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Behringer T1953 Tube Ultragain Processor
Ultra-low noise discrete microphone amplifier with separate line input amplifiers. Features Ultra Tube circuitry for added warmth without distortion and warmth control for generating tube sound independently.
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The Tube Ultragain is the best preamplifier that Behringer has ever produced. Not only did they choose the highest components available; in the input section circuitry they've bordered on breaking the laws of physics. With impressive results: absolutely pure audio quality and unbelievable detail resolution. Input gain is adjustable from +10 to +60 dB. Phantom power is switchable per channel, with a "soft mute" function to ensure noise-free switching.
Features:
Versatile and useful "Tube" 2-Channel mic preamp, line drive, and DI box
Original ULTRAGAIN is a staple in studios because it gives you the extra clarity and punch missing from your mics
Unique mic preamp provides unmatched sound quality with an incredible dynamic range of 130 dB!
Gain is adjustable from +15 to +55 dB
"Ultra-Tube" circuitry adds more warmth without distortion or noise.
Add in as much tube enhancement as you can handle with the independent "Warmth" control
Legendary Sovtek tubes; huge, backlit analog VU meters and a slick chrome "Retro" front panel design and vintage style knobs that take you back to the future round out this package
Phantom power is available on each channel
"Soft Mute" feature ensures that there's no "thump" when unit is enabled
Mic/Line switch lets you choose Line input or Mic input
12 dB per octave switchable Low Cut filter can be swept from 15 Hz to 350 Hz to eliminate stage "rumble" and tighten up tape tracks in the Line Mode
Phase Reverse function minimizes anti-phase effects and is also essential when decoding MS (Middle/Side) miking effects
Converts between the semi-professional standard of -10 dBV up to the professional +4 dBu professional standard or vice versa
Servo-balanced XLR and TRS inputs and outputs on gold-plated connectors
Connections: XLR and 1/4 in. jack
Type: transformerless, DC-decoupled input
Impedance: 3 kOhm balanced
Max. input level: +10 dBu balanced and unbalanced
CMRR typical 40 dB, >55 dB @ 1 kHz
Line inputs
Connections: XLR and 1/4 in. jack
Type: transformerless, DC-decoupled input
Impedance: 50 kOhm balanced, 25 kOhm unbalanced
Max. Input leve:l +23 dBu balanced and unbalanced
CMRR: typical 40 dB, >55 dB @ 1 kHz
Audio outputs
Connections: XLR and 1/4 in. jack
Type: electronic, servo-balanced output stage
Impedance: 60 Ohm balanced, 30 Ohm unbalanced
Max. output level: +21 dBu balanced and unbalanced
System Specifications
Bandwidth 18 Hz to 30 kHz, +/- 3 dB
Signal-to-noise ratio > 108 dBu, unweighted, 22´Hz to 22 kHz
Controls
Mic Trim: variable (+10 to +60 dB)
Frequency (High Pass): variable (12 to 350 Hz)
Level: variable (-20 dB to +20 dB)
Warmth: variable (Cold to Warm)
Function Switches
+48 V: engages the Phantom Power
Mic/Line: switches from Line to Microphone pre-amp
Phase Reverse: phase reversal (180Á)
High Pass: engages the high pass filter
Options
Output transformer Behringer OT-1 retrofittable
Power Supply
Mains voltage: USA/Canada ~ 120 V AC, 60 Hz
Power consumption: 25 Watts
Fuse: 100-120 V AC: 1,0 A (slow-blow)
Mains connection: standard IEC receptacle
Physical
Dimension (H x W x D): 3-1/2 x 19 x 8-1/2 in. (89.5 x 482.6 x 217mm)
Net weight: 8.0 kg, approximately
Shipping weight: 10.0 kg, approximately
Features:
Versatile and useful "Tube" 2-Channel mic preamp, line drive, and DI box
Original ULTRAGAIN is a staple in studios because it gives you the extra clarity and punch missing from your mics
Unique mic preamp provides unmatched sound quality with an incredible dynamic range of 130 dB!
Gain is adjustable from +15 to +55 dB
"Ultra-Tube" circuitry adds more warmth without distortion or noise.
Add in as much tube enhancement as you can handle with the independent "Warmth" control
Legendary Sovtek tubes; huge, backlit analog VU meters and a slick chrome "Retro" front panel design and vintage style knobs that take you back to the future round out this package
Phantom power is available on each channel
"Soft Mute" feature ensures that there's no "thump" when unit is enabled
Mic/Line switch lets you choose Line input or Mic input
12 dB per octave switchable Low Cut filter can be swept from 15 Hz to 350 Hz to eliminate stage "rumble" and tighten up tape tracks in the Line Mode
Phase Reverse function minimizes anti-phase effects and is also essential when decoding MS (Middle/Side) miking effects
Converts between the semi-professional standard of -10 dBV up to the professional +4 dBu professional standard or vice versa
Servo-balanced XLR and TRS inputs and outputs on gold-plated connectors
Technical Info
Microphone InputsConnections: XLR and 1/4 in. jack
Type: transformerless, DC-decoupled input
Impedance: 3 kOhm balanced
Max. input level: +10 dBu balanced and unbalanced
CMRR typical 40 dB, >55 dB @ 1 kHz
Line inputs
Connections: XLR and 1/4 in. jack
Type: transformerless, DC-decoupled input
Impedance: 50 kOhm balanced, 25 kOhm unbalanced
Max. Input leve:l +23 dBu balanced and unbalanced
CMRR: typical 40 dB, >55 dB @ 1 kHz
Audio outputs
Connections: XLR and 1/4 in. jack
Type: electronic, servo-balanced output stage
Impedance: 60 Ohm balanced, 30 Ohm unbalanced
Max. output level: +21 dBu balanced and unbalanced
System Specifications
Bandwidth 18 Hz to 30 kHz, +/- 3 dB
Signal-to-noise ratio > 108 dBu, unweighted, 22´Hz to 22 kHz
Controls
Mic Trim: variable (+10 to +60 dB)
Frequency (High Pass): variable (12 to 350 Hz)
Level: variable (-20 dB to +20 dB)
Warmth: variable (Cold to Warm)
Function Switches
+48 V: engages the Phantom Power
Mic/Line: switches from Line to Microphone pre-amp
Phase Reverse: phase reversal (180Á)
High Pass: engages the high pass filter
Options
Output transformer Behringer OT-1 retrofittable
Power Supply
Mains voltage: USA/Canada ~ 120 V AC, 60 Hz
Power consumption: 25 Watts
Fuse: 100-120 V AC: 1,0 A (slow-blow)
Mains connection: standard IEC receptacle
Physical
Dimension (H x W x D): 3-1/2 x 19 x 8-1/2 in. (89.5 x 482.6 x 217mm)
Net weight: 8.0 kg, approximately
Shipping weight: 10.0 kg, approximately
This preamp from Behringer uses the highest quality components (including Sovtek tubes) and exemplary engineering to arrive at impressive results; pure audio quality and unbelievably detailed resolution. Input gain is adjustable from +10 to +60 dB. Includes 2-channel mic preamp with switchable phantom power, phase reverse, and low cut filter. XLR and TRS I/O.
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Behringer T1953 Tube Ultragain Processor Reviews
10 out of 10
"Behringer scores major brownie points..."
Feature:
Simple and usable feature set - sweepable (parametric) eq for high pass filter - 48v phantom (if used that way) level and "warmth" (gain) knobs - a no brainer, never even opened the manual.
Quality:
Made like an old preamp - metal. Knobs feel a little light (by old standards), but quality nonetheless.
Value:
I see people spend more money on beer in a weekend - personally, I'll take tubes any day.
Desirability:
Tubes, lights - analog meters - smmmooooth...
Sound:
Lets qualify this by first stating that I can only fill my tank twice for the money I spent on one of these - I bought four. That being said, the internal boards are so simple, there is literally no much of a chance to "screw anything up", but in agreement with the prvious poster - let's definitely not Behringer bash - especially in this case. I have a lot of gear, including the Ampex 300 preamps from RCA studios where Sinatra recorded New York, New York. Case in point, those were originally front end preamps on Ampex 300 tape machines - the machines were in sad shape mechanically, but these amps, removed from the tape machines are great for studio preamps - and the sound of the Behringers (important: replace tubes with Ei Elite 12AX7EG - Telefunken clones) are as good - even better in some applications (with the Ei Elite 12AX7EG tubes). The downside to the units is replaceable - the stock tubes make a great unit noisy out of the box - an $80 upgrade makes this a world class preamp. I run every sub (8) on my Mackie ONYX 4880 through these on the sub inserts - all the time - people are always asking "how I get that sound" - thanks Behringer.
Ease of Use:
It's a preamp - if that is hard to use - perhaps a career in pet supplies would be more suitable...
Support:
no reason in over two years of everyday use.
Overall:
These units have become a staple - I keep another set of four in storage, along with tubes - "just in case"
Simple and usable feature set - sweepable (parametric) eq for high pass filter - 48v phantom (if used that way) level and "warmth" (gain) knobs - a no brainer, never even opened the manual.
Quality:
Made like an old preamp - metal. Knobs feel a little light (by old standards), but quality nonetheless.
Value:
I see people spend more money on beer in a weekend - personally, I'll take tubes any day.
Desirability:
Tubes, lights - analog meters - smmmooooth...
Sound:
Lets qualify this by first stating that I can only fill my tank twice for the money I spent on one of these - I bought four. That being said, the internal boards are so simple, there is literally no much of a chance to "screw anything up", but in agreement with the prvious poster - let's definitely not Behringer bash - especially in this case. I have a lot of gear, including the Ampex 300 preamps from RCA studios where Sinatra recorded New York, New York. Case in point, those were originally front end preamps on Ampex 300 tape machines - the machines were in sad shape mechanically, but these amps, removed from the tape machines are great for studio preamps - and the sound of the Behringers (important: replace tubes with Ei Elite 12AX7EG - Telefunken clones) are as good - even better in some applications (with the Ei Elite 12AX7EG tubes). The downside to the units is replaceable - the stock tubes make a great unit noisy out of the box - an $80 upgrade makes this a world class preamp. I run every sub (8) on my Mackie ONYX 4880 through these on the sub inserts - all the time - people are always asking "how I get that sound" - thanks Behringer.
Ease of Use:
It's a preamp - if that is hard to use - perhaps a career in pet supplies would be more suitable...
Support:
no reason in over two years of everyday use.
Overall:
These units have become a staple - I keep another set of four in storage, along with tubes - "just in case"
Submitted: 10/30/2007
10 out of 10
"Behringer T1953 review"
Feature:
Rack mountable, nice look, fake tube lights are cool. BTW Presonus has a red LED behind it's tube. Heard people complain about the meters. Mine are working fine.
Quality:
For this price the construction of the chassis is good. The knobs are light and click in tiny increments. Very basic stuff here with a vintage retro look.
Value:
Return on investment is excellent.
Desirability:
chicks dig the lights
Sound:
Acts more like a DI with tube influences. I like the sound better than the Presonus tubePRE, much quieter. The coloring is transparent, the signal is strong. You will notice how dynamics will improve.
Ease of Use:
Look, read the manual. Line levels should be good going in, especially when miking amps. A little adjustment on the gain in the preamp, and some warth, and you are set. I do a bass straight in, sounds sweet by the time it reaches the board. My condensor mic sounds good with this unit.
Support:
Never needed it
Overall:
Some very good material was made on equipment alot more inferior to this. Let's not Behringer Bash. I reccomend this for someone who wants a more polished sound during tracking. That makes mixing alot more pleasurable.
Rack mountable, nice look, fake tube lights are cool. BTW Presonus has a red LED behind it's tube. Heard people complain about the meters. Mine are working fine.
Quality:
For this price the construction of the chassis is good. The knobs are light and click in tiny increments. Very basic stuff here with a vintage retro look.
Value:
Return on investment is excellent.
Desirability:
chicks dig the lights
Sound:
Acts more like a DI with tube influences. I like the sound better than the Presonus tubePRE, much quieter. The coloring is transparent, the signal is strong. You will notice how dynamics will improve.
Ease of Use:
Look, read the manual. Line levels should be good going in, especially when miking amps. A little adjustment on the gain in the preamp, and some warth, and you are set. I do a bass straight in, sounds sweet by the time it reaches the board. My condensor mic sounds good with this unit.
Support:
Never needed it
Overall:
Some very good material was made on equipment alot more inferior to this. Let's not Behringer Bash. I reccomend this for someone who wants a more polished sound during tracking. That makes mixing alot more pleasurable.
Submitted: 10/30/2006
Style of Music: Acoustic Rock
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