Choose how much of the room you record.
An acoustic guitar up close. A choir across the hall. Overheads above the drums. Each one asks the microphone to listen in a different way. On the B-2 PRO, one switch on the front sets the pattern, so the same microphone suits the next job.
Three patterns, one microphone
Omnidirectional, with the switch to the left, picks up the source and the ambient sound. Cardioid, to the right, focuses on specific instruments or voices. Figure eight, in the centre, is recommended for choir miking. It also picks up more ambient sound than omnidirectional.
Ready for close and loud sources
The left switch on the rear activates the low-cut filter, 6 dB/oct. at 150 Hz. It filters pops and other low-frequency interference. The right switch on the rear activates the -10 dB attenuator. Use it on pulse-type sources with high sound pressure levels, such as a kick drum.
From the case to the first take
The microphone needs +48 V phantom power and about 6 seconds to stabilise after power-up. Mute the system before you switch phantom power on. A suspension mount, windscreen and aluminium transport case are included. Frequency response runs from 20 Hz to 20 kHz through a gold-plated XLR connector.
