Behringer Ultragain Pro MIC2200 User Manual

ULTRAGAIN PRO MIC2200 User Manual

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).

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!

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.