
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:Jul 14, 2026.Price and availability are subject to change.
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Overview
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
Pros & Cons
👍 Pros
- Transformerless FET circuit delivers an open, extended high-frequency response that flatters acoustic stringed instruments and cymbals
- Interchangeable capsule system gives you two distinct polar pattern options in a single microphone body without buying a second mic
- The -10 dB pad allows the B-5 to handle high-SPL sources without capsule saturation, keeping transients clean and accurate
- Low-cut filter switch is genuinely useful in live overhead and room applications where floor rumble and proximity effect would otherwise eat up headroom in the mix
- Gold-plated XLR connector ensures a reliable, corrosion-resistant signal connection in high-use touring or studio environments
👎 Cons
- Self-noise at maximum gain settings is audible on very quiet sources — not a problem for most instruments, but noticeable when miking a classical guitar pianissimo or a breathy whisper vocal
- The -10 dB pad and low-cut filter switches are small and closely positioned on the body, making them easy to accidentally toggle mid-session in dim studio lighting
- As an entry-level condenser, the off-axis coloration is less refined than premium small-diaphragm models — sources wandering off-axis in live settings will sound noticeably thinner
- The included capsule storage and case are basic, which matters for professional touring use where capsule protection is critical
Frequently Asked Questions
How much gain does the B-5 require, and does self-noise become an issue at higher gain settings?
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.
Does the B-5 require phantom power, and is it safe to use with all phantom-power-equipped interfaces?
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.
When should I choose the cardioid capsule versus the omni capsule?
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.
Can I use the -10 dB pad for loud sources like brass or drum overheads?
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.
Does the low-cut filter affect the fundamental tone of instruments, or is it safe to leave on?
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.