Behringer PROMIC2200 User's Manual
Contents
1. k and partial harmonic distortions k 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 k k and that of odd harmonics as k k 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 24K k Formula for calculating total harmonic distortion In tube circuits the distortion factor k 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 Today s 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 purp2. 200 150 Akt Gel LINE uc Zu c REV FREQUENCY CUT Zu ke x0 1 BANDWIDTH de I IN OUT BUT EO 0 4 tt t f 4 2 13 5 16 LZ 18 19 AU 1412 13 14 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 counter clockwise 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 i
3. 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 4 CONTROL ELEMENTS ULTRAGAIN PRO MIC2200 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 Using the ULTRAGAIN PRO as a high quality microphone preamp 2 Using
4. ULTRAGAIN PRO MIC2200 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 phant
5. a physical phenomenon nennen 7 1 1 2 Whiatare audio dynamics terae rre eiecit eie e ag tU E ete t deus 7 1 2 The tube used in the ULTRAGAIN PRO 8 1 2 TUBS history cete ttt rte ette tetuer retento dte detener tuns 8 1 2 2 Design and functional principle of tubes ssssssssssss me 9 1 2 3 Properes of e 10 1 2 4 The bestof both worlds u nee ee ee 11 UCNE leie 11 2 THE DESIGN CONCEPT 0 000 ENEE eebe 11 2 1 High quality components and design 4 sssseneneeneneenennennneeee nennen rne 11 2 2 INPUTS ANd ee een ae er ads 11 2 2 1 Balancedinputs and Ee LE 11 MEDII INE js WE 11 3 1 Rack MOUNTING EE 12 32 iui Ah 12 3 3 AUCIO CONNE CHONG P m 12 4 CONTROL TR E EC 13 4 4 Front panel controlelements u nennen eer 13 4 2 Rear panel control element nen 14 Eegiel LEET 15 5 1 The ULTRAGAIN PRO as a microphone preamplifier ssssss nennen 15 SUM BI Eer Le WEE 15 51 2 MIG GAIN SONO ee a a en 15 5 1 3 PHASE REV e BEEN 16 5 14 LOCUTT nelon UEM 16 5 1 9 Phantom DOWN EE 16 5 2 The ULTRAGAIN PRO as a level translator eee 17 5 3 The ULTRAGAIN PRO as a direct injection box 17 5 4 The ULTRAGAIN PRO s parametric egualtzer nennen 17 5 5 The ULTRAGAIN PRO as a tube interface ssssssssssssssssseeeeee eene 18 6 SPECIFICATIONS m 19 TE 11 2103 29 111 I TTT 20
6. both worlds while being able to make up for their specific drawbacks 1 2 1 Tube history Due to many patent litigations it is difficult to determine exactly when the tube was born First developments in tube technology were reported between 1904 and 1906 It was a research task of that time to find a suitable method for receiving and rectifying 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 frequency signals Robert von Lieben was the first to discover probably by chance that the anode current can be controlled by means of a perforated metal plate grid one of the milestones in the development of amplification tubes In 1912 Robert van Lieben finally developed the first tube for the amplification of low frequency signals Initially the biggest problem was to produce sufficient volume levels which is why resonance step ups though impairing the frequency response were used to maximize the attainable volume Later the objective was to optimize the electroacoustic transducers of amplifiers in such a way that a broad frequency 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 largely linear frequency response it had to
7. 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 activ
8. with microphones it is usually necessary to eliminate low end signal portions such as rumble or pop noise or other interference frequencies Often such frequencies have very high amplitudes and do not only deteriorate the sound quality but can also damage the power amps or speakers Your ULTRAGAIN PRO features a tunable high pass filter with a very high slope Press the LO CUT switch and adjust the FREQUENCY control so that any 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 power Condenser microphones need a specific supply voltage polarizing the condenser diaphragm This voltage can be furnished from an internal battery or an external power supply that is either connected directly to the microphone or supplies the voltage through the microphone cable In practice this technique is usually referred to as 48 V or phantom power supply and uses the microphone cable to carry both the audio signal and the supply voltage required for the microphone Please read this chapter thoroughly phantom power can damage the microphone if used improperly microphone microphone microphone preamplifier cable amplifier microphone transformer microphone gt A e i gt output gt B Fig 5 1 Functional diagram of p
9. 200 ULTRAGAIN PRO Ultra low noise discrete Microphone Line Preamplifier C 5 ULTRAGAIN PRO d Rr oO Se 4 Mic input stages are based on super high quality discrete conjugate transistor pair circuitry A Ultra wide bandwidth from 2 Hz to 200 kHz for open sound A Built in high quality vacuum tube for outstanding ultra musical tube sound A Our special vacuum tube circuitry warms up your music without unwanted noise A Two high end Parametric EQs with centre frequency bandwidth and level being fully user adjustable A Independent line driver to convert 10 dBV into 4 dBu pro level A Completely versatile DI Box due to servo balanced inputs and outputs A Soft Mute 48 V Phantom Power to avoid switch on thumps A Fully tunable and switchable 12 dB high pass filter A Switchable Phase Reverse to correct phase problems A Ultra low noise 4580 audio operational amplifiers for outstanding sound performance A Accurate 12 segment LED metering for output level A Servo balanced gold plated XLR and 1 4 TRS inputs and outputs A Relay controlled input switch for maximum signal integrity A High quality detented potentiometers and illuminated switches A Manufactured under ISO9000 certified management system 4 ULTRAGAIN PRO MIC2200 TABLE OF CONTENTS 1 INTRODUCTION BE 6 ue nee ele TEE 7 1 1 1 Noise as
10. HSI TON3 G 2 n 2 s T C G S diih E u KA 3 im Q N VOX AONaNEERH ANO O1 0 AH 3SVHd Mei DIN 9 99 9 9 9 eve ozza Odd Menn www behringer com 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 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN This symbol wherever it appears alerts This symbol wherever it appears alerts you to the presence of uninsulated you to important operating and mainte dangerous voltage inside the enclosure nance instructions in the accompanying voltage that may be sufficient to con literature Read the manual stitute a risk of shock WARNING To reduce the risk of fire or electrical shock do not expose this appliance to rain or moisture 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 sw
11. IC 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 ata level of 18 dBu signaling that you have an additional headroom of 5 dB available 5 APPLICATIONS 15 ULTRAGAIN PRO MIC2200 before the microphone preamp starts overloading If distortion overloading occurs at high volume levels you should reduce the gain with the MIC GAIN control 5 1 3 PHASE REV switch The PHASE REV switch reverses the audio signal s phase by 180 Usually you won t need this switch However in some cases it might be necessary to reverse the signal phase for example if a microphone cable has been connected incorrectly pins 2 and 3 interchanged or if several microphones are used and specific circumstances with regard to room acoustics are causing problems e g frequency cancellations are usually caused by phase problems The phase reverse function will help you locate and eliminate any such problem 5 1 4 LO CUT function When you pick up acoustic signals
12. NUMBER 1 To obtain warranty service the buyer or his authorized dealer must call BEHRINGER see enclosed list during normal business hours BEFORE returning the product All inquiries must be ac companied by a description of the problem BEHRINGER will then issue a return authorization number 2 Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by BEHRINGER 3 Shipments without freight prepaid will not be accepted 4WARRANTY REGULATIONS 1 Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer s invoice Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER 2 If the product needs to be modified or adapted in order to comply with applicable 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 be 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 be held responsible for any cost resulting from such a modification adaptation 3 F
13. RA 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 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 ISS 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 6 1 INTRODUCTION ULTRAGAIN PRO MIC2200 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 conventiona
14. andwidth 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 PRO s 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
15. be accepted that tube devices produce a bad sound Additionally the noise floor generated by the tubes limited the usable dynamics of connected storage media magnetic tape machines Thus a one to one reproduction of the audio signal s dynamics 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 quality and often costly transducers and sophisticated voltage supplies 8 1 INTRODUCTION ULTRAGAIN PRO MIC2200 With the introduction of semiconductor technologies in the field of audio amplification it soon became clear thatthe tube would have to give way to the transistor as this device featured an enormously enhanced signal to noise ratio required a less complex power supply and yielded an improved frequency response Plus semiconductor based circuits can be realized much more easily for less money Two decades later the introduction of binary signal processing meant the beginning of a new era of recording media that provided plenty of dynamic response and allowed for the loss free copying of audio signals As digital media were enhanced however many people began to miss the warmth power and liveliness they knew from analog recordings This is why purists still today consider digital recordings as sterile in sound 1 2 2 Design and functional principle of tubes Tubes can be roughly classified according to the nu
16. ble 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 11 14 Rear panel control elements OUTPUTS INPUTS AERIAL NUMBER UD TP PIN2 rn RING PIN3 RING PIN3 DATE CODE SLEEVE PIN 1 SLEEVE PIN 1 FUSE REPLACE WITH SAME TYPE ULTRAGAIN PRO O FUSE AND RATING MODEL MIC 2200 ATTENTION UTILISER UN FUSIBLE CONCEIVED AND DESIGNED DE RECHANGE DE MEME TYPE ET BY BEHRINGER GERMANY CALIBRE SLOW BLOW ASSEMBLED IN CHINA 100 120V 630mA 250VAC UNDER THE MANAGEMENT 200 240V T315mA L250VAC SYSTEM IS09000 CHANNEL 2 Fig 4 2 Rear panel elements ofthe ULTRAGAIN
17. d 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 THEDESIGN CONCEPT 11 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 by turning the fuse holder by 180 CAUTION this instruction does not apply to export models exclusively designed e g for 115 V op eration I 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 interfere
18. e 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 Setthe OUTPUT control to mid travel position and enjoy the warmth of pure tube sound 18 5 APPLICATIONS 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 Power consumption Fuse Mains connection PHYSICAL Dimensions H W D Net weight Shipping weight ULTRAGAIN PRO MIC2200 XLR transformerless DC decoupled input 3 k Ohms balanced 10 dBu balanced and unbalanced typ 40 dB gt 55 dB 1 kHz XLR and 1 4 jack transformerless DC decoupled input 60 kOhms balanced 23 dBu balanced and unbalanced typ 40 dB gt 55 dB 1kH
19. e buyer has sent in a written repair order 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer cus tomer of retail dealer and is not transferable to anyone who may subsequently purchase this product No other person re tail dealer etc shall be entitled to give any warranty promise on behalf of BEHRINGER 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim consequential damages In no event shall the liability 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 buyer s statutory rights provided by 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 applicable unless they constitute an infringement of national warranty law 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 Hann
20. els 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 finally becomes zero or even positive the grid current begins to flow which considerably reduces the current flowing to the anode and can possibly destroy the tube Triodes are most commonly used in preamps often in pairs arranged in one tube twin triode 1 INTRODUCTION 9 ULTRAGAIN PRO MIC2200 vacuum lt gt anode Str suppressor grid t 1 screen grid X 1 control grid cathode heating 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 positively 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 by arriving electrons To prevent this electron emission a decelerating or suppressor grid is placed between anode and screen grid As it is negatively charged it blocks the electrons so that they cannot reach the screen grid Pentodes are most commonly 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 types of distortion These phenomena are quite comp
21. hantom power supply We speak of phantom power when a microphone cable is used to carry several signals with a DC voltage layered on the actual audio signal The typical 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 apply it directly 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 directly which would inevitably lead to disturbing noise or could even damage the electronics To eliminate this risk the BEHRINGER ULTRAGAIN PRO automatically disables the unbalanced phone jack in MIC mode Microphones can thus only be connected to the XLR connector 16 5 APPLICATIONS ULTRAGAIN PRO MIC2200 Never switch on the 48 V supply when you use unbalanced microphones as this could cause electrical damage Some people hold that the sound of dynamic microphones is affected when the 48 V supply 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 by one of the following reasons 1 When the output transformer of the microphone suffers from a short circuit or leakage current at any poin
22. imming pool etc 1 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 enclo
23. in this mode 5 3 The ULTRAGAIN PRO as a direct injection box When electrical signals delivered by instruments such as guitars keyboards etc are transported over long unbalanced lines the transmission quality may be affected by hum or other interference signals induced in the cable This problem is usually encountered in studio or stage environments where long cable lengths and magnetic fields of great magnitude may 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 by a subsequent differential amplifier as explained in chapter 3 3 Using the ULTRAGAIN PRO for this kind of application is easy Simply connect the line output of your keyboard 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 any additional functions switched off an exception being the OUTPUT control which can be used to adjust levels if necessary 5 4 The ULTRAGAIN PRO s 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 b
24. ious devices 1 INTRODUCTION 7 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 quality 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 technology shows that tubes are enjoying a renaissance today 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 many semi professional studios Manufacturers try with ever new algorithms to get the most out of DSP s Digital Signal Processors the heart of any digital system Still many audio engineers particularly old hands often prefer using both old and new tube equipped devices As they want to use their warm sound character for their productions they are ready to accept that these little darlings produce a higher noise floor than modern transistor based devices As a consequence you can find a variety of tube based microphones equalizers preamps and compressors in today s recording and mastering environments The combination of semiconductor and tube technologies gives you the additional possibility of using the best of
25. l 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 Ifthese 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 atape 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 changes from the sligh
26. lex in the real world but for the sake of a straightforward mathematical description we are going to classify them as linear and non linear distortion Linear distortion is produced by frequency dependent amplification or attenuation processes such as they occur in all kinds of filters and equalizers Linear distortion signals have the same frequency 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 frequency f is overdriven new oscillations with frequencies of 2 f 3 f etc integral multiples of the original frequency are produced These new frequencies are referred to as upper harmonics grouped as odd and even harmonics Unlike the transistor saturated tubes mostly produce even harmonics which are perceived by the human ear as more pleasant in sound than odd harmonics Another important aspect lies in the fact that tubes produce distortion more gradually than transistors which is why we speak of the saturation of a tube stage When you overdrive a transistor you 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
27. lustrated 6 SPECIFICATIONS 19 ULTRAGAIN PRO MIC2200 7 WARRANTY 1 WARRANTY CARD ONLINE REGISTRATION To be protected by the extended warranty the buyer must com plete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH 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 buyer may also choose to use the online registration option via the Internet www behringer com or www behringer de 2 WARRANTY 1 BEHRINGER BEHRINGER Spezielle Studiotechnik GmbH in cluding all BEHRINGER subsidiaries listed on the enclosed page except BEHRINGER Japan warrants the mechanical and elec tronic components of this product to be 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 described below If the product shows any defects within the specified warranty period that are not due to normal wear and tear and or improper handling by the user BEHRINGER shall at its sole discretion either repair or replace the product 2 If the warranty claim proves to be justified the product will be returned to the user freight prepaid 3 Warranty claims other than those indicated above are ex pressly excluded 3 RETURN AUTHORIZATION
28. mber of electrodes they use There are tubes with two three or five electrodes usually referred to as diodes triodes or pentodes vacuum I anode 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 7 thus becoming a cathode it begins to emit electrons When a positive DC voltage is applied to the other electrode 7 anode the negative electrons start to migrate from the cathode to the anode With reverse polarity 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 velocity 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 they produce heat that is dissipated by using large anode plates vacuum Fig 1 4 triode The triode has an additional metal grid between anode and cathode By applying 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 negatively charged grid rep
29. nce immunity IS 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 Strain relief clamp Tip Tip Signal hot ve Ring cold ve Sleeve Ground Shield Sleeve Ground Shield Tip Tip Ring Sleeve Sleeve Balanced use of stereo 1 4 jack plugs Strain relief clamp For connection of balanced and unbalanced plugs ring and sleeve have to be bridged at the stereo plug Input 2 1 1 Ground Shield Q 2 hot ve 3 cold ve Balanced use with XLR connectors Output For unbalanced use pin 1 and pin 3 have to be bridged Fig 3 1 Different plug types 12 3 INSTALLATION ULTRAGAIN PRO MIC2200 IS 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 7 gt e 15 A A Y Y OUTPUT LEVEL dBu CLP e 24 18 12 6 3 0 3 46 9 12 18 4 48V x10 03
30. oduct 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 we ve achieved Itis 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 you ve greatly contributed to shaping our company and making it successful In return we guarantee you uncompromising quality manufactured under 1809000 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 it s you our customers Many satisfied customers means large sales volumes enabling us to get better conditions of purchase for components etc Isn t it only fair to pass this benefit back to you Because we know that your success is our success too 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 it s been worth the trouble Thank you very much n kr Uli Behringer ULTRAGAIN PRO MIC2
31. om 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 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 ULT
32. ose 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 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 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 di
33. ree inspections and maintenance repair work are expressly excluded from this warranty in particular if caused by improper handling of the product by the user This also applies to defects caused by normal wear and tear in particular of faders potentiometers keys buttons and similar parts 4 Damages defects caused by the following conditions are not covered by this warranty A misuse neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals A connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used A damages defects caused by force majeure or any other condition that is beyond the control of BEHRINGER 5 Any repair or opening of the unit carried out by unauthorized personnel user included will void the warranty 6 If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty the inspection costs are payable by the customer 7 Products which do not meet the terms of this warranty will be repaired exclusively at the buyers expense BEHRINGER will inform the buyer of any such circumstance If the buyer fails to submit 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 be invoiced sepa rately when th
34. s Martin Schleyer Str 36 38 47877 Willich M nchheide II Germany Tel 49 0 21 54 92 06 0 Fax 49 0 21 54 92 06 30 20 7 WARRANTY
35. s 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 filter s cut off frequency With a setting range from 12 to 320 Hz the filter s 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 8 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 15 4 2 ULTRAGAIN PRO MIC2200 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 tre
36. stortion 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 unit s 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 I amp f the unit is damage
37. sure 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 ULTRAGAIN PRO MIC2200 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 respon sibility 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 pr
38. t disturbing noise clicks or hum can occur In this case you should have the microphone repaired 2 When you connect a microphone while the 48 V supply is switched on it cannot be guaranteed that both signal leads of the XLR connectors establish the electrical contact precisely at the same point of time There fore detrimental current could flow because the connection is temporarily unbalanced We recommend that you switch off the 48 V supply before you attempt to connect a microphone I Please make sure that you are using an appropriate microphone before you switch on the 48 V supply Read the operating instructions accompanying the microphone Some condenser mics might need another type of power supply older dynamic microphones could be damaged by the 48 V voltage and unbalanced microphones should never be operated in combination with a 48 V power supply 5 2 The ULTRAGAIN PRO as a level translator Semi professional devices in hi fi and home recording environments are usually 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 you connect devices of both types to each other you should do this via some kind of level translator The BEHRINGER ULTRAGAIN PRO is excellently suited for this application In LINE mode the OUTPUT control allows you to raise or lower the input signal level by as much as 20 dB The functions PHASE REV and LO CUT are also enabled
39. test 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 atthe 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 headroom usually 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 Microphone Amplifier Power Amplifier Tape Recorder Cassette Recorder Fig 1 1 The dynamic range capabilities of var
40. 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 specifically tweaking the frequency response 5 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 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 M
41. z 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 gt 94 dBu unweighted 22 Hz to 22 kHz 0 011 96 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 approx 1 3 4 44 5 mm 19 482 6 mm 8 1 2 217 mm approx 3 kg approx 4 2 kg 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 il
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