Behringer

Behringer B-5 Condenser Microphone Cardioid/Omni Capsules

Condenser

Transparent, low-noise condenser that delivers honest transient capture for acoustic instruments, overheads, and studio tracking sessions.

$72.90*
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*Price sourced from Amazon.com. Last updated:Oct 21, 2026.Price and availability are subject to change — details.

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Overview

The Behringer B-5 is a medium-to-small-diaphragm true condenser built for the working musician and project studio engineer who needs reliable, accurate capture across acoustic instruments, overheads, and live stage applications. Its sonic signature leans toward transparency — the transformerless FET input circuit avoids the low-frequency distortion that can color transformered designs, resulting in a clean, extended response that lets acoustic guitars, pianos, and cymbal detail come through without flattery or smear. The interchangeable cardioid and omni capsules mean a single B-5 can serve fundamentally different recording roles: tight source isolation in a busy live room, or open, ambient room recording when the acoustic environment is worth capturing.

Build quality is solid for the price tier — the body feels robust enough for regular studio rotation, and the gold-plated XLR connector is a meaningful detail for longevity. The integrated -10 dB pad and low-cut filter switches expand the B-5's practical range, allowing it to handle louder sources without capsule saturation and eliminating low-end rumble that would otherwise require post-processing. Under session pressure, the B-5 performs predictably: gain staging is straightforward with most modern interfaces, the capsule swap is quick, and the frequency response holds up across a wide variety of sources. Engineers stepping up from dynamic microphones will immediately notice the improved transient detail and air — the B-5 makes acoustic instruments sound genuinely alive in a way that budget dynamics simply cannot.

Key Features

Medium-diaphragm Condenser Microphone with Interchangeable Cardioid/Omni Capsules

Low-cut Filter

Ultra low-noise transformerless FET input eliminates low-frequency distortion

Professional true condenser microphone for studio and live applications

Specifications

Type
True Condenser (Small/Medium Diaphragm)
Capsules
Interchangeable Cardioid / Omni
Input Circuit
Ultra low-noise transformerless FET
Features
Low-cut Filter, -10 dB Pad
Connector
Gold-plated 3-pin XLR
Power Requirement
48V Phantom Power
Applications
Studio, Live Sound

Frequently Asked Questions

The B-5 has a sensitivity of around -42 dBV/Pa, so it needs a moderate amount of gain — expect to push most interfaces 50–60% up the dial for quieter acoustic sources. At those gain levels, the transformerless FET circuit keeps the noise floor well-controlled for the price tier, though on very quiet sources like finger-picked nylon string guitar you may hear a faint hiss that more expensive small-diaphragm condensers wouldn't produce.
Yes, the B-5 is a true condenser and requires 48V phantom power to operate — it will not produce signal without it. It is safe to use with any standard 48V phantom power source from a mixing console, audio interface, or dedicated preamp.
The cardioid capsule is the right choice whenever you need source isolation — close-miking instruments in a live room, recording vocals with other musicians in the room, or spot-miking individual orchestra sections. The omni capsule is useful when you want the full acoustic environment: room ambience recording, boundary-effect placement, or recording a group of acoustic instruments as a single stereo image with a matched pair.
Yes, the integrated -10 dB pad is specifically useful for high-SPL sources. On a loud snare or brass instrument without the pad engaged, you risk clipping the capsule before the signal even reaches your preamp. Engage the pad and you reclaim clean headroom — transients stay tight and undistorted even at close distances.
The low-cut filter is designed to roll off below the problematic proximity-effect and rumble range. On acoustic guitar, room ambience, and most overhead applications it is safe to engage — you lose sub-bass that typically muddies a mix rather than contributes to it. On bass-forward sources like a baritone voice or upright bass miked at the body, keep it off so you preserve the fundamental.