Behringer B2 Pro

Amatuer muso home recording for 6 years

I like th b2 pro I f you want to hear a recording of a fender acoustic guitar go to this page http://www.youtube.com/watch?v=Ba9p8F2Qjjg This piece was recorded int cubase and I used a yamaha software compressor on the mix down . The b2 pro is a good mic . I am thinking about getting a T 47 or a T1 valve mic (Behringer ) Just to get some valve warmth .

I have been playing music for 35 years with over twenty years in the studio on and off and 15 years in my own home studio (DAW).

The Behringer B-2 PRO has already been described in detail by others so that I won't get into technical jargon here. The B-2 PRO is an Asian manufactured mic and as such may not quite perform as a German manufactured unit and the quality control may also vary. Despite the mixed reviews, and some hesitation, I purchased one to test. I found it extremely neutral in sound, and coupled with the selectable cardioid, omnidirectional or figure eight pickup patterns, I got the sound(s) I wanted. Having said this, you cannot expect a mic that costs the tenth of the price of a Neumann or AKG to sound like one. A $2,000 mic is not 10 times better than a Behringer B-2 PRO. There are minute differences, many of which are debatable and a matter of opinion. Also, since we have enetered into the age of DAW, one can manipulate the signal to make it sound different - for better or for worse. For my purposes, this mic does an excellent job, and I'll buy another one.

Behringer bashing has become popular and although there may be cause to do so in some cases, in most cases, people are just mouthing off. Uohhh, I have 20 mics... and you? Who cares!

I have tested other Behringer products that suck in my opinion and others that really impresed me. But as with most audio equipment: 'Beauty is in the Eye of the Beholder'.

Because the mic only cost me AU $225, and the quality is excellent for home studio recording and semi-professional situations (if not professional), I will give it a 10.

Have been making music for some time. My setup involves windows based DAW with Ableton Live6 and Magix samplitude, Mackie Onyx1220 with firewire, monitoring through yamaha msp3 monitors and sony mdr-7509 headphones.

This is a large diafragm condencer mic. I got it to use on vocal and acoustic guitar. This is a cheap, noisy mic. After trying a couple of Behringer items i realized it's not worth trying to save a few dollars. Got Rode nt1a and much happier now. Behringer's quality control sucks, i went through a couple of b2 pro mics and they all sounded different. Rode nt1a cost just a few dollars more, but is a much safer choice.

A lot of years recording music and about 10 years with DAWs.
I use Samson Rubicon R5a + R10s and others equipments (I tipically preffer ribbon tweeter)

An indication for Moose (previous review).
The mic you have tested is not the B-2 PRO, but the B-2.
Let's check AudioProz.com:
"The Behringer B2 Pro is significantly better and different than a B1 or even an older B2 (non pro designation). It has a Behringer custom made dual diaphragm capsule which meets a specification truly honest to the manuals spec. A Behringer product engineer personally confirmed this. Indeed this mic has the smoothest omni pattern with no ???holes??? in the pick up response no matter how the mic is positioned. It is also one of the widest bandwidth elements I???ve seen yet. The ability for it to hear the lowest notes on a grand piano or cello as well as the clarity on a twelve string guitar is remarkable and confirmed with test measurements 30Hz to 20Khz response."

B2 PRO IS A CHEAP MIC BUT WITH GOOD SOUND .i HAVE BEEN RECORDING IN MY RECORDING STUDIO SINCE LAST 4 YEARS WITH THIS LOW COST MIC.
I AM SATISFIED 6O%.BUT THESE DAYS THE LARDE DIAFROM IS NOT GIVING GOOD SOUNG I THINK IT IS JUST BECOUSE OF MOITURE CATCGED BY ITS KIT. ANY WAY WITH THE CAMPARSION WITH MONEY QUALITY IS SATISFACTORY.....GOOD CONDENSER MIC


BIGBOSS STUDIO
INDIA

B2 PRO IS A CHEAP MIC BUT WITH GOOD SOUND .i HAVE BEEN RECORDING IN MY RECORDING STUDIO SINCE LAST 4 YEARS WITH THIS LOW COST MIC.
I AM SATISFIED 6O%.BUT THESE DAYS THE LARDE DIAFROM IS NOT GIVING GOOD SOUNG I THINK IT IS JUST BECOUSE OF MOITURE CATCGED BY ITS KIT. ANY WAY WITH THE CAMPARSION WITH MONEY QUALITY IS SATISFACTORY.....GOOD CONDENSER MIC


BIGBOSS STUDIO
INDIA

Many fruitless years of home recording on multiple DAW.

Bought in 2003. I have the early version with only 2 patterns, cardioid and omni. Has low cut and -10db pad switch. Decent mic for room sounds and general sound reinforcement. Okay for certain drums, but keep it away from cymbals. Better than expected on guitar cabs, but doesn't beat out a classic dynamic. Okay for select vocals, but has a very harsh high end. Expect a lot of emphasized (and unpleasant) silibance with mismatched compressors. Has good proximity effect and otherwise mostly neutral. Came with quality spider mount and case.

Overall not a terrible entry level condensor for the money. Unfortunate that they decided to hype the high frequencies. I suspect they did this to try to mask it from sounding dull.

You WILL outgrow this mic and you WILL end up buying something more expensive. That's how it goes with the mic buisness.

Been recording for over 20 years. Used lots of mics but nothing over 1000.00 . Thought I would try this cause of the price and reviews. I record into a DAW.

I'm now using this on my main vocals! This is better then my CAD 300 and Audio TEchnica mics! Hands down! Very smooth and rich. I even use it as my main mic for micing guitar cabinets over my sm57.

I have been making music for over 30 years - first as a player (Brass) then composer/arranger/Musical director. I've always had an interest in recording and within the last couple of years I've worked as a production assistant for a new location recording company in the North west of England. I wanted to set up a fall back plan for the company I work for by creating a modest recording facility on a tight budget parallel to the expensive gear they use. I record to a DAW (sonar 6) via a firewire mixer. My work is primarily UK Brass Bands, choirs and acoustic ensembles.

The B2 pro is a condenser mic with multipattern pick up. I wanted to experiment with MS technique so Figure of 8 capability was a must. I bought 4 of these (and 4 B5s, too) to give me more flexibility. I have read with interest criticisms about the sound: 3 of my mics were "perfect" - they did exactly what it said on the box, but the fourth had a completely different sound which was very coloured and intense. I suspect that the rogue mic had an internal problem and a dodgy switch. It was exchanged by return by the European supplier. The replacement was "perfect". I don't have expensive test equipment, but I do have a good pair of ears and know when my recording is approaching the quality of the live performance. So far the mics have given me a clean, clear sound with plenty of detail. They're ideal for my MS technique and don't appear to overload with a relatively loud Brass Band. Even in less than perfect situations I get something useful out of them. They're placed on a rack in front of the ensemble like a stereo pair (but three as I'm recording surround usually - something akin to ambisonics). We're not talking reference recording here, but very satisfying. The balance between sound quality/price was the main consideration, and after reading reviews here I took the plunge! The European company offered a package of the mic and its accessories, and popshield and 6m cable for the price shown. (Important when bying more than one as all the extras are multiplied, too.)

I'm mainly a guitar player and a semi-professional producer who lately has started to perform as a singer too. I have approx. 7 years of recording experience and around 20 years of overall experience as a musician and guitar player. I'm recording through a SPL Gold Mike into a Marian MARC8 PCI-Soundcard. Before checking out the B2pro I have had recording sessions with an AKG C4000, a C1000, a Rode NT1000 and a Shure SM58. I'm listening through a Tannoy Reveal nearfield system.

I used the mic for male vocals and acoustic guitars. As i had two of them, i also experimented with a M/S configuration. I bought the pair due to the impressingly good reviews i have found here and due to some nicely-sounding listening samples i found on the i-net. I did not expect a high budget sound such as the sound of a Neumann, Soundelux or a better AKG but i thought the behringer would give me some neutral and transparent audio material to work on. I thought that together with the valve coloration of the SPL and some minor EQ tweaking i would get some pleasant audio from the nicely looking B2. Overall, i must say that the mic did dissappoint me. It doesn't sound neutral at all but instead is very much harshening the sound, i would even say "metalizing" it. I guess this is due to an over-emphasis of high mids. Together with the build-in 12kHz high shelving EQ, the mic gives a very "trebly" performance. That doesn't mean it's lacking basses but it simply overstresses some higher frequencies which in the end sounds very unmusical in my ears. I can imagine that in some cases this behaviour may give dull sounding signals a better edge and can make them sound more lively. Maybe the B2pro would work good with unexperienced singers, cheap snares or a muddy guitar cab, but i would never suggest to use this mic together with pro singers who have a good amount of harmonics in their voice. The same goes for the acoustic guitar.

I give the mic a 3 because of it's many features (10dB pad, 3 directions, low cut) and because of the nice case and the shock mount that come along with it. But i can't understand the extacy towards the B2 which others have expressed here. Ten seconds check-out with a good singer and you know what you've got. I have really tried everything: varying mic-to-mouth distance, padding the signal, changing the preamp, EQ'ing... it all didn't help and couldn't remove the harshness of the mic.

Have been a professional musician for over 30 years, and a producer/engineer and studio owner for over twenty. I have a background in performance (Berklee) and audio engineering (UI-SAE), and although I won't claim to be more of an expert on such matters than anyone else who has put their time in the field, I think my opinion is worthy of a listen. I have a digital audio system which is too lengthy to list, but basically centers around a dual processor P4EE 3.2GHz system with 4 GB RAM, over 4 TB of storage, and a long list of I/O equipment. I have at last count over 130 mics in house ranging from the $100-ish variety to a recently purchased Telefunken Ela M 270V, as well as the usual assortment of Neuman U-87's & a pair of U47M's from RCA studios in Manhattan that Frank himself crooned through. The list is extensive, but the point made. I monitor primarily through a tried & true set of Urei Point Source 12", powered by a pair of HH Scott monoblock reference amps, because I still like the way they sound after 10 hours on the ears. I also rely on a small pair of Alesis Monitor 1's - say what you want, the proof is in the mix.

This is a take on the classic dual diaphram condenser, regurgitated countless times by many manufacturers. There are two things I have been impressed with using this mic - vocals & acoustic instruments. The transparency on these two fronts, is NEARLY unparalleled. NEARLY means not as good as the U47M, but not far behind. It also means not as good as the U87, but not far behind either. To be able to say this about a $150 mic is absolutely unheard of. Will I quit buying vintage Neumans & Tele's - no. Will I use this in place of those - in certain applications, yes, others, no. Will I regret buying 12 of these to add to my collection of studio mics - not on your life. The comment made by a previuos reviewer about ISO 9000 is in fact to the point here. The days of closely guarded recipies for special designs and production techniques are virtaully a thing of the past. Everything has been done, and leaked, and copied, by people around the world. This is in large part why so many big production facilities have shut down, and others just barely hanging on. There is no discernable difference between properly recorded and produced material from a $250,000 facility to a $5,000,0000 (barring recording in a mobile home). You can sit around with dual trace oscilloscopes all day and hunt for random phase inversions and less-than-perfect eq curves - but in the world of 128k mp3's (arguably the bread & butter of the recording industry nowadays)- It just doesn't matter the way it did when I was first learning about such things. I still shoot for the sonic-stars, as it were, by trying to make every recording much better than it has to be, but that does not mean that this mic does not have a place in that endeavor. I like it a lot - I bought a lot of them, and I recommend them often to my freinds in the industry, who have also begun buying them. For what it's worth - this mike should have Neuman shaking in their boots - unless they are prepared to address this type of mic now - my guess is in 5 years, there will be an offering for say, $500 that IS better than a U87. We'll see I suppose. To anyone considering this mic, the only thing I suggest is - buy them in pairs.

Learn to read K-73... i wasn't refering myself as and audio expert... check -rec.audio.pro- comments about this "great" mic and chill out! Once again to get what you pay for! The B2-PRO is a good $150 mic and that's all what it is. It compares ok to other chinese mics. If you like it's "clarity and top end smoothness" then go for it. BTW. i work in my project studio 14 hours a day and still have time to share some opinions and information with people arround the globe... so K-73 shut up! we're expressing opinions about a mic here... just that! I don't like the B-2 Pro. Sorry about that.

Guitarist for 40 years. Recording into a Boss BR1180cd DAW. Monitoring is through Behringer Truth's.

I do not own any expensive mic's. Oktava MK012, Oktava tube mic. Audix I5, Shure sm57. I use the B2Pro for both vocals and acoustic guitar (Ovation.) My music is mostly all original rock with some blues and atmospheric textural stuff. I have been using the mic for about 2 years and it is all over my 3 cd's. It is clear and detailed and getting right up close to it when singing can bring out its best. I tend to sing very quietly and the mic really compliments my voice. I am going direct into the BR1180 and using the COSM voice patches for recording, a little reverb and possibly a little echo to taste. It is equally detailed on acoustic guitar. Afted recording I usually end up bringing the bass eq way down on the vocal tracks as I feel the mic pushes out a lot of bass but, this could also just be the COSM presets eq. I chose this mic for its price thinging I was comprimising but, it really has turned out to be a great condenser mic!

I have been playing guitar (electric,steel strung and nylon strung) since 1989, mainly bluesy/rock/pop but dabble in anything I like the sound of, and will have a go at getting a tune out of pretty much any instrument I can lay my hands on. Mainly bass, mandolin and keyboards.

I have been recording at home for a few years with Sonar and Sound Forge on a PC (Audigy interface that came fitted at present) mainly for my own amusement and pleasure, most of which gets junked either because it is poorly played or just simply sounds terrible.

The rest of the kit is Behringer Mixer, Samson power amp and Good quality Mission hi-fi speakers, various guitars by Fender, Yamaha and Kawai, Roland Keyboard, and various other kit by Line6 (Pedals), Behringer (V-Amp2), Marshall (Amp and pedals), Sennheiser (Mics).

This has all been distilled from trying, buying and then discarding the bits that aren't good enough or not what I really need. And they have to be at a realistic price, I am not a professional and cannot afford professional prices either, but I have gained enough experience over the years to tell good kit from bad. And even the best/most expensive kit has to be good value for money.

Multi pattern (Omni, Cardioid, Figure of 8)large diaphragm condenser, comes with shockmount, pop shield and hard case.

Got the mic a couple of weeks ago and have given it quite heavy use from the start (Time permitting), which is always a good sign for any new piece of kit. Even if you take into account the new toy scenario, if it is something that instantly and continues to inspire then there must be something good about.

The sound probably isn't going worry the top end of the market and neither is the build quality, but anything under #300 is going to have to try extremely hard to seriously rival this. It's well built, solid and gives you confidence that it isn't going to break or breakdown at the drop of a hat, and though not bomb proof the included shockmount and case shouldn't cause any worries either unless you enjoy physically abusing your equipment (Why anyone would actually want to do this I have no idea, abuse things and they break, treat em with a little respect and they will reward you with long and faithful service, simple fact of life) And the sound is excellent, clear, clean, detailed and when you get closer than about 12 inches in all but omni mode you start to get the extra warmth from the proximity effect.

I have had my best recording results by quite a large margin since I got this mic, and in that short time have been getting (Vocal and guitar) sounds very close to some of those on my favourite CD's (Accepting my own vocal and playing limitations of course) without having to use any EQ or compression. I am still finding the most suitable positions to get the best out of this mic, and expect the results to keep on improving as I get to know it's strengths and weaknesses better.

All I can say really is that there are plenty of decent sounding, similar priced and similar spec mics (All hailing from China) which were in with a shout, but this is the one that for me at least stands above the rest. You can get better, but you'll pay many times what I paid for this before you'll notice the difference.

I would definatley recommend anyone considering this kind of mic in the sub #300 price bracket to check out everything that is out there at the time, as the market is pretty dynamic at present. Behringer do however have a knack of comeing up with kit that is well designed, well built, sounds great and punches well above it's price point. Need I say more!

15 years making music as composer, rock guitar player.
10 years of recording experience, 5 years as professional producer and recordist.
Computer recording with Digidesign Protools 6.7 and Sonar 4 PE w/M-Audio Delta 1010 Yamaha Mixers
Samson Resolv 65a Monitors and Yamaha NS-10
External Gear of different brands (Alesis, Yamaha, Sony, Philips, dbx, Mackie, Behringer, Samson, Allen & Heath, etc.)

condenser, multiple polar patterns

It is a great mic... even better than expected after reading the reviews. I have used it little yet, as I bought it recently.. but it has been amazing. It is a little enhanced on the top end, ok, but that is compared to my Neumann TLM 170R which is supposed to be flat and transparent... but so far I have found it great for recording acoustic guitars and vocals. The sound is crisp and clear and saves time at EQing. I recommend it. And I also disagree with Mr. Rocco... when you rate a product you have to do it with products within the same range... Neumann, Telefunken, Geffel, Sennheiser or even Shure and AKG are top of the line for something... but I am sure that Behringer B-2 Pro condensers are outstanding within their market spot.

I playing guitar since 1993, sound engineer since 1999 (SAE institute). Have used in my works a lot of "state of the art" equipment.

About two years ago I went to a shop of a my friend and he convinced me to test this new mic and, like Chuck Simms said in the previous review, "It was love at first listen".
The B-2 Pro is essentally a Rode NT-2 clone with some improvements that, probably, has make the difference in positive: it's more versatile and sounds more detailed and dinamic.
Maybe the only thing in which Rode NT-2 is superior is the finishing (but it costs twice!).
I've compared this mic with a lot of other LDC and I can say that:
- for male-voice recording, like Lele said in the previous review, the top doesn't sound as smooth as you'd expect from a big-name, big-budget mic
- for female-voice and choir recording, if you want an ethereal beatiful sound, is close to perfection
- for guitars amplifier recording is maybe one of the best LDC I've ever used (even better than Neumann U-87!)
- it's the best quality-value mic I've ever seen
Like Chuck Simms said before "I am not on Behringer's payroll, but I would reccommend it highly. On a scale of 1-10 this mic is a solid 10. Great looks, great price, great mic."

Musician 20 years, Sound Engineer 10 years.
Have used/recorded with various top end equipment all mentioned in these reviews.

Just a note to the knockers of this product such as Rocco who undeservedly bring the overall rating of this mic from their ridiculous low score.
Some people in the industry are so mind set on industry standards/price/place of manufacture, that their minds are already made up. These days aren't like the old days. Has Rocco and the like ever heard of ISO 9000? If you have you should understand that it does not matter where the product was manufactured when it comes to quality. These products are manufactured to STRICT quality control standards. If the knockers were placed in a room blind folded with a variety of top end mics and the B2-pro, I am sure they would change their tune!
Stop the stigma and open your EARS!

I have been a broadcaster since 1971. As an independent program producer I have been working constantly. I do, on location, audio recording and interviews. I prefer to record on mini disc. I have built a broadcast recording facility in my home.

I wanted a good sound for vocal work and radio voiceovers. I have owned Shure SM57's, SM7's, an Electro Voice RE20 and RE27 and a Sennheiser 421. All of them fell short of the mark. Then a buddy sold me his B2. It was love at first listen. I am in the process of selling my other mics and buying more Behringer B2's.

I am not on Behringer's payroll, but I would reccommend it highly. On a scale of 1-10 this mic is a solid 10. Great looks, great price, great mic.

Pro electric-guitarist for almost 22 years, been recording for 15 years, all types of stuff.
During my life I've used a lot of kind of microphone, from Shure SM-58 to Sennheiser MD-421, from Neumann U-87 to Oktava ML-52 and so on...

It is a condenser mic with very-good performaces, it features omni figure 8 and cardioid, bass rool off and a a 10 dB attenuator.
I was looking for a good mic to record electric and acoustic guitaris.
I think it's a perfect mic for female-vocals, acoustic guitars and tube amplifiers recording, it sounds clear, bright and alive.
It has got a fantastic value for money.

PS: I agree with Mr. Lele, Rocco Flores Oneto's opinions are bullshit, but what you can expect from a person that write shameless things like "check what REAL AUDIO EXPERT think about this mic" - a real audio expert has got a lot of things to do and doesn't waste time in internet-chat!!!

I use the B-2 as an overhead drum mike, with a SM57 on snare, Audio Technica ATM11 on hi-hat and toms, ATM21 on rear bass drum, AKG 112 on front of bass drum, both heads on. I use a Behringer Tube Ultragain Mic 100 preamplifier as the power source and pre-amp. I record through a Alesis Studio 32, 16 direct outs to two 20 bit Adats 20xt's that I mix to an old Adat Edit card to my computer and a 16bit Adat xt. I get a big, airy sound on my drum kit, just incredable, a small Hip Gig Set. My point is this: I'm a good B grade musician that will never be famous, or has any expectations. I'm having a ball with a complete Behringer Studio for cheap, in my case a cheap retro studio, I've spent about 3000 dollars...........with compressors,EFX, affordable gear to record with. I get incredable recordings for peanuts...who cares what others think of my results...now if I could only afford to go into a real studio in my life.... But right now I'm making recordings and no matter how hard the musician salesman trys to sell me "something else for more", I'll stick with Behringer! I've never been in a super car and I don't miss it. I'm part of the market that Behringer is successful in.

ok. mr Lele. Is Behringer paying you? Trust me, it's MUCH MUCH more probable that "you ears" are broken, smoked or whatever. Please just visit rec.audio.pro (if you happen to be somewhere near pro)and check what real audio experts think about this mic.
I wrote i like the B2-PRO better than other chinese mics and think that's where the B-2 PRO story ends. The Rode NT-2 was already awful enough to clone it (and the B-2 is even worse). If you have only $150 spend might be your best option, but please! an AT4033, Shure KMS-27, even AKG C-3000B or GT-55 stomp over the B-2 PRO for $100 more or so. So why bother on this one? I used the B-2 PRO for almost 1 year and never found it great on anything.
So, please mr.Lele don't take my opinions personally and dont' insult my ears, my mood or my audio expertise. Remember audio isn't an exact science.

I am making music since about 1992.
I've been using PC DAW and Roland vs2000cd for recording, listening through either Yamahas NSP3 monitors or Sony MDR-7509 headphones.
This is however my first large diaphragm condencer mic, i've used various Sennheiser dynamic mics and some small diaphragm condencer mic in the past.

I've been trying to record vocal and acoustic guitar thruogh this mic.
Unfortunatly the preamps on my roland are crap and i am very unhappy with the results, so this is more of a preamp issue, BUT a friend brought SP C1 and it did sound a little better with same preamps.
In deffence of Rocco and others(see previous review) i want to say that my experience proved that it is often a matter of luck with gear in general, two of the same model mixers can have different noise levels, gains, etc. and from what i heard each Behringer item is like no other of the same model(almost like hand-crafted carpets).
I am yet to try B-2 Pro with a better preamp.

I've been recording in my home studio for almost 15 years and had worked with musicians and producers of variate musical styles in studio, in my home studio and live.
I use DAW workstations since 1996.
I've used a lot of mics during my life including: Shure Beta 58, SM 57, SM 58 and other dynamics, Rode NT-2A, AKG C-1000, C-3000, C-3000B, Solidtube, C414BULS, AudioTechnica 4040, Neumann U-89, U-87 i, U-87 Ai, Behringer B-2 PRO and some others which I can't remember.

The B-2 Pro is a high-performance dual-diaphragm studio condenser microphone FET transformerless electronics with a 10 dB attenuator, a low cut filter (6dB/octave at 150Hz), selectable cardioid, omnidirectional or figure-8 directivity pattern. The mic has a robust metal body and chassis with an equally tough grille protecting the capsule. All exterior surfaces are finished in what appears to be satin chrome, and the locking ring at the bottom of the body allows the circuitry to be exposed after slipping off the outer cover, though there are no user-serviceable parts inside. All three switches are recessed toggle types.

I used the mic with a pop shield on a studio session with a male singer and got good results with minimal EQ and compression. The sound came over assertive, solid, but with a little extra edge due to the high-frequency presence peak. Being over-critical, I don't think the top end sounded as smooth as you'd expect from a big-name, big-budget mic, but on the other hand it could help a singer with a slightly soft voice to cut through a mix (my Solidtube sounds smooth in male-voice recording but every mic has got its aim and sound). For female voices is simply perfect! It also adds presence and detail to stringed instruments, such as violins, acoustic guitar etc.
I've also directly compared this mic in a guitar cabinet recording-session with Shure SM-57, AKG Solidtube and AKG C-414 and... surprise the B-2 Pro was the most clear, detailed, and well sounding. I can't belive my ears... this low budget gear was in some points superior than acclaimed and established-reference mics!!!

I agree with Ned's assertionig "There is NO OTHER microphone on the market that provides the features and quality of this mic at anything near TWICE the price" but, on the other hand, I can't belive that some reviewes like Rocco Flores Oneto, for example, has REALLY TESTED this mic or got A REAL CHANCE to this gear... maybe the one he tested was broken, maybe the day he tested it he has got a bad headache or maybe Rocco's ears are broken! Rocco said "Once again you get what you paid for" - I say buy an amplifon for your ears so you'll really listen what you paid for! ;)

I was so well impressed by this mic that I've got another one to make a pair.

Maybe the correct rating for this mic is 9 but... hey... it's so cheap considering the performance (and also has got a decent shockmount and camera case), it's so versatile and well sounding that a 10 for its fantastic value it's obvious!

This mic really confirm Behringer motto "half the price, twice the features"!

I've been recording in my project studio for almost 9 years and had worked with musicians and producers of variate musical styles. I began with 2 ADATS machines and a Mackie console and moved to DAW 5 years ago. I've tried and tested several mics including: Rode NT5,NT2, Shure KSM32, SM81, SM94 and other dynamics, AKG C451EB,C1000,C3000,C3000B, C414EB, C414BULS, GrooveTubes GT66, AudioTechnica4033, Neumann U-89, KM-184, Marshall MXL 2001, V67, 603, Nady SCM900, CAD M37, Behringer B-2 PRO and maybe some others I can't remember. So even not an expert i have enough experience to determine whether a mic is at least useful or not.

This mic feels immediately cheaper than a Rode NT2 (of which it's a clone). Case, Foam Windshield and Shockmount come free with the B-2PRO which make it a bargain. For this price you get amazing fuctionality too. Soundwise it's a dissappointment. Bright, thin, harsh are some adjectives that might describe it's sound. Still i found it useful for some female voices and thought it was at least better than some other chinese mics i tried (NadySCM900, CADM37, MXL V-67). Once again you get what you paid for. I'd skip this kind of mics and go straight to something like a AT4033 or a KSM32 but hey... if you have only a few bucks to spend there's nothing technically wrong about this mic. It's just that when you've spend thousands of hours listening to great recordings you immediately realize that you're not going to achieve any serious sound with a mic like this. You like FAT, WARM, AIRY sound? then here's the enemy.

I've been playing guitar for 33 years, bass and drums almost as long, started recording early on. We used to record bass and drums on a mono reel-to-reel and play it back through a guitar amp while we played guitar and sang into a cassette deck.

I'm recording to a Roland VS-1680, which has the phantom power required by this mic. Monitoring over a pair of Alesis Point 7 nearfields.

It' a Chinese Neumann U87, really. Three polar patterns, bass cut and a pad.

This mic has revolutionized my acoustic guitar recordings. It's also nice on vocals, male and female. I had to record cowbell and guiro for a latin jazz project I'm doing, and it sounded better than a Shure SM57 (which probably means my mic pre's suck. I just ordered a Behringer tube mic preamp, and anticipate great things to come.) You'd pay more than I paid for this just to get a Neumann shock mount! If you need a studio condenser or two, the only reason I can think of not to buy one or two of these is if you're rich enough to buy 414's, U47's, etc.

Been playing professionally for over 20 years, sound engineering for not much less.

Current set-up. PC (puropose built for audio and very quiet, measures under 28dB from a yard away). M-Audio Delta 44 card. Mixer/preamps either Mackie or Behringer (MIC100). Recording a mix of acoustic and electric stuff plus MIDI.

The B2 is a 1" dia. dual-diaphragm side-facing large condensor mic, with cardoid and amni settings plus a low-frequency filter (to cut down on any subsonics picked up) and a dB reducing pad.

Other mics I'm using are AKG C1000S, AKG Solid-Tube, SM57s and 58s.

I got this mic as I wanted a second large-diaphragm mic, I'd heard stuff recorded using one that sounded good and it's cheap.

THe mic does sound good, and it's quite detailed and clear. Set to a cardoid pattern there's a noticible upper-mid/treble boost (paticularly when recording free-reeds) that's not too bad on vocals but I usually tweak a little to warm it up otherwise. Set to omnidirectional the mic has a much flatter response (or so my ears tell me) requiring much less e.q. I usually use it set to omni in a room with a decent achoustic characteristic and pretty close to the computer (as I said, you can make a P4 3Ghz run quietly). The Solid Tube sometimes picks up a slight hint of the PC and the B2 never does. The B2's output is a little lower than the tube mic as well.

It ain't a high-end mic, but it does a very good job indeed and stands comparison with the Solid Tube very well. It's certainly a better recording mic than dynamic types that cost much more. You also get an OK case and a cats-cradle type shock-mount (that works well) thrown in plus a foam popshield which colours the sound a bit, but I use a "proper" gauze one (hint - NEVER even breath into a large diaphragm mic without a popshield unless you don't mund wrecking it. They're delicate things).

Superb value for money, but you still need to buy a good popshield for the best results.

Semi pro musician, been doing self recording for a few years. I use a Zoom 16 track hard disk recorder, 16 channel Behringer mixer, etc. I own a number of mics, mostly used for live sound and recording. I play acoustic and electric guitar, sing, and play with a blues band.

I give this a solid 10. Large dowble diaphragm condensor mic. Switchable from cardioid to figure 8 to omni. 10db pad. Low freq roll-off. Needs phantom power.

I use this mic for live vocals, recording acoustic guitar, and recording vocals. It's also great for cabinet miking of my tube amp. Side address on cardioid.

This mic gives the rich open sounds that you can only get with a large diaphragm studio condensor. The cardioid pattern helps a lot in live situations.

This mic is versatile. It is very well made, very solid. It comes with an excellent spider mount, but the body is extremely well protected from noise -- you can handhold this mic without generating noise.

There is NO OTHER microphone on the market that provides the features and quality of this mic at anything near TWICE the price.

Home recording on cheap gear, software, etc for about two years. Another guy with a guitar writing songs and mixing at home. I put the B2 through an ART tube mp preamp, a Zoom505 for stereo and fx, and a breakout soundblaster soundcard into an old PIII 500 desktop or PIII 850 vaio. Using old pirated NTrack software with miscellaneous wav editors and plugins. Using various cheap consumer grade headphones and speakers.

Got this for my birthday last year. Before that I was using a really bad karaoke mic that had this strange nasal midrange bump. The B2 sounds very clear and open. I really like the proximity effect on it using cardioid setting, lots of details gets picked up. I don't use any of the high pass, dB padding, etc, but they work just fine - I just don't have any use for them recording just vocals and an occassional acoustic guitar track. The omni setting works well, but I haven't gotten into recording with it yet. Overall I really like this on vocals. Have gotten very lush sounding vocals, multitracking my vocals. Very very pleased with it on my DAW recordings.

I've been recording pretty much from the day I started playing guitar. I am a professional audio engineer, with thousands of hours of recording. I'm recording in a Mac environment with Deck.

The mention earlier of distorted highs is somewhat distorted itself. Any chance you've got your high eq cranked and your gain set incorrectly. If not that, then return the mic, it sounds like it's damaged.

B2 Pro - Great mic, great price, good times

Amateur recording for 25 years, all types of stuff.

Recording to PC

I bought this mic because it was the only Fig 8 pattern mic I could afford at the time.

I use it with an M/S paired with a Rode NT1 for acoustic guitar and other applications. It performs this function quite well.

It is a very good mic for acoustic guitar in any configuration.
The lack top end sparkle makes it unsuitable for vocals. It also misses the mark on brass instruments.

It does what I ask of it and was well priced. It seems to be well built and I am happy enough with it.

First sorry for my english (i'm from argentina) been makin music from over 15 years, i've started recording to pc 2 years ago.- i'have a sure 57, a shure 58, samsom 01, akg c 1000, and now i have the b2, i use a behringer mic 100 that goes to a waveterminal 192 x

it is the best mic i have, finally i reach a good and realistic mic at a very good price, i agree with the person that said "I like the bump that it has in the range for vocals. Save's time later when EQ'ing for presence" (i would say a lot of time) the low cut it has is very useful , Its a condensor you'll need 48+ phantom, I'm very very happy with this mic, since i'bought it i don't use the others any more, only use the shure 57 to record electric guitar very loud.-

Been recording professionally for over ten years. All kind of recording from bands to orchestra. For this project, I recorded through the pre's on a Mackie 1202VLZ-Pro to a VS-1680. They will be digi dumped to ProTools for further mixing/overdubs, etc. Listen with the Mackie HR824's.

Multipattern dual diaphragm condenser mic with pad and roll off.

Used this for the fat end of a stereo placement for acoustic guitar and for vocals.

Chose this mic because I've had good luck with Behringer products and it was recommended by a friend whose opinion matters. I needed a good sounding mic for a quick and dirty session opportunity that presented itself to me.

I like the bump that it has in the range for vocals. Save's time later when EQ'ing for presence and sizzle on vox. I got a great, intimate (very present, yet warm) sound with it. Some mics don't capture the presence that a nice dry in-your-face breathy vocal MUST have to convey that intimate sound.

This one filled the bill, well...

For the money this mic is great. I couldn't believe that a $150 mic sounded THAT good.

Consistant performance for the price. That's what I've found with Behringer B2-Pro...

I use a behringer mixer paid 59$ for the mixer.
I have been recording music for about 9yrs. I use Cool Edit pro and a Sound Blaster Audigy 16bit / 44.1khz. This mic is ok but I do not use a mic pre amp but I will get one. This mic has a lot of distorted highs in certin people voices very annoying to.

I will get a better mic in the future because this mic does not handle highs very well. This mic is good for acoustic guitar sometimes.

I have been playing christocentric music for years in the boston area.
I have helped out others in session work of various types in their studios for years.
I record to a yamaha aw-16 into an art tube mic pre thru paradighm titans monitors.

beringer b-2 pro multi pattern condenser
i use it on every thing
i was going to buy a at 4055 a very gooood mic.
a local dealer called audio pro in watertown mass said to give this mic a try. I did, and i cant say anything bad about it it does everything i have needed it to do it sounds big, open, upfront, sweet you get the idea.

Home recording for 15 years,now on HD.I play MIDI virtual instruments ,electric guitar through a POD and acoustics with the B2Pro through a MIC100 tube preamp(nice!):This mic has a warm and pleasant, highly professional tone. I can hear in recorded tracks the sound of the woods of my guitars well balanced with the metallic vib of the strings,and also the voice(spoken,I'm not a singer)is very realistic and warm.This is a supersensitive mic,so I think it's not aimed to ampli mikings:surely it gives its best with the subtle nuances of acoustic instruments and not screaming voices.

Large double diaph condenser.
I've got what I needed:a HiFi,vintage sounding mic.
I cannot find any compliant:I think it's the best LD condenser for the price.

I have been playing guitar for 9 years now.

I do record band with my work station Yamaha AW16G.
I also own mics, seinheise e825 and e845, a Rode NT3 and behringer B1 and B2pro.
And of couse tube preamp : Art tube V3 and presonus tube Pre.

It's a condenser mic so you need a phantom power 48V.
I use it with pre amp Art tube V3 or presonus Tube pre.
You have three directivity : cardoide, omni or bi + 80Hf filter and -10Db.

I use mainly this mic in studio to record the voice.
His sound is sweet and transparent with dynamic and harmonics.
Used with Art tube the sound is not colored at all with a lot of presence. With the Tube pre, it's more defined and hotter but with less presence.
I will use it really soon to record piano.
I already did with the B1, it's accurate but a bit harsch so I know with the B2 pro that it will sound really better.

For the price it's an excellent mic.

I\m recording for 4 yours now and have always recorded with a shure sm58, i once tried a studio condensor and i wanted one also, so it became the b2pro, I'm verry happy with it, nice open sound. records to my beringer mixer, and into a recording pc. Its a condensor so you'll need 48+ phantom, its perfect for the punk/rock music i make

For the price this is one nice peace of equipment. It sounds like any other expensive mic