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Behringer Ultragain Pro Mic2200 High-Precision Vacuum Tube Microphone/Line Preamplifier
|Price:||$99.99 & FREE Shipping. Details|
- Discrete mic/line input stages with soft mute +48 V phantom power
- Ultra-wide bandwidth from 2 Hz to 200 kHz for open sound
- Two fully parametric EQ’s with adjustable center frequency, bandwidth and level
- Built-in high-quality vacuum tube for outstanding, ultra-musical tube sound
- Fully tunable and switchable 12 dB high-pass filter
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This item Behringer Ultragain Pro Mic2200 High-Precision Vacuum Tube Microphone/Line Preamplifier
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|Item Dimensions||4.21 x 20.87 x 12.01 in||—||19 x 6.5 x 1.75 in||8.46 x 19.02 x 1.75 in||1.75 x 9.5 x 5.5 in||4.21 x 20.87 x 12.01 in|
BEHRINGER ULTRAGAIN PRO MIC2200
Audiophile Vacuum Tube Microphone/Line Preamplifier
- Ultra-low noise discrete microphone/line preamplifier with hand-selected 12AX7 tube for ultra-musical sound
- Mic input stage based on discrete, conjugate transistor pair circuitry
- Ultra-wide bandwidth from 10 Hz to 200 kHz for "open" sound
- Integrated fully parametric EQs with dedicated center frequency, bandwidth and level controls
- Independent line driver for converting -10 dBV into +4 dBu pro level
- Soft-mute +48 V phantom power to avoid switch-on thumps
- Fully tunable and switchable 12 dB high-pass filter
- Switchable phase reverse for correcting phase-related problems
- Accurate 12-segment LED metering for output level
- Servo-balanced inputs and outputs with 1/4" TRS and gold-plated XLR connectors
- High-quality components and exceptionally rugged construction ensure long life
- Conceived and designed by BEHRINGER Germany
Tubes can really warm up a signal fast, giving it depth and character. The two-channel BEHRINGER PRO MIC2200 injects your sound with this timeless tone in preamp, line driver and DI box applications.
Put a Little Tube in Your Tone
The MIC2200 is perfect for studio and live applications. The balanced 1/4" TRS and XLR inputs and outputs give you maximum flexibility in either scenario. It derives its personality from a hand-selected 12AX7 for superior sonic character and low noise operation. The MIC2200 is great for adding a bit of "spice" to the sound of standard digital recorders and computer soundcards. And thanks to onboard +48 V phantom power, it can also add warmth to condenser mics.
For further tone conditioning, the MIC2200 features a fully parametric EQ with adjustable center frequency, bandwidth and level per channel. Channels also feature a phase reverse switch.
Vintage Sound, Modern Value
The MIC2200 gives you the sound quality of a vintage tube preamp at a mere fraction of what a true relic of the 1960s would cost. At a price this low, you owe it to yourself to find out where the MIC2200's real tube tone can take your sound.
Top Customer Reviews
This single rack space unit provides two independent microphone preamps, each of which is equipped with a single band of sweepable parametric equalization to adjust the timbre of the final output. Before I even tried the piece as a preamp I opened it up to look inside.
DO NOT EXPECT TO CHANGE THE TUBE
The tube is mounted in such a way that it is probably impossible to change it out for a different one.
Fortunately the preamps sound good with the stock tube. There is no schematic provided so it's really impossible to say how the tube is implemented in the circuit and how much it actually contributes to the tone of the unit.
HOW DOES IT SOUND
The preamps sound very good, full, rich, crisp highs, deep lows, it's a function of the microphone you connect to it as far as I can tell. For comparison I A-B compared this preamp to our very expensive API 3124+ preamp which is a 4-channel unit that we paid over $500 per preamp-channel for, that is 10-times the price per channel of this Behringer unit. I'm not going to say the Behringer beat the API but they were a dead heat in most listening tests. My female partner who is not too technical (but has great ears) thought the Behringer was just as good as the API. We also have a Grace m801 which is another over-$500/channel preamp, she definitely liked the Behringer sound better than the Grace (personally I think it was the EQ on the Behringer that affected her choice when comparing to the Grace).
If my API or Grace preamps go toast I will definitely have them repaired. If the Behringer dies, it's going in the trash and I'll buy another one. It's simple economics and at $100 for two preamps that sound as good as they do these are really nice. They sound good. They have an industry standard packaging. The input and output connectors are excellent. It even has a line input mode so you can add a little tube distortion to a line-level signal (I have not tried this because we don't need it).
We broadcast between three and ten, live one-hour shows per week using this preamp for vocals. NOBODY in our listening audience has ever complained and none of them know we switched from our high-end pieces to this very inexpensive preamp. Now our expensive preamps are back over in our production studio and are used for recording tracks that play behind our live performances during the shows.
We have not had any problems with this unit. It is warmed up for an hour before each broadcast, I've never heard any noise or bad stuff come from it. We have A LOT of Behringer gear in our studio, it lives right along side gear from Neve, API, Allen and Heath, UA, Meyer, Lexicon and Apogee. Out of 103 pieces of Behringer equipment I've bought we've had two pieces that had problems and those occurred right out to the box. I had much worse reliability with Crown amplifiers than Behringer products and I really like Crown amps, regardless of the problems, they just sound so good. In my experience the Behringer products have provided professional results for an amazing low price. That's a win-win in my book.
Of course, a cheap preamp has its limitations. At the highest gain settings you will get a little bit of a hum, and despite claiming to be a tube preamp (The tube is really more for looks and marketing than actually giving that warm tube tone) I find it to have a somewhat flat sound. Because of this, I wouldn't recommend it for vocals if you can afford to spend a bit more. However, this is excellent for driving instrument mics. I have one of these powering a bass and guitar mic and running through a DBX compressor while an ART channel strip gives me amplification, EQ, and compression for vocals. The entire lineup cost me $450 and gives me three channels with compression and wonderfully warm vocals.
I didn't give this 5 stars only because I feel like it could be improved, but for the money it's a great way to start on a home studio. I would take dedicated preamps and compression over relying on an interface and VSTs any day of the week simply because watching live db meters and adjusting something with a knob instead of a slider on a screen is so much more intuitive. I wouldn't go so far as to say that this sounds better than most interface preamps, but if you're like me and prefer a physical, analog workstream for your sound or if you're recording to an analog medium (More power to you if you are), this is a great option.
Which was one of the deciding factors for me.
Unfortunately I don't have a multiple thousand dollar mic to tell you how it sounds and all the nuances, but in general its somewhat low/mid oriented, and has very good shaping with the highpasses and single band parametric EQ.