC GAIN control, so as to avoid distortion caused by overloading. During normal operation, the LED should not light up at all. With the PHASE REV. switch the input signal is reversed in phase by 180. This function is available both in MIC and LINE modes. When the high-pass filter is switched on (LO CUT switch pressed), the FREQUENCY control defines the filters cut-off frequency. With a setting range from 12 to 320 Hz the filters main task is to eliminate bottom-end rumble noise, etc. The LO CUT switch activates/deactivates the high-pass filter.

The following 6 control elements refer to the parametric equalizer only.
The FREQUENCY control is used to select the frequency to be modified. Please note that the frequency range can be lowered/raised with the switches x0.1 and x10. In this way, you 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. 4. CONTROL ELEMENTS 13
The x 0.1 switch lowers the working range of the FREQUENCY control to 10 - 200 Hz, so that you can process the bass end of the audio spectrum. The x 10 switch raises the working range of the FREQUENCY control to 1 - 20 kHz, so that you can process the treble end of the audio spectrum. The BANDWIDTH control determines the slope or quality of the filter. Bandwidth ranges from 0.03 (Q = 43) to 2 octaves (Q = 0,67). With the LEVEL control you can set the amount of level reduction/gain applied to the filter. The setting range is from -15 to +15 dB. The EQ IN/OUT switch activates/deactivates the parametric EQ. Please switch the EQ off unless you need it for your specific audio application. The OUTPUT control raises/lowers the output level of the device by 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. The OUTPUT LEVEL LED chain displays the output level within a range from -30 to +18 dB. The display is referenced to a level of +4 dBu.
4.2 Rear panel control elements
Fig. 4.2: Rear panel elements of the ULTRAGAIN PRO
SERIAL NUMBER. Please take the time to fill in and return the warranty card within 14 days after the date of purchase, so as to benefit from our extended warranty. Or use our online registration option available on the World Wide Web at www.behringer.com. FUSE HOLDER / VOLTAGE SELECTOR. Please make sure that your local voltage matches the voltage indicated on the unit, before you attempt to connect and operate the ULTRAGAIN PRO. Blown fuses may only be replaced by fuses of the same type and rating. MAINS CONNECTION. Use the enclosed power cord to connect the unit to the mains. Please also note the instructions given in the INSTALLATION chapter. AUDIO IN. These are the audio inputs of your ULTRAGAIN PRO. The XLR connector is the common mic/line input. The line input is based on jack connection. AUDIO OUT. These are the audio outputs of your ULTRAGAIN PRO. Matching phone jack and XLR connectors are wired in parallel.

5. APPLICATIONS

This section describes some typical applications of the BEHRINGER ULTRAGAIN PRO. Starting from the following basic settings you can use it to solve the majority of audio problems. Please take your time to study the application examples, so as to be able to fully exploit the ULTRAGAIN PRO and its variety of features. Basically, the ULTRAGAIN PRO can be used in five areas of application: 1. 2. 3. 4. 5. Using the ULTRAGAIN PRO as a high-quality microphone preamp. Using the ULTRAGAIN PRO to convert home recording to studio levels, and vice versa. Using the ULTRAGAIN PRO to balance unbalanced signals (DI box). Using the ULTRAGAIN PRO as a parametric equalizer specifically tweaking the frequency response. Using the ULTRAGAIN PRO to enhance the sound of the program material by adding tube warmth.
5.1 The ULTRAGAIN PRO as a microphone preamplifier
Before you can use the BEHRINGER ULTRAGAIN PRO as a preamp, we recommend that you study the various functions of the device. The high gain factors provided by the microphone preamp can produce extreme levels on the output side, which may damage subsequent devices. So, you should start with the following basic setting: 5.1.1 Basic setting
Control elements +48 V switch MIC GAIN control MIC/LINE switch PHASE REV. Control LO CUT switch EQ IN/OUT switch OUTPUT control position OUT 10 dB LINE OUT OUT OUT 0 dB
Tab. 5.1: Basic setting of the ULTRAGAIN PRO Reduce the volume level of the subsequent audio system 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 system. Owing to its output-side servo balancing circuit, the ULTRAGAIN PRO detects whether you use a balanced or unbalanced configuration and adjusts the level internally. Now, power up the entire equipment and press the MIC/LINE switch to activate the microphone preamp. If you 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 your DAT recorder, mixing console or other subsequent devices have high-precision level meters, you can use these to verify the correct level setting. The maximum output level depends on the device that follows next in the audio chain, and must therefore be set specifically. 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 you have an additional headroom of 5 dB available, 5. APPLICATIONS 15

5.4 The ULTRAGAIN PROs parametric equalizer
In contrast to graphic equalizers with their fixed frequencies and qualities, parametric EQs allow for setting all filter parameters, such as center frequency, bandwidth and amplitude. The possibility of determining both the bandwidth and center frequency as well as frequency boost/cut adds a new dimension to your EQ applications. The high precision of the state-variable filter used in the ULTRAGAIN PRO enables you to fine-tune frequencies and process your audio material in such a creative way that has been impossible up to now. The frequency-selection feature allows you 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 system: while the 1/3-oct. equalizer does the rough correction of the overall frequency response, the ULTRAGAIN PRO could be used to fine-tune the sound. 5. APPLICATIONS 17
ULTRAGAIN PRO MIC2200 Notching out specific interference frequencies and narrow-band resonances (uncontrolled frequency peaks) is one of the ULTRAGAIN PROs major tasks: by tuning the EQ in to the precise trouble frequency, interference such as hum and noise caused by air conditioners, etc. can be eliminated without affecting adjacent frequency ranges. Basic acoustic problems usually encountered in studios and stage systems can be solved elegantly 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 system that applied input signals with high amplitudes are raised in level by the ULTRAGAIN PRO and hence lead to distortion or damage in subsequent devices or speakers, or to annoying feedback in P.A. systems caused by improper basic settings. Once the filter curve of your choice has been set, it can be necessary to correct the overall level. If the filter setting used raises the overall level, you can use the OUTPUT control to lower it again and avoid possible distortion. When the overall level is lowered by the filter setting, the OUTPUT control allows for raising it by a maximum amount of +20 dB. Use the EQ IN/OUT switch for a direct A/B comparison, so that you can estimate the required amount of level compensation.
5.5 The ULTRAGAIN PRO as a tube interface
In your daily studio work, the ULTRAGAIN PRO can be used for a variety of applications that provide subtle sound enhancement. For example, it gives percussion instruments more punch, or improves the transparency of other instruments, particularly 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. Synthetic sound, especially MIDI guitar sounds become more real and natural than without the ULTRAGAIN PRO. So, with the ULTRAGAIN PRO you can adopt a more active approach during the mix-down process and work out subtleties, while focusing particularly on the musical aspects of your recordings. For this purpose, connect the device to the insert points on your mixing console or recording/playback machine, and operate the ULTRAGAIN PRO in LINE mode. If you wish to use the tube function only, make sure that all PHASE REV., LO CUT and EQ IN/OUT switches are OUT. Set the OUTPUT control to mid-travel position and enjoy the warmth of pure tube sound.

6. SPECIFICATIONS

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

The information contained in this manual is subject to change without notice. No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER and ULTRAGAIN are registered trademarks. ALL RIGHTS RESERVED. 2001 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +49 (0) / 92 06-0, Fax +49 (0) / 92 06-30

MIC2200

Technical Specifications

Version 1.1 May 2000

ULTRAGAIN PRO

www.behringer.com

ENGLISH
Ultra-low noise discrete Microphone/Line Preamplifier
s Mic input stages are based on super-high quality, discrete conjugate transistor pair circuitry s Ultra-wide bandwidth from 2 Hz to 200 kHz for open sound
s Built-in high-quality vacuum tube for outstanding, ultra-musical tube sound
s Our special vacuum tube circuitry warms up your music without unwanted noise
s Two high-end Parametric EQs with centre frequency, bandwidth and level being fully user adjustable s Independent line driver to convert -10 dBV into +4 dBu pro level s Completely versatile DI-Box due to servo-balanced inputs and outputs s Soft Mute +48 V Phantom Power to avoid power-on thumps s Fully tunable and switchable 12 dB high-pass filter s Switchable Phase Reverse to correct phase problems
s Ultra-low noise 4580 audio operational amplifiers for outstanding sound performance s Accurate 12-segment LED metering for output level s Servo-balanced gold-plated XLR and 1/4" TRS inputs and outputs s Relay-controlled input switch for maximum signal integrity s High-quality detented potentiometers and illuminated switches s Manufactured under the stringent ISO9000 management system 2

SPECIFICATIONS

AUDIO INPUT Microphone Connectors Type Impedance Maximum input level CMRR Line Connectors Type Impedance Maximum input level CMRR AUDIO OUTPUT Connectors Type Impedance Maximum output level SYSTEM SPECIFICATIONS Frequency response Noise THD IMD Crosstalk FUNCTION CONTROLS Mic gain Frequency (lo cut) Frequency (PEQ) Bandwidth Level Output FUNCTION SWITCHES +48 V Mic/line Phase rev. Lo cut x 0.1 x 10 EQ in/out INDICATORS Clip Output level function switch POWER SUPPLY Mains voltages
XLR transformerless, DC-decoupled input 3 k Ohms balanced +10 dBu balanced and unbalanced typ. 40 dB, >55 dB @ 1 kHz XLR and 1/4" jack transformerless, DC-decoupled input 60 kOhms balanced +23 dBu balanced and unbalanced typ. 40 dB, >55 dB @ 1kHz XLR and 1/4" jack electronically servo-balanced output stage 60 Ohms balanced, 30 Ohm unbalanced +21 dBu balanced and unbalanced 10 Hz to 200 kHz, +/- 3 dB > 94 dBu, unweighted, 22 Hz to 22 kHz 0.011 % typ. @ +4 dBu, 1 kHz, Gain 1 0.01 % typ. SMPTE < -88 dB, 22 Hz to 22 kHz variable (+10 dB to +60 dB) variable (12 to 320 Hz) variable (10 Hz to 20 kHz), dependent on x 10 and x 0.1 switch variable (0.03 to 2 octaves) variable (-15 dB to +15 dB) variable (-20 dB to +20 dB) activates phantom power switches from line to mic preamplifier phase reverse (180) activates the high-pass filter switches the frequency control to 10 Hz - 200 Hz switches the frequency control to 1 kHz - 20 kHz activates the parametric filter clipping control LED 12-segment LED display: -30/-24/-18/-12/-6/-3/0/+3/+6/+9/+12/+18 dB LED indicator of every switch 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 max. 20 Watts 100 - 120 V ~: T 500 mA H 200 - 240 V ~: T 250 mA H standard IEC receptacle app. 1 3/4" (44.5 mm) * 19" (482.6 mm) * 8 1/2" (217 mm) app. 3.0 kg app. 4.2 kg
Power consumption Fuse Mains connection PHYSICAL Dimension (H * W * D) Net weight Shipping weight
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
The information contained in this sheet is subject to change without notice. No part of this sheet may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER and ULTRAGAIN are registered trademarks. ALL RIGHTS RESERVED. 2000 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +49 (0) / 92 06-0, Fax +49 (0) / 92 06-30