5ULTRAGAIN PRO MIC2200 User Manual

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 PRO’s on-board parametric equalizer combines the technical properties of a parametric equalizer with those of a narrow-band notch filter. Capable of eliminating feedback frequencies, a parametric equalizer is a perfect match for a microphone preamp. Moreover, as its design is based on our well-known ULTRA-Q, the ULTRAGAIN PRO’s audio qualities and specifications are well within the so-called “high-end” class. Its on-board equalizer can be used not 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 Online registration

Please register your new BEHRINGER equipment right after your purchase by visiting http://behringer.com and read the terms and conditions of our warranty carefully.

Should your BEHRINGER product malfunction, it is our intention to have it repaired as quickly as possible. To arrange for warranty service, please contact the BEHRINGER retailer from whom the equipment was purchased. Should your BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European Contact Information). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website (http://behringer.com).

Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently.

Thank you for your cooperation!

1.2 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.

1.2.1 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.