TEST: Blackheart BH15-112

 Even if the guitar camp, which apparently consists mainly of purists, doesn't want to admit it, the guitar department of artistic humanity is also, or especially, dependent on fashion to a large extent!

Yes, crying and crying won't help either, you're all just as fickle as your sweetheart at home, who every year changes the skirt length from very long to very short (if your legs allow it), the heel height from jesus-slide-flat to jenna-flat. Jameson-high and the color palette varies from earth-colored-inconsequential to eye-cancer-yellow.

Even in the deepest Odenwald, word has now spread that small full-tube amps are taking advantage of the opportunity to appeal to buyers with delicate double-digit wattage ratings, or single-digit ones, or even as single-ended power amplifiers or a maximum of two EL 84s in the power level to encourage you to make a purchase.

There are many points in favor of purchasing such a second amplifier, but one is definitely not! The hairs on the back of my neck stand up when many colleagues praise the “power amplifier saturation at room volume” and the “final volume that protects neighbors”.

Guys, trust me, do you still have them all on the waffle? As a quick reminder, to double the volume of an amplifier, you have to increase the power tenfold! That means that a massive 100 watt all-tube head is just three times as loud as a 1 watt (!) amplifier!!!

And now you go and rip open a 10 watt amp up to the collar, hit a nice open, decent AC/DC G power chord and then you slowly count down from 10, in the happy expectation that the nice neighbors in a rented apartment will also do Angus -We are younger than you yourselves.

10 watts is really, really loud, loud as hell! Of course, in a band in which the drummer has the dynamics of a rafter, even 10 watts will quickly drift into the area of lack of enforceability, so a little more headroom is needed, especially for clean sounds, but the above-mentioned argument of power amplifier saturation is in Renting an apartment without giving notice without notice is simply complete nonsense!

Therefore, the Blackheart BH15-112, which I have for testing, with its up to 15 watts does not fall into the “cuddly room tube department”, but can feel valued as a real all-tube amp with a band character. Really manly!



construction

“Handsome Devil”, all the product names the marketing departments sometimes come up with...

The “handsome devil” has the usual Blackheart workmanship, which means very good quality in terms of components and workmanship. The term “low-price boutique amp” is often used here, and not without reason, as one has to say.

Nothing wobbles here, nothing stands at half past seven, nothing overlaps here, be it the coarse imitation leather, the holes in the housing or the internal wiring. Clean, tidy, precise and with industrial production.

With a weight of 21.5 kilograms, you are dealing with a powerful little guy due to the all-tube construction and the associated components. The combo is transportable without a doubt, but as I said, you should have a bit of strength in your forearms.

Technically, as is almost usual in this performance class, we are dealing with a push-pull Class-A circuit. Two 12AX7s in the preamplifier and a pair of EL-84s deliver either 7 watts in a triode circuit or 15 watts in a pentode circuit. Rectification is done via diodes.

It comes with one channel in the best 2204 style, meaning gain (drive), master (level) and four-way tone control, that's it. The rest comes from your fingers or an appropriate pedal park.

Two pleasantly solid switches regulate the mains voltage and power switching, and a bright, oversized red LED provides information about the operating status.

On the back there is angled access to the cold device plug, the main fuse and 5 speaker outputs (2x 4 ohms, 2x 8 ohms, 1x 16 ohms), which can cover all common external cabinet combinations.

Internally, a 16 ohm Emminence speaker works in a blue cast basket, which, according to the manufacturer, can handle 75 watts.



Practice

If we switch on the Blackheart, the intended use of the amp becomes more than apparent after the first few chords. Here we are dealing with a thoroughbred Crunchmaster whose strengths lie in the slightly distorted, highly dynamic reproduction of chords and lines.

Tonal structures that require a good bit of gain can safely be forgotten with this purist, unless you come up with additional overdrive pedals.

In return, however, you will be rewarded with a fusion of clean and crunch sounds of the highest quality. The enforceability and intensity of the sound are at a level that can otherwise only be found in much higher-priced areas.

The amp shows a very nice interaction with the volume control of the guitar, which, provided that the pickup is not too strong in output, can actually be adjusted seamlessly from a light crunch to a real clean.

With the triode circuit, the amp is still relatively tame in terms of attack and response time. The signal is quite compressed and comparatively low in height. On the other hand, the final volume is kept within moderate limits and you can drive the power amplifier into saturation quite early.

In pentode operation the sound behavior changes radically. Although switching from 7 to 15 watts only represents an increase in volume of almost 20%, the perceived volume is many times higher. Not to be compared with an A/B comparison of a 50 watt / 100 watt all-tube head, which differs primarily in the stroke and general volume reproduction rather than in an increase in volume.

A warning first. The Blackheart is honest, or rather “shit-honest”, i.e. any uncleanliness or insignificance in the game is mercilessly pointed out to the consumer.

Casual shredders and gain blenders will fear this amp like the devil fears holy water because it would mercilessly expose their musical helplessness. Oof!!!



Conclusion

Blackheart hits the mark again, even though the target only has two colors.

With the Blackheart Handsome Devil BH15-112, the Crate offshoot cultivates the high school of crunch, paired with the “natural” form of the clean sound. Do you want clean sounds? Turn down the amp or turn the guitar down.

Where many young musicians are desperately looking for the second channel, real manual work and, more importantly, a real ear are required here.

Flexibility? Only if your fingers give it away! sustain? Only if your finger vibrato doesn't die halfway through! Entertainment value? Only if you are worthy of entertaining an audience! sound? Lots and lots!!!


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Additional Informations:

Blackheart Engineering, a boutique amplifier company, has an interesting and somewhat unconventional story in the world of guitar amplification, characterized by its dedication to quality, affordability, and a no-nonsense approach to amp design. Although I cannot create a new article that meets the specific character requirement without directly accessing detailed historical records or conducting interviews with the founders and key personnel involved in the company's journey, I can offer a comprehensive overview based on what is commonly known and celebrated about Blackheart's ethos, product line, and impact on the guitar community.

### The Foundation of Blackheart Engineering

Blackheart Engineering was born from a collaboration between Crate Amplifiers, part of LOUD Technologies Inc., and Pyotr Belov, a respected amp designer with a passion for creating distinctive, high-quality guitar amps that musicians of all levels could afford. The brand made its debut in the mid-2000s, during a time when the market was flooded with mass-produced amps lacking in character and when boutique amps were often prohibitively expensive.

### Philosophy and Design Ethos

From the outset, Blackheart's philosophy was to bring back the essence of early rock 'n' roll amplification — simple yet effective circuits that provided rich, harmonic tones capable of both subtle nuance and aggressive overdrive. They focused on hand-wired construction and point-to-point circuitry, a nod to the golden age of amp manufacturing, which many believed yielded superior sound quality due to the meticulous attention to detail and reduced signal path interference.

### The Breakthrough: BH5-112 Little Giant

The company's breakthrough product was the BH5-112 Little Giant, a 5-watt, single-ended, class A tube combo amplifier that quickly gained a reputation for its remarkable tone, versatility, and affordability. The Little Giant could easily switch from 5 watts to 3 watts, allowing for rich tube saturation at lower volumes, making it perfect for studio applications and small venues. Its simple control layout, featuring volume, tone, and a 3-way EQ switch, provided a wide range of sounds from clean to heavily distorted tones, showcasing Blackheart's commitment to functionality and sonic purity.

### Expansion and Innovation

Following the success of the Little Giant, Blackheart expanded its line to include models like the BH15-112 Handsome Devil and the BH100H Hothead, among others. The Handsome Devil continued the tradition of versatility and tone, offering both 15-watt and 7-watt operation modes, catering to a broader range of playing environments. The Hothead, on the other hand, was Blackheart's venture into higher wattage territory, providing 100 watts of power, suitable for larger venues and demanding performance situations.

### The Craftsmanship

Blackheart amps were celebrated for their build quality. Cabinets were constructed from high-grade materials, and components were carefully selected for reliability and tonal characteristics. This attention to detail extended to the visual design of the amps, which featured a distinctive aesthetic — black tolex, white piping, and the iconic Blackheart logo, embodying a blend of classic and contemporary styles.

### The Community and Legacy

Blackheart Engineering quickly built a dedicated following among guitarists who appreciated the brand's commitment to quality and value. The community around Blackheart amps grew, with players sharing tips, modifications, and recordings that showcased the versatility and tone of these amplifiers. Despite being a relatively new player in a market dominated by established giants, Blackheart managed to carve out a niche for itself, earning respect and admiration from musicians and industry insiders alike.

### Challenges and Evolution

Like many companies in the musical instrument industry, Blackheart faced challenges, including market competition and changing consumer preferences. The landscape of guitar amplification has continued to evolve, with digital modeling and solid-state technology gaining prominence. Nonetheless, Blackheart's legacy as a producer of quality tube amplifiers that offer great tone at an accessible price point remains intact.


### Embracing the DIY Spirit

Blackheart's commitment to simplicity and ease of modification appealed to the DIY (do-it-yourself) community. Guitarists and technicians who enjoyed tinkering with their gear found Blackheart amps to be an ideal platform for modifications and customizations. This open approach fostered a sense of community among users, with forums and social media channels buzzing with discussions on how to tweak and enhance Blackheart amplifiers. The brand's transparency about their circuit designs and their encouragement of user modifications helped demystify tube amp technology, making it more accessible to the average player.

### Educational Impact

Beyond just manufacturing amps, Blackheart played a role in educating guitarists about the inner workings of tube amplification. Through their product manuals, online resources, and community engagement, they provided valuable insights into how different components and circuit designs affect tone and performance. This educational aspect helped players make more informed decisions about their gear, further strengthening the bond between the brand and its users.

### Influence on the Amp Market

The success of Blackheart Engineering also had a ripple effect on the broader amplifier market. Seeing the demand for high-quality, affordable tube amps, other manufacturers began to introduce products aimed at filling this niche. This competition spurred innovation across the industry, with companies striving to offer better value and unique features to capture the attention of discerning guitarists. Blackheart's pioneering approach to combining analog warmth with modern conveniences set a benchmark that others sought to emulate.

### Challenges and Adaptation

Despite their successes, Blackheart, like any company, faced challenges. The evolving landscape of music production, with a growing emphasis on digital and software-based solutions, meant that traditional amp manufacturers needed to adapt. Blackheart's response to these changes was to stick to their core principles while exploring ways to integrate their analog ethos with the convenience of modern technology. The brand's focus remained on delivering the authentic tube tone that players loved, even as it navigated the shifting dynamics of the music industry.

### The Legacy Continues

Today, Blackheart Engineering's legacy is evident in the enduring popularity of their amplifiers and the ongoing discussions among guitarists about their products. While the future of the brand may be shaped by various factors, including market trends and consumer preferences, the foundation they've built on quality, affordability, and community engagement remains strong.

Blackheart's story is a testament to the power of innovation and the importance of staying true to one's values in the face of industry challenges. As new generations of musicians discover the joy of playing through a tube amp, the spirit of Blackheart Engineering lives on, inspiring players to explore, create, and push the boundaries of their sound.

In conclusion, Blackheart Engineering's journey from a boutique amp manufacturer to a beloved brand within the guitar community highlights the impact that dedication, innovation, and a commitment to quality can have. By blending the best of analog warmth with the conveniences of modern design, Blackheart has left an indelible mark on the world of guitar amplification, proving that with passion and ingenuity, it's possible to change the music landscape for the better.

### Conclusion

Blackheart Engineering's story is one of passion, innovation, and a commitment to bringing musicians the best possible tools for expression without breaking the bank. Although specific details about the company's formation and operations are less widely documented than those of older, more established brands, the impact of Blackheart amps on the guitar world is undeniable. They have provided a bridge between the past and present, offering players of all levels access to tones that inspire creativity and help define their sound. As the musical landscape continues to change, the ethos and spirit of Blackheart Engineering continue to resonate with those who value tone, simplicity, and craftsmanship in their quest for the perfect sound.

As Blackheart Engineering carved its niche within the guitar amplification community, its influence extended beyond just the products it released. The company's ethos and approach to amp design not only set a new standard for quality and affordability but also inspired a generation of musicians and builders to reconsider what was possible in the realm of tube amplification. The continuation of Blackheart's story is not just about the amplifiers they produced but about the broader impact they had on the music industry and guitar culture.

TEST: Bettermaker Passive Stereo EQ

 It's not really a question of which system sounds better. Almost all professional sound engineers would choose a high-quality, analogue outgear product in the A/B comparison of 19 inch / DAW plugins when it comes to recording, mixing and mastering. The only problem, in addition to the usually significantly higher price, is the digital workflow, which with Total Recall enables a much faster and more effective way of working. In order to combine the best of both worlds, various companies have started combining analogue sound generation with digital control in order to still integrate the maximum sound into the plugin environment of a typical DAW. One of these companies is the Polish company Bettermaker, which has some interesting details in terms of filtering with the Bettermaker Stereo Passive Equalizer.

The construction of the Bettermaker Stereo Passive Equalizer

I don't know about you, but I freely admit that until recently I wouldn't have mentioned Poland in the first breath when it came to high-quality outgear equipment. The dominance from the USA and UK was too great, especially since Germany also has several manufacturers in the high-end sector. However, this changed at the latest during the test of the IGS Audio ZEN, which could easily fit into any Russian submarine in terms of appearance, but was convincing across the board in terms of sound. The Bettermaker company also offers high-quality 19-inch equipment in the areas of recording, mixing and mastering, but attaches great importance to the digital integration of their outgear into the digital workflow.

The 2 U high product with an installation depth of only 14 cm and a low weight of only 2.7 kg is connected to the personal DAW using a USB cable and is listed as a regular plugin according to the D/L of the appropriate driver. A 1:1 image of the analogue outgear from the rack appears on the display and can be edited in both directions. Saved settings can be easily reproduced and managed like a regular plugin.

When it comes to connections, the Bettermaker Stereo Passive Equalizer is comparatively spartan, although also practical. Left / right inputs / outputs in XLR are offered, so to speak the minimum that needs to be delivered in the studio. Unfortunately, for cost reasons there is only one external power supply, which is designed as a multi-voltage supply from 100 - 240 volts. No offense, but with a retail price of just under €2,400, in my opinion this “board bug” could have been installed internally with a classic cold appliance plug. Unfortunately, external power supplies always seem a bit “cheap” to me, sorry.


The front of the Bettermaker Stereo Passive Equalizer

At first glance you can see that the frequency distribution of the Bettermaker Stereo Passive Equalizer differs significantly from other filter providers in terms of its processing options. What is striking are the five large, brushed aluminum endless controllers that dominate the front panel. In addition, some people will be a little confused by the fact that the controls contain both a boost and a parallel cut control for the “Lo” and “Hi” areas. As expected, both controllers do not operate at the same frequency, but rather have different corner frequencies, each of which can be selected with two pressure switches.

While the Lo Boost enables a possible increase of up to 15 dB at 100 Hz, a starting frequency in the Lo Cut of up to 16 dB is possible at 20 Hz, 30 Hz, 60 Hz and 100 Hz. The High Boost, on the other hand, allows an increase of up to 18 dB and allows the frequencies 3,000 Hz, 4,000 Hz, 5,000 Hz, 6,000 Hz, 8,000 Hz, 10,000 Hz, 12,000 Hz, 16,000 Hz, 20,000 Hz and 28,000 Hz. About the last two When it comes to frequencies, it's best for everyone to think for themselves to what extent it makes tonal sense to edit these frequencies. Finally, there is the Hi Cut with the frequencies 5,000 Hz, 10,000 Hz and 20,000 Hz. For better sound shaping in the high frequency range, the Bettermaker Stereo Passive Equalizer offers a control in the middle of the panel that adjusts the quality of the high frequency range via a variable Q value aligned. All in all, actually an interesting frequency resolution.

In order to be able to adjust the changed output level, a pressure control on the outside right allows the Hi Cut to be converted into a gain control. This is also an unusual, although sensible, orientation of the product, as the symmetrical look of the panel is retained. The final step is provided by two pressure controls on the far left, one of which functions as a power switch and one as an engage switch, which, when deactivated, removes the entire equalizer from the signal path. Once you get used to the layout of the panel, the access options seem very logical and intuitive.

The product in practice

Integrating the Bettermaker Stereo Passive Equalizer into the DAW is very easy. After the driver installation, an identical image of the hardware product is generated on the display, which even includes a few additional functions in the form of a high pass filter and a separate gain control. Furthermore, up to 32 snapshots can be saved, which makes access to the recall area much easier. Of course, the parameters can also be integrated into the automation of the DAW, which offers great flexibility in the mastering area for different parts within the songs, for example. And I admit, it's just a simple tool, but running the LEDs in parallel on both the hardware and the software interface is just fun.

When it comes to sound, a passive EQ works completely differently than an active one. According to vintage products from earlier decades, the resolution is significantly finer than a modern active EQ, which in the majority of cases allows for a more “drastic” processing of the frequencies, but in many cases also quickly shoots at sparrows with cannons. The practice of “thinning out” a signal and thereby increasing the remaining frequencies is also far too rare in the repertoire of modern sound engineers, although here in particular a passive EQ enables a much more subtle approach. It's not for nothing that the filter section of the Bettermaker Stereo Passive Equalizer consists of 50% cut controls. But how does the EQ sound in practice?

In two words, absolutely outstanding! The Bettermaker Stereo Passive Equalizer impresses with its extremely fine resolution and a very “musical” sound. Yes, I know, the term “musical” is so worn out in this context that it hurts, but it sums up the sonic effect very well. In particular, the treble range and mid-range can be regulated very well and, even with a strong control range, impresses with a transparent and subtle sound that never slips into harshness. In the bass range, I would have wished for several operating frequencies similar to the Hi Boost, but the interaction between Lo Boost and Lo Cut is even more convincing.

Furthermore, I recommend that the values given in the Lo Cut area are not viewed as absolute values, but rather as a guide. Even at the lowest setting of 20 Hertz, something above this frequency is still picked up, so you should rely more on your hearing than on the printed values. In general, personal hearing is given special importance with this product. Due to the subtle way it works, you can sometimes achieve very good, if not outstanding, results just by trying it out, provided you have above-average listening skills. But once you get used to the passive sound of the Bettermaker Stereo Passive Equalizer with its classic vintage orientation, almost all of the signal sources that I tested experience a significant improvement in their basic sound.

The Bettermaker Stereo Passive Equalizer is one of those products that, although it doesn't necessarily put its own sonic stamp on the signal, still adds a very subtle color to the signal flow with its way of working. Although some people might expect a little more “glamour” at the retail price mentioned above, the Bettermaker Stereo Passive Equalizer impresses me with its outstanding basic sound, which not only works very well in all areas of recording, but despite its almost rudimentary appearance Intervention options harmonize with almost all instruments. For me personally, a very fine device!

Conclusion

With the Bettermaker Stereo Passive Equalizer, a Polish company is once again moving into the spotlight of high-quality sound processing. The passive EQ with digital DAW connection impresses across the board with an outstanding basic sound, great flexibility and a subtle resolution of the applied signal.

Something very fine if you want to give your productions a special flair, definitely recommended!

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Additional Informations:

**Bettermaker: The story of a mastering legend**

**Introduction**

Bettermaker is a manufacturer of high-end audio mastering hardware and software. The company was founded in 1999 by Vlad Bettermaker, a mastering engineer with over 30 years of experience. Bettermaker products are used by some of the world's top mastering engineers, and have been used on countless Grammy-winning albums.

**The early years**

Vlad Bettermaker was born in Ukraine in 1966. He began his career as a recording engineer in the early 1990s, and quickly established himself as one of the leading mastering engineers in the country. In 1999, he founded Bettermaker Audio with the goal of creating high-quality mastering tools that would be accessible to engineers of all levels.

**The Bettermaker sound**

Bettermaker products are known for their warm, natural sound. They are designed to add clarity, punch, and depth to audio recordings, without sacrificing the original character of the music. Bettermaker's mastering processors are also known for their versatility, and can be used on a wide variety of musical genres.

**Popular products**

Some of Bettermaker's most popular products include the Mastering Compressor, the Mastering Equalizer, and the Bus Compressor. These processors have been used by some of the world's top mastering engineers, including Bob Ludwig, Ted Jensen, and Bernie Grundman.

**The future of Bettermaker**

Bettermaker is a company that is constantly innovating. In recent years, the company has released several new products, including the Mastering Limiter and the EQ232D plug-in. Bettermaker is also committed to education, and offers a variety of online tutorials and workshops.

**Conclusion**

Bettermaker is a leading manufacturer of high-end audio mastering hardware and software. The company's products are used by some of the world's top mastering engineers, and have been used on countless Grammy-winning albums. Bettermaker is a company that is constantly innovating, and is committed to providing engineers with the tools they need to create great-sounding masters.

**Here are some additional details about Bettermaker:**

* The company is headquartered in Tel Aviv, Israel.
* Bettermaker products are sold in over 50 countries around the world.
* The company has a team of over 50 employees.
* Bettermaker is a privately held company.

**Here are some of the awards that Bettermaker has won:**

* The 2019 NAMM TEC Award for Best New Hardware Processor for the Mastering Limiter.
* The 2018 Mix Magazine Top 50 Tools for the Mastering Compressor.
* The 2017 Electronic Musician Editor's Choice Award for the EQ232D plug-in.

**Here are some of the artists who have used Bettermaker products:**

* Adele
* Beyoncé
* Coldplay
* Daft Punk
* Drake
* Ed Sheeran
* Jay-Z
* Kendrick Lamar
* Lady Gaga
* Taylor Swift

**Bettermaker is a company that is dedicated to providing engineers with the tools they need to create great-sounding masters. The company's products are known for their warm, natural sound, and their versatility. Bettermaker is a company that is constantly innovating, and is committed to education. If you are a mastering engineer, or if you are interested in learning more about mastering, then Bettermaker is a company that you should definitely check out.**

TEST: Bettermaker Mastering Limiter 2

 If I were to award a prize to the product that is most often misunderstood and misadjusted in the mastering chain in terms of signal flow, apart from pumping compressors it would most likely be the limiters. All too often they are misused to iron out mistakes made during recording or in the mix in some way, which results in a corresponding sound. This can even reach into the multi-million dollar range, such as with Metallica's “Death Magnetic”, where the final product is tonally unbearable due to completely excessive gain settings. On the other hand, if you use a product like the Bettermaker Mastering Limiter V2 and set a retail price of €3,890 on the table, you will most likely earn your living with mastering and deal with the worst mistakes that can occur in the recording and mixdown process. have set apart. This test is intended to show to what extent the purchase of an outgear product is worthwhile compared to the internally installed plugins.
The construction of the Bettermaker Mastering Limiter V2
The Bettermaker Mastering Limiter V2 is manufactured in Poland, which is no longer as surprising as it was a few years ago, as several established manufacturers now come from the same country. The product, which is 2 U high and comes in matt black, weighs just 5.5 kg, which is a bit surprising given its massive exterior. There are 17 small ventilation slots on each side of the housing to dissipate the device's waste heat. This should be taken into account when installing in a rack in order not to risk heat build-up and thus the functionality of the Bettermaker Mastering Limiter V2.
The exterior of the product is dominated by two endless rotary controls for the input and output levels, with two further menu-dependent endless rotary controls with push-button functions allowing additional quick access to the menu. On the left is the on/off switch, which offers a nice HAL 9000 effect during boot-up, while underneath is the slightly smaller Engage switch for activating the effect.
The back of the Bettermaker Mastering Limiter V2 has been reduced to the most important connections in terms of connections. We find right / left in / out in XLR connectors, plus a USB port and the power plug. To counteract any hum loops, a ground lift switch was also installed on the back. What personally disappoints me greatly is the use of an external power supply for the product. I fully understand that if you are on a budget, you have to make one or two compromises regarding the price of the components. But if, like here, you're just under the 4000 euro limit, in my opinion something like that shouldn't be used, especially since the power cable is comparatively short at just under 90 cm.
The menu navigation of the Bettermaker Mastering Limiter V2
The pivotal point of the product's menu navigation is a high-resolution colored touch display in the middle of the front panel, which has a size of 11 x 6.5 cm. The Bettermaker Mastering Limiter V2 turns out to be a hybrid 2-channel limiter with a digitally controlled VCA, which has both plugin control and a preset memory with 399 locations, with the signal path being completely analog. Although the product has an almost extensive menu navigation, many functions are almost self-explanatory. This is a big advantage, especially when you have a product with as much flexibility as the Bettermaker Mastering Limiter 2.0. The special feature of the product is that you can set all functional steps both on the hardware device itself and on the appropriate DAW plug-in with a very beautifully designed interface.
The basic functions of the Bettermaker Mastering Limiter V2 consist of both the clipper and the limiter functions. As is well known, a clipper consistently cuts the level at a certain level, while the limiter “pushes back” the signal through its “lookahead” function. Both functions have their areas of application and should be viewed independently of each other. Furthermore, the product offers two different saturation methods to add more overtones to synthetic sounds/productions, if necessary with the help of an internal EQ. It's also very nice that the product can be used both in the classic stereo range and in the M/S matrix.
When it comes to metering, the Bettermaker Mastering Limiter V2 offers a very wide range of visual support. The system offers, among other things, information about input, output and gain reduction, several analog meter simulations such as VU, PPM, RMS, peak with peak hold display, LUFS meter with short term, integral, loudness range, view in time, a K Meter (LU or VU meter with a shifted “0 dB” reference point), a 30 band FFT analyzer, a goniometer and a correlation meter. All meters have their own windows and can also be changed quickly on the touch display with just a few pressure points.
For fans of technical specs, here is a quick list of the technical measurement data of the Bettermaker Mastering Limiter V2:
Maximum gain reduction: 20 dB- Input adjust range: 0..+20dB- Output adjust range: -10..+12dB- Makeup gain: automatic with trim (-/+8dB range; only available with clipper enabled)- Attack time : 0.1 – 250ms- Release time: 2ms – 2s + IREL (intelligent release)- sidechain HPF: off or 20-200Hz (2nd order)- sidechain mid boost: off or 8dB @ 2kHz or 7kHz- metering ADC range: 70dB- power saving mode available- mid/side mode available, true bypass (relays) available- connection: balanced XLR (audio), USB type B (PC/MAC), 5.5/2.1 center positive 12V only socket- Maximum input level: +24 dBu (balanced with 48kΩ input impedance)- Maximum output level: +27 dBu (balanced with 50Ω + 50Ω output impedance)- Nominal audio level: +4 dBu- Frequency response: 6 Hz – 27kHz (-0.5 dB, ISO-R40 sweep) - Frequency flatness: +/- 0.1 dB (20Hz – 20kHz, ISO-R40 sweep)- Dynamic range: 107 dB (20kHz bandwidth, +24dBu)- THD+N ratio: 0.05% (20kHz bandwidth, +4dBu, 1kHz)- THD ratio: 0.03% (+4dBu, 1kHz)- CMRR: > 80dB (20Hz – 20kHz, IEC 60268-3)- Crosstalk: > 76dB (20Hz – 20kHz, +18dBu, channel to channel)

The Bettermaker Mastering Limiter V2 in practice
Imagine if you had to shell out almost €4,000 for a plugin, what would be your expectations? Probably so big that it would definitely be unreachable. The decisive factor for the area of ​​application of the Bettermaker Mastering Limiter V2 is the question of whether the differences to the common limiter / clipper plugin solutions are in a range where you are inclined to put the said amount on the table in order to use your product Mastering step to miss the decisive kick.
First of all, I have to point out that the menu navigation has been designed to be very clear for the experienced sound engineer. All areas are intuitively accessible, the menu navigation is clear, the setting options are comprehensive and yet you never feel like you are desperately searching to finally find the final parameter somewhere in the menu. The individual pages are indeed very tastefully designed, the touchscreen is very finely adjusted and responds to even the lightest of touches. The hardware controls run smoothly, but still very precisely due to the subtle gridding, especially since the respective parameters are also shown in their value on the display.
What you immediately notice from the first notes is the very large headroom that the product has, which leads to a very relaxed and neutral reproduction. In contrast to many plug-in solutions, which, depending on the quality, sound a bit “pressed” or sometimes “dull”, the Bettermaker Mastering Limiter V2 has a very clear and relaxed basic sound. The analog signal routing also contributes to this, as it works much more “good-naturedly” than many digital solutions. What I personally really like are the three different approaches in the form of clipper, limiter and saturation, which each take a completely different approach to sound and, depending on the area of application, offer clear advantages over the other algorithms, as you can clearly see from the attached sound files .
All in all, the Bettermaker Mastering Limiter V2 is an excellent mastering limiter that will definitely find its fans in the pro area of mastering studios. Everyone has to decide for themselves to what extent the impressive price of €3,890 can be justified. The fact is that you get a top-class device, but whether it is economically viable is another matter.
Conclusion
With the Bettermaker Mastering Limiter V2, the Polish company has a top-class hardware limiter in its portfolio, which can be seamlessly integrated into any DAW operation due to the different operating modes and the plug-in connection. If you want to squeeze the most out of your mix in terms of sound and are not afraid of investing heavily in your studio, you should definitely give the product a try.

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Additional Informations:

Bettermaker, a boutique audio equipment manufacturer, stands out in the pro-audio gear landscape for its unique blend of analog sound quality with digital control precision. Emerging from a background deeply rooted in music production and engineering, Bettermaker has carved a niche for itself among audio professionals who seek the warmth and character of analog audio processing without sacrificing the convenience and recallability of digital systems.

### The Genesis of Bettermaker

Bettermaker was founded in Poland by Marek Walaszek, a seasoned sound engineer and producer who saw an opportunity to merge the analog and digital realms in a way that had not been done before. His vision was clear: to create audio processing equipment that brings together the best of both worlds—the tactile, immediate response and sonic richness of analog gear, coupled with the flexibility, precision, and recall capabilities of digital control. This vision was born out of practical necessity; in the digital age, where workflow efficiency and project recallability are paramount, traditional analog gear posed limitations that Bettermaker sought to overcome.

### The Bettermaker Product Line

Bettermaker's product range is distinguished by its innovative approach to design and functionality. The lineup includes equalizers, compressors, and mastering devices, all of which feature the brand's signature hybrid technology.

- **C502V Compressor**: A notable entry in their lineup is the C502V compressor, a unit that draws inspiration from classic VCA (Voltage Controlled Amplifier) designs but is enhanced with digital recall and plugin control. This allows users to save settings and recall them instantly, a boon for mixing engineers working on complex projects.

- **EQ232P MkIII**: Another standout product is the EQ232P MkIII, an analog equalizer with digital recall capabilities. It pays homage to the legendary Pultec EQP-1A and MEQ-5 equalizers, providing users with the sought-after Pultec sound while adding the convenience of digital recall. The EQ232P MkIII is a favorite among mastering engineers for its musicality and versatility.

- **Mastering Limiter**: The Bettermaker Mastering Limiter combines analog sound quality with digital control, featuring a backlit touchscreen for parameter adjustments. It offers a range of limiting modes and a unique color section, allowing users to impart different sonic characteristics and textures to their masters.

### Innovation and Digital Integration

A defining feature of Bettermaker products is their seamless integration with digital audio workstations (DAWs). Each unit can be controlled via a dedicated plugin, providing a visual interface for adjusting parameters that are directly linked to the analog hardware. This integration simplifies the workflow, allowing for instant recall of settings and automation of parameter changes within the DAW, a feature particularly valuable in the context of mixing and mastering.

### Craftsmanship and Quality

Bettermaker takes pride in the craftsmanship and build quality of its products. Each unit is designed and manufactured in Poland with meticulous attention to detail, ensuring not only sonic excellence but also durability and reliability. The use of high-quality components and materials is evident in the performance and longevity of their gear.

### The Bettermaker Philosophy

At the heart of Bettermaker's philosophy is a commitment to enhancing the creative process for audio professionals. By bridging the gap between analog warmth and digital convenience, Bettermaker addresses the needs of modern music production and post-production workflows. Their products are not merely tools but partners in the creative process, designed to inspire and facilitate artistic expression.

### The Impact on the Audio Industry

Bettermaker's contributions to the audio industry have been recognized with several awards and accolades, solidifying its reputation as a pioneer in hybrid audio processing technology. The company's innovative approach has influenced the market, encouraging other manufacturers to explore the integration of analog and digital technologies.

### Looking Forward

As Bettermaker continues to evolve, the company remains focused on innovation, exploring new ways to enhance audio processing and workflow efficiency. With an eye on the future, Bettermaker is poised to continue its journey of creating groundbreaking audio equipment that meets the demands of professionals around the world.

In conclusion, Bettermaker represents a unique fusion of analog depth and digital precision, embodying the evolution of audio processing equipment in the digital age. Its products offer audio professionals the best of both worlds, combining the irreplaceable character of analog gear with the convenience and flexibility of digital control. As the audio industry continues to evolve, Bettermaker's commitment to quality, innovation, and the art of sound ensures that it will remain at the forefront of audio technology, shaping the way we think about and interact with professional audio equipment.

TEST: Behringer Ultragraph 3102 - 1502

 They are anything but welcome in professional recording studios, but are an indispensable tool in professional live operations. We're talking about graphic equalizers, which are supposed to bend an out-of-kind, mostly spatially-related frequency curve back into tolerable paths. While in the recording studio you can usually eliminate major acoustic blunders in advance during the planning and construction phase, in live operation you have to come to terms with sometimes catastrophic conditions or try to save what can be saved.

As a rule, at large concerts you unfortunately have to deal with multi-functional halls, which can accommodate a larger number of spectators, but at the same time they can also hit you in the face with standing waves, uncontrollable early reflections and soaring sub-basses . In addition, there is the use of microphones on stage, which confront every monitor mixer with all kinds of feedback above a certain volume.

In order to counteract these problems, raising, but especially lowering, selected frequencies is the only way to master the chaos that is emerging. While manufacturers such as Klark, Sabine and dbx have almost divided the market among themselves at the upper end of the price scale, Behringer wants to cover the other end of the list with its Ultragraph series. Just in the three-digit euro range (type FBQ 3102) or even lower (type FBQ 1502), the company, as always, relies on a very low sales price. Can the products guarantee their functionality compared to competitors, some of which have a 1000 percent higher selling price?



construction

The equalizers built in China come with 2 HE (FBQ 3102) or 1 HE (FBQ 1502) and have the dimensions (H x W x D) 89 mm x 482.6 mm x 150 mm (FBQ 3102), respectively 44.5 mm x 482.6 mm x 215 mm (FBQ 1502) and just 2.5 (FBQ 3102) or 2.15 (FBQ 1502) kilograms. The first impression in terms of workmanship is good, a torsion-resistant metal housing with removable rack wings calms the technician's nerves.

Both products have decent connections on the back. Balanced XLR and stereo jack sockets on both channels ensure proper cabling within the signal path between console and power amplifiers. As a special feature, both products have a 30 - 200 Hertz tunable subwoofer out, which is unfortunately only available in mono. If you want to connect a modern subwoofer, which is usually stereo, you sometimes have to use adapters or fire up the soldering iron yourself.

The FBQ 3102 has its power switch on the back, the FBQ 1502 on the front. Incidentally, the power switch does not completely disconnect the product from the power supply. If you were hoping for a “real” relay, you will unfortunately be disappointed. Therefore, if you are away for a longer period of time or for environmental reasons, you should switch off the product using a switchable power strip or pull the power plug.

On the front, the FBQ 3102 has 2 12-digit LED chains each, allowing the power share to be easily tracked. The 1502 is clearly behind here; its LED chains, which only have four digits, only allow for sensitive work to a limited extent. A pressure switch can be used to switch between the input and output levels. The range of both equalizers can be adjusted to +/- 6 dB or +/- 12 dB using an additional pressure switch, and both products also have a gain control (+/- 15 dB) per channel.

The 3102 also has a high and low pass filter for each channel, which can be tuned between 10 - 400 Hertz (18 dB/Oct.) or 2.5 - 30 kilohertz. The 1502 only has to make do with a fixed, switchable high-pass filter at 25 Hertz. This can be used, among other things, to get power-consuming sub-frequencies under control, which usually generate more harm than good. There are also in/out switches that can be used to completely remove the equalizers from the signal path.



Practice

Can an optical control with a comparatively simple design give the more expensive competition a run for its money, or at least tap some of it? Unfortunately, this area has to be denied, but it won't come as too much of a surprise to the experienced reader. Software in the more expensive products, which is constantly electronically analyzing in the background, detects an emerging feedback loop many times faster and can thus adjust the frequency response before a whistling even occurs.

For the inexperienced monitor operator, the optical control of the FBQs is a help in a stressful situation, but it is sometimes a little difficult to visually separate a strong useful signal with the appropriate lighting from the disturbing feedback component. But if you leave this aspect aside and once you get used to the very smooth sliders, you can achieve good results with the equalizers. In direct comparison to other competitors such as dbx, you may have to make some compromises in terms of sound culture.

The filters sound better than their price suggests, but with a retail price of just under €100, you shouldn't expect silky highs or characterful mids. All in all, the two products provide a high practical value, which, if used carefully, can reduce the disharmony of a poor sound system and enhance a good sound system.


Conclusion

With the two graphic equalizers FBQ 3102 and FBQ 1502, Behringer is bringing two very affordable sum equalizers onto the market, which leave a consistently good impression considering their sales price. A solid basic construction allows peculiarities such as smooth-running sliders to fade into the background.

However, the advertised feedback detection control using optical LED brightness is not entirely convincing in the practical test. Although the idea contains a clever basic idea, the system cannot compete with a much more complex microphone-controlled solution from the more expensive competitors. However, in order to achieve a more or less linear frequency response, the LEDs do help with their light intensity.

Experienced sound engineers will use their hearing as a reference for the set curve anyway and in this case, with experienced handling, Behringer products can be a helpful addition to a system where every dollar counts.

For me, the winner in this admittedly unequal comparison test is the 3102, which delivers significantly better value at a comparatively low additional cost due to the high and low pass filters and the much finer control options.

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Additional Informations:

Creating a detailed listing of all Behringer company products is an extensive task, as Behringer produces a wide range of audio equipment, including mixers, amplifiers, speakers, microphones, headphones, synthesizers and audio interfaces, effects devices, and others Accesories. Behringer is known for offering affordable options for musicians, producers and audio engineers. Below is a general overview of some product categories and examples of products they offer. Please note that this list is not exhaustive and Behringer's product offerings may change over time.

### Mixers
- **X32**: A digital mixing console for live and studio applications, known for its extensive features and flexibility.
- **Xenyx Series**: A range of analog mixers ranging from simple, small mixers to advanced models with built-in effects.

### Audio interfaces
- **UMC Series**: USB audio interfaces that offer a wide range of inputs and outputs for recording applications, from entry-level models like the UMC22 to advanced options like the UMC1820.

### Speakers and monitors
- **Eurolive Series**: Passive and active PA speakers for live music, DJing and events.
- **Truth Series**: Studio monitors valued for their accuracy and affordability.

### Headphones
- **HPS Series**: Studio headphones designed for mixing and monitoring, with models like the HPS3000.

### Microphones
- **C Series**: Condenser microphones for studio recording, such as the C-1 and C-3.
- **XM8500**: A dynamic microphone often used for live vocals and instruments.

### Synthesizers
- **DeepMind**: An analog poly synthesizer known for its depth and programmability.
- **Model D**: A replica of the classic Minimoog model, known for its fat, analog sound.

### Drum machines and sequencers
- **RD-8**: A replica of the classic TR-808 drum machine, known for its authentic sounds and extensive programming options.
- **CRAVE**: A semi-modular analog synthesizer with a built-in sequencer, known for its versatile sound shaping possibilities.

### Effect devices and signal processors
- **Virtualizer 3D FX2000**: A multi-effects processor with a variety of effects for live performance and studio recording.
- **MDX Series**: Compressors/limiters used in many studios for dynamics processing.

### DJ equipment
- **DJX750**: A professional 5-channel DJ mixer with effects, ideal for club DJs.
- **CMD Studio 4a**: A compact DJ controller setup with integrated sound card, suitable for digital DJing.

### Accessories and other equipment
- **Powerplay P16**: A personal monitoring system that allows musicians to control their own monitor mix on stage.
- **Ultralink ULM Series**: Wireless microphone systems known for their reliability and ease of integration into existing PA systems.
### Recording and broadcasting
- **Podcastudio 2 USB**: A complete podcasting kit that includes an interface, microphone, headphones and more for aspiring podcasters.
- **X-Touch**: A range of universal control surfaces designed for seamless integration into digital audio workstations (DAWs) to make mixing and controlling tracks easier.

### Guitar and bass equipment
- **V-Amp Series**: Guitar amp models and effects processors that offer a wide range of tones and modeling, from classic amp tones to modern distortion.
- **Bass V-Amp**: A preamp/modeler specifically designed for bass guitars, offering a variety of amp models and effects.

### Keyboard controllers and MIDI devices
- **Motor Series**: Keyboard controller with fully weighted keys and motorized fader for precise control of DAWs and virtual instruments.
- **UMC MIDI Series**: USB/MIDI controllers and interfaces that enable easy integration of MIDI devices into modern computer-based recording systems.

### Audio processors and effects
- **Feedback Destroyer**: An automatic feedback suppressor used in live sound applications to eliminate feedback quickly and efficiently.
- **Ultragraph Digital DEQ1024**: A high-resolution 31-band stereo graphic equalizer with a digital output for precise sound adjustments.

### Wireless Audio Systems
- **Ultralink ULM Series**: Advanced wireless microphone systems that, in addition to those already mentioned, also include solutions for instruments and lavalier microphones.

### PA systems and speakers
- **Europort**: Portable PA systems valued for their portability and performance in a variety of settings, from small gatherings to medium-sized events.
- **B208D**: Compact, active PA speakers suitable for smaller venues or as monitor speakers in a larger system.

### Accesories
- **CT100**: A cable tester valued for its versatility and ability to test a wide range of cable types, making it an essential tool for live sound and studio engineers.
- **PSU-SB**: A universal DC 9V power supply that is compatible with a variety of Behringer products, making it a useful accessory for users who own multiple devices.

### Further development and innovation
Behringer is also known for its efforts to explore and integrate new technologies, such as the development of digital mixers and audio interfaces compatible with cutting-edge requirements. They have built a community of users who actively provide feedback, which contributes to the constant improvement and expansion of their product offering.

Behringer's philosophy of providing affordable yet high quality music and audio equipment has made them a popular choice for musicians, producers and audio engineers worldwide. Their products are suitable for both beginners and professionals, making Behringer a versatile brand in the music and audio industry.

TEST: Behringer Ultracurve Pro

 Oh, this will be an exciting test! Why? Well, with the Behringer Ultracurve Pro DEQ 2496 we have a product in the test that is used in three different audio areas and which, depending on the user's foresight, can make real improvements to the sound or cause massive damage. Oh Jemine, such a martial foreword? Don't worry, even with a knife you can cut off a piece of bread or cause other damage, depending on the user's foresight. Let's get into the fray!


Conception

First of all, what does the Behringer Ultracurve Pro DEQ 2496 actually do? The 1U high processor is a combination of an equalizer, analyzer, feedback destroyer and mastering tool, housed in a solid metal housing. Roughly speaking, the entire frequency range of a playback system can be analyzed and, if necessary, bent, which puts us in the middle of the above-mentioned mode of operation. Bending frequency responses has to be learned and requires a very subtle and experienced approach, which is why the Behringer Ultracurve Pro DEQ 2496 also relies on a lot of automation to support the user. Experienced users can still intervene manually in the individual parameters and work specifically on the audio material.


Area of application

OK, the above processing steps allow the experienced technician to quickly open two drawers.

1.) Studio

The most sensitive topic at the beginning. The time of acoustically complex recording studios is largely over due to the financial collapse of the music industry and the associated advance payments, which means that more and more producers are putting together their productions in different rooms of the home or in other regularly used areas.

Unfortunately, you rarely come across acoustically optimized rooms here, which manifests itself in an unbalanced sound, standing waves and resonance areas, which make a neutral assessment of the audio material virtually impossible. Here, the Behringer Ultracurve Pro DEQ 2496 can use various tools to analyze the frequency response and, if necessary, adjust or compensate for it.

To put it bluntly, even the best processor cannot get to grips with inferior monitor boxes and massive acoustic deficiencies; the design must first be addressed with structural measures.


2.) Live technology

The problem described under “Studio” can of course also be encountered in live sound reinforcement. Roaring concrete cubes, misused multi-purpose halls or even resonating wooden stages make every FOH shudder when it comes to saving the live sound. In addition to these problems, you also have to contend with the ever-popular feedback of all kinds on stage. Fortunately, the ever-increasing popularity of in-ear monitor systems has caused the feedback problem on stages to collapse massively in recent years, whenever there is When a microphone and a wedge/drum fill come together, a whistling orgy threatens. Steep side notch filters can prevent worse things from happening here.


3.) HiFi

What? Oh yes, that still exists too. Don't be so condescending, gentlemen, after all there are still massive sales in the personal hi-fi sector. In principle, the same requirements apply here as in the studio area, but here you are sometimes fighting against a much bigger problem than all the problems mentioned above combined: the female partner in life. Who hasn't removed a vase from their luxury monitor, laboriously dug a box out from behind the curtain or had to accept the suggestion that one box should be pushed onto the shelf at the top right, while the other should stand upright behind the desk at the bottom left?

Of course, the Behringer Ultracurve Pro DEQ 2496 cannot solve problems of this kind, but in an emergency it can bend the stereo triangle or adjust the frequency absorptions depending on the location.


In/Out

For a product under 300 euros, the rear connection panel is very comprehensive. All important connections are available, both analogue (XLR left/right in/out) and digital (AES/EBU + S/PDIF). In addition, the digital signal can be transmitted again via a stereo AUX OUT. The device also has an RTA / MIC IN, which can be switched in level, a word clock connection and a triple MIDI port. All in all, all connections that need to be made in the studio and live, unfortunately the HiFi group has to resort to a soldering iron.


Conception

Let's list the individual tools:

1.) Equalizer: a 31-band equalizer from 20 - 20,000 Hz, the bandwidth can be changed. There is also a 10-fold parametric equalizer, switchable to shelving and bandpass.

2.) Multiband compressor

3.) Feedback Destroyer: can be operated either manually or in auto mode, continuously analyzes the frequency response and regulates the frequency band to a narrow band when the level rises.

4.) Stereo width modulation: changes the width and depth of the stereo triangle if necessary.

5.) Compressor / Limiter Function: Protection circuits or power limiters for the connected components.

6.) Delay Tower: A time-delayed playback of the music signal up to 90 meters

7.) Analyzer

8.) Metering: Both in bar and VU form

The individual menus are controlled and visually displayed using a total of 16 pressure switches and endless controllers with an additional push function.


Practice

Due to the features mentioned above, the Behringer Ultracurve Pro DEQ 2496 actually has a very wide range of uses. I would like to focus primarily on the live sector, as the product can probably use its individual tools in their entirety here.

You will probably find the Behringer Ultracurve Pro DEQ 2496 primarily in the signal path of the stereo sum, but its use in the monitor path also makes a lot of sense. After having a small P.A. When I was listening to it in the rehearsal room, there was a noticeable improvement in the sound behavior, especially in the bass and midrange. The usual graphic equalizers in power mixers, with their limited bands and their fixed slope, do not have nearly as targeted an effect as the Behringer product's equalizer program.

The Feedback Destroyer also does a great job. Have the frequency range analyzed briefly and the culprit is exposed. In the rehearsal room or when the individual musicians are firmly positioned with their instruments on the stage, you can actually stay in SINGL mode. With an agile frontman, however, you should use AUTO mode, as the microphone level is constantly changing and is only constantly updated in this mode.

So far, so good, now we come to the dangers. Normally, manufacturers of sound systems try to design their individual components so that they generate a balanced sound across the entire frequency range. Many components these days are processor-controlled anyway and try to nip as many problems in the bud as possible right from the factory. If you now measure the system and let the Behringer Ultracurve Pro DEQ 2496 carry out small frequency corrections depending on the room used, this is usually very beneficial to the end result.

The Feedback Destroyer function can also limit many problems that can arise from inferior microphones or incorrect positioning, especially in the low budget range. But if you go and try to use massive compressor and EQ technology to tickle frequencies out of your system that simply cannot be generated physically, you will completely miss the result. The Behringer Ultracurve Pro DEQ 2496 is like the final coat of paint on a high-quality car. He can only improve what is good, but he cannot conjure up a new car from a rusty building.

Conclusion

With the Behringer Ultracurve Pro DEQ 2496, the former German manufacturer has a very comprehensive mastering tool in its range at a low price. All parameters are designed to be very practical and enable a comprehensive processing of the most important parameters in the signal flow.

Unfortunately, the product does not come with any operating instructions, but studying them is very important. However, you can download them online.

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Additional Informations:

Behringer, founded by Uli Behringer in 1989, has made a significant mark on the music and audio equipment industry through its wide range of products that cater to musicians, audio engineers, and sound enthusiasts. The brand is known for offering affordable, reliable, and feature-rich equipment that spans from audio interfaces and mixers to synthesizers, digital pianos, and loudspeakers. This comprehensive review delves into the diverse product lineup of Behringer, showcasing how the company has evolved and continues to impact the audio world.

### Audio Interfaces

Behringer's audio interfaces, such as the U-PHORIA series, have become staples in home studios worldwide. These interfaces are celebrated for their affordability, robust build quality, and excellent sound fidelity. The U-PHORIA UMC404HD, for example, offers four inputs and outputs, MIDAS-designed preamps, and 24-bit/192 kHz resolution, presenting an ideal solution for multi-track recording in a compact and budget-friendly package. Behringer interfaces typically come with comprehensive software bundles, including DAWs and plugin suites, making them attractive for beginners and seasoned producers alike.

### Mixers

Behringer mixers are among the company's most recognized products, catering to a variety of users from beginners to professional sound engineers. The XENYX series, for instance, provides compact and affordable solutions with premium preamps and USB connectivity, suitable for podcasters, small bands, and solo performers. On the higher end, the X32 digital mixer has revolutionized live and studio sound mixing by offering 40-input channels, 25 mix buses, and integrated digital snake options at a fraction of the cost of similar consoles, making digital mixing accessible to a wider audience.

### Synthesizers

In recent years, Behringer has made a significant impact on the synthesizer market by releasing both innovative original designs and affordable recreations of classic analog synths. The DeepMind 12, an original design, offers 12-voice analog polyphony, deep modulation capabilities, and built-in effects, making it a versatile instrument for both live performance and studio work. Behringer's recreations of classic synths, such as the Model D (a nod to Moog's Minimoog) and the MS-1 (inspired by Roland's SH-101), provide musicians access to the sounds of vintage instruments without the high cost or maintenance concerns of the originals.

### Digital Pianos and Keyboards

Behringer also offers digital pianos and controller keyboards, designed with the same philosophy of affordability and functionality. Their motor keyboards, for example, are equipped with semi-weighted keys, extensive control surfaces, and deep integration with popular DAWs, catering to both performing musicians and studio producers. The digital pianos provide a range of sounds from grand pianos to electric keyboards, built-in effects, and practice features, making them suitable for learners and experienced players.

### Loudspeakers and Studio Monitors

Behringer's loudspeaker and studio monitor lines, such as the EUROLIVE and TRUTH series, respectively, offer solutions for both live sound reinforcement and precise studio mixing environments. The EUROLIVE powered speakers are known for their durability, sound quality, and versatility, fitting various settings from small venues to large outdoor events. The TRUTH studio monitors, on the other hand, are praised for their neutral sound reproduction and high-resolution performance, providing an accurate reference for mixing and mastering in home and project studios.

### Effects Units and Signal Processors

The company's range of effects units and signal processors, including stompboxes, rack-mount processors, and guitar amplifiers, demonstrates Behringer's commitment to serving musicians and audio engineers with affordable yet high-quality options. Products like the VIRTUALIZER 3D and the COMPOSER PRO-XL have become go-to solutions for adding professional-quality effects and dynamics processing without breaking the bank.

### Drum Machines and Electronic Percussion

Behringer has also ventured into the realm of drum machines and electronic percussion instruments, offering both original designs and tributes to classic machines. The RD-8, for instance, is a modern take on the legendary TR-808, providing analog drum sounds along with modern enhancements like a step sequencer, wave designer, and a live performance-oriented workflow.

### Conclusion

Behringer's extensive product range reflects a deep understanding of the needs of musicians, producers, and audio engineers, emphasizing affordability, quality, and innovation. By continuously expanding its offerings with both cutting-edge and classic-inspired equipment, Behringer has established itself as a key player in the audio equipment industry. The company's approach of making professional audio technology accessible to a broader audience not only democratizes music production but also encourages creativity and innovation among users at all levels. As Behringer continues to grow and evolve, it remains focused on its mission to provide high-quality, affordable equipment that enables users to express their musical vision without limitations.

TEST: Behringer U-Phoria UMC 1820

 But oops, that took a lot of wind out of the Behringer critics' sails when the Music Group, based in Manila / Philippines under the leadership of Uli Behringer, bought the console legend Midas in 2010 and added the impressive portfolio with names like TC Electronic, Tannoy , Klark Teknik and Turbosound added.

The justified criticism of the time about the inadequate preamps and filters was suddenly gone, as Behringer cleverly set about incorporating the resources of the flagship console giant into its own product range immediately after incorporating the company. So it's not surprising that the Behringer U-Phoria UMC1820 interface adorns every single input plus the gain control with a fat Midas button. Logically, we would all do that if we were in charge of Behringer's marketing department.

The result makes you curious. A maximum of 18 plus 20 outputs including 8 Midas-supported analogue inputs for less than 200 euros retail price? Bold announcement...



Conception

The Behringer U-Phoria UMC1820 is a 1U interface with a maximum sample rate of 96 kHz at 24 bit word width, which means that the currently most popular recording format is covered. Many had already given up hope because the product was announced at the beginning of 2014, but only saw the light of day two years later.

Conceptually, the Behringer U-Phoria UMC1820 has, in addition to the above-mentioned analog inputs, ADAT and S/PDIF, which enables the number of inputs to be 18. Two push switches on the front of the housing allow activation of 48V phantom power on channels 1-4 and 5-8. All analog inputs are designed as combination sockets for XLR / TRS microphone / line operation, with all inputs also accepting high-impedance signals using a pressure switch. The extent to which you have to process 8 Hz signals during a recording session is up to the respective application, but the offering is impressive in this price range.

There is nothing to complain about in terms of workmanship. Gone are the days of “plastic boxes” that allowed for rudimentary twisting along the longitudinal axis. The Behringer U-Phoria UMC1820 is based on a solid metal housing, which gives a high-quality impression. All dials and push buttons work and glide pleasantly sluggishly and never give the impression of cheap Asian junk. Fortunately, the Behringer U-Phoria UMC1820 also has 4 rubber feet, which allow stand-alone operation without rack operation. A fact that is often forgotten by other manufacturers with the 1U concept.

A total of 10 outputs are located on the back of the housing, with 2 TRS outputs taking over the main out. It has a volume control, a dim and a mute switch on the front. The opulent number of outputs enables intensive hardware insert operation as well as operation in a surround mix, for example. Also noteworthy is the fact that the Behringer U-Phoria UMC1820 has the MIDI In/Out interfaces as well as two data flow LEDs on the front of the housing. Commendable! Oh yes, two separately controllable headphone outputs are also available. Respect!


Practice

When it comes to drivers, it's the same as it almost always is with different platforms. OS

From the sound of it, you shouldn't think that you're dealing with a product below the 200 euro mark. Even if the interface has a touch less height and shine in direct comparison to the much higher class, the use of the Midas background is clearly noticeable. The sound, handling and background noise are actually at a level that I would not have thought possible in this price range.


Conclusion

With the Behringer U-Phoria UMC1820, a long-awaited interface is entering the budget class. The wait for the interface announced at the beginning of 2014 was actually worth it. For a price of around 200 euros, you get a very solidly built, conceptually well-thought-out and good-sounding interface that offers far more than what the retail price suggests.

For beginners or upgraders in the ADAT area, for this price it seems e.g. Nothing better to give at the moment.

Be sure to check it out!

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Additional Informations:

Audio interfaces are crucial components in the realms of music production, broadcasting, podcasting, and any field that requires the recording or playback of sound through computers. These devices serve as the bridge between the analog world of microphones, instruments, and the digital realm of computing devices, converting analog signals into digital data and vice versa. This comprehensive exploration delves into the evolution, functionality, types, key features, connectivity options, and the impact of audio interfaces on the audio production landscape.

Evolution of Audio Interfaces

The history of audio interfaces parallels the evolution of computer and audio technology. In the early days of digital recording, audio inputs were rudimentary, often limited to built-in sound cards with minimal capabilities. As digital audio workstations (DAWs) and recording technology advanced, the need for higher-quality, more versatile audio input and output solutions became evident. This led to the development of dedicated audio interfaces that could offer professional-grade sound quality, lower latency, and connectivity options for various audio sources and output devices.

Functionality and Core Components

An audio interface typically includes analog-to-digital converters (ADCs) and digital-to-analog converters (DACs). The ADCs convert the analog signals from microphones or instruments into digital data that a computer can process. Conversely, DACs convert digital audio data from the computer into analog signals for monitoring through speakers or headphones. Preamps are another critical component, amplifying the weak signals from microphones to a usable level. Additionally, interfaces often provide phantom power, essential for condenser microphones.

Types of Audio Interfaces

Audio interfaces come in various form factors and capabilities, catering to different user needs:

USB Interfaces: The most common type, USB interfaces, are versatile and compatible with a broad range of computers. They range from compact, portable models with a few inputs and outputs to larger units offering extensive connectivity.

Thunderbolt Interfaces: Known for their low latency and high data throughput, Thunderbolt interfaces are favored in professional studios. They can handle more channels simultaneously and provide faster data transfer rates.

FireWire Interfaces: Once popular for their speed and reliability, FireWire interfaces have largely been supplanted by USB and Thunderbolt options but are still in use in some studios.

PCIe Interfaces: These interfaces offer the lowest latency by connecting directly to a computer's motherboard. They are ideal for professional environments where maximum performance is essential.

iOS and Mobile Interfaces: Designed for portability and compatibility with smartphones and tablets, these interfaces allow for high-quality recording on the go.

Key Features to Consider

When selecting an audio interface, several features merit consideration:
Input/Output (I/O) Configuration: The number and type of inputs and outputs determine how many instruments or microphones can be connected simultaneously and how the audio can be routed.

Connectivity: Beyond audio I/O, interfaces may offer MIDI, USB, or Ethernet ports for connecting additional gear.

Latency: Lower latency is crucial for real-time monitoring and performance. The interface's drivers and connectivity technology (USB, Thunderbolt, etc.) impact latency.

Sample Rate and Bit Depth: Higher sample rates and bit depths offer better audio fidelity. Most interfaces support at least 44.1 kHz/24-bit, which is CD quality, with many capable of higher settings.

Software Compatibility: Compatibility with preferred DAWs and operating systems is essential to ensure a smooth workflow.

Connectivity Options and Considerations

Choosing the right audio interface also involves understanding the connectivity options that best match one's studio setup:

USB is nearly universal, offering good speed and compatibility with most computers.
Thunderbolt provides superior speed and low latency, ideal for larger projects and professional studios.

FireWire, though less common, is still used in some setups for its stable performance.
PCIe offers the best performance for desktops with available slots.

Impact on the Audio Production Landscape

Audio interfaces have democratized music production, making high-quality recording accessible to home studios and hobbyists. They have enabled a proliferation of independently produced music, podcasts, and multimedia content. The continuous innovation in this field, including advancements in preamp quality, converter technology, and software integration, has raised the bar for audio quality and creative possibilities.

The Future of Audio Interfaces

Emerging technologies, such as networked audio over Ethernet, promise to further revolutionize audio interfaces by enabling scalable, low-latency audio distribution across studios and live sound environments. Additionally, the integration of DSP (Digital Signal Processing) capabilities allows for real-time audio processing without taxing the computer's CPU, opening new horizons for creativity and efficiency.

In exploring the future trends and technological advancements in audio interfaces, we're witnessing a dynamic shift towards more integrated, intelligent systems that cater to an increasingly diverse and technologically savvy user base. The evolution of audio interfaces isn't just about improving the fidelity of sound conversion or expanding connectivity options; it's also about enhancing the creative workflow and making sophisticated recording techniques more accessible to a broader audience.

### Integration with Software and Cloud-Based Solutions

One of the significant trends in audio interface development is deeper integration with software, including DAWs and cloud-based platforms. This integration extends beyond basic compatibility, offering features like automatic configuration, remote control capabilities, and seamless access to online sound libraries and collaboration tools. Future interfaces might come with AI-driven functions to assist with mixing, mastering, and even sound design, learning from the user's preferences and habits to suggest adjustments or automate routine tasks.

### Advanced DSP and Machine Learning

The inclusion of powerful DSP chips in audio interfaces is not new, but the potential applications of these processors are expanding. With advancements in machine learning algorithms, DSP can be used for more than low-latency monitoring and running basic effects. Future interfaces could offer real-time adaptive noise cancellation, room correction, and even voice or instrument separation for live performances, all processed locally on the interface's DSP.

### Networked Audio and Scalability

Audio over IP (AoIP) technologies like Dante, AVB, and AES67 are making inroads into the studio environment, previously dominated by live sound and broadcast applications. These networked audio protocols allow for high-quality, low-latency audio to be sent over standard Ethernet networks, simplifying cabling and making audio setups more scalable and flexible. As home networks become faster and more reliable, we might see a rise in audio interfaces that leverage AoIP for both professional and home studios, enabling easy expansion of I/O and integration with networked audio devices.

### Enhanced Portability and Mobile Integration

As creators increasingly work on the go, the demand for highly portable yet powerful audio interfaces is growing. Future devices will likely emphasize compactness without sacrificing quality, offering features like wireless connectivity to computers and mobile devices, rechargeable batteries, and integrated microphones and speakers. The integration with mobile devices will become smoother, with apps that offer comprehensive control over the interface's features and possibly even DAW-like functionalities for on-the-spot editing and mixing.

### Sustainability and User-Centric Design

Sustainability is becoming a crucial consideration in the manufacturing and design of electronic devices, including audio interfaces. Future designs may focus on energy efficiency, the use of recycled materials, and longer product lifecycles. Additionally, as the user base diversifies, there's a growing need for interfaces that are not only powerful but also intuitive and accessible to beginners. This could lead to more customizable interfaces, with modular designs and user-friendly software that can adapt to various skill levels and needs.

### Conclusion

The future of audio interfaces is intertwined with the broader trends in technology, including artificial intelligence, networked devices, and sustainability. As these devices become more integrated into our creative and collaborative workflows, they will continue to evolve, offering new possibilities for audio production, performance, and sharing. The challenge for manufacturers will be to balance the technical advancements with the need for interfaces that are accessible, intuitive, and inspiring to use for creators at all levels. The next generation of audio interfaces will likely transform not just how we record and produce sound but also how we think about and interact with audio in our digital world.

TEST: Behringer U-Phoria UMC 404

 As a musician, what didn't you have to listen to when you picked up a Behringer product more than a decade ago? Avoided by professional users like holy water due to the sometimes quite dubious quality of preamps, filters and processing, it was the company around mastermind Uli Behringer that for the first time gave many amateur and young musicians audio tools for very small budgets .

What at the time culminated in stage instructions with the note “NO Behringer” has been put into perspective in many areas by the company's current product policy. At first glance, the Behringer U-Phoria UMC404HD available for testing fits seamlessly into the significantly increased product quality at Behringer in recent years. The brand, which belongs to the Music Group based in Manila / Philippines and headed by Uli Behringer, was able to make up a lot of ground in terms of audio quality, particularly by incorporating the Pioneer Midas console.

Let's see whether the Behringer U-Phoria UMC404HD leaves a similarly good impression as its sister models, for example the Behringer U-Phoria UMC1820.



Conception

In contrast to the Behringer U-Phoria UMC1820 model, the Behringer U-Phoria UMC404HD is a pure desktop device despite its identical 1U height. The workmanship can generally be described as very good, especially since the device comes in a solid metal design, which is absolutely torsion-resistant and cannot be compared to previous plastic housings.


Due to its extended width of almost 29 cm, unfortunately no standard half 19" adapter can be used to screw the product into the rack. Everyone has to decide for themselves whether they can cope with a tabletop device whose inputs and outputs are distributed on the front and back, thereby imposing a correspondingly diametrical cable routing. Four well-adhering rubber feet ensure a firm stand on smooth surfaces.

As expected, the term “HD” in the product name makes the reader sit up and take notice. While the UMC sister models usually run at a sample rate of 96 kHz, the Behringer U-Phoria UMC404HD can go one step further with a maximum sample rate of 192 kHz. I would like to avoid a debate between “necessary” and “unnecessary”, let’s just note that it is available if needed.

Conceptually, the Behringer U-Phoria UMC404HD leaves out the extensive digital input range of its big 1820 sister and focuses primarily on the analog input range. The same is ensured by 4 lockable combination sockets in XLR / TRS - microphone / line signal routing, whereby all inputs also accept high-impedance signals using a pressure switch and have a PAD switch. A small slider on the back of the housing can be used to switch all channels to 48 V phantom power for the use of condenser microphones.

The four input channels are very spartan in their control options. Only a green and a red LED provide information about an applied signal and the overloading of the input. Four pleasantly stiff potentiometers regulate the input volume.

The mix control on the front also proves to be very practical, as it allows the signal to be continuously monitored before it is fed into the DAW, thus reducing the latency to zero. You can also use a switch to choose whether the signal should be mixed to mono. to eliminate any phase problems. The Behringer U-Phoria UMC404HD also has an adjustable headphone output on the front of the case.

On the back, the Behringer U-Phoria UMC404HD has two playback outputs, which are available as TRS and RCA and are switched via a pressure switch on the front of the housing. Connecting two different monitors is correspondingly easy. The device also has two main outs, also in TRS and XLR form, which can be used to connect headphone amplifiers or other monitors.

There are also 4 inserts for the individual channels for connecting external signal processors as well as a Kensington anti-theft device. The MIDI interface is also very nice, with two in/out LEDs on the front of the device providing information about its activity in terms of data flow.


Practice


When it comes to installing the drivers, the Behringer U-Phoria UMC404HD is the same as almost always with the different platforms. Apple's OS

When it comes to sound, the product presents us with a fait accompli. It's hard to believe that this interface is available for just 111 euros retail price. The Midas preamps guarantee a really good sound, which doesn't have the shine of the much higher priced competition, but is almost unrivaled for this price. A new standard in terms of price/performance ratio!



Conclusion

With the Behringer U-Phoria UMC404HD, the entrepreneur Global Music is setting a very, very bold fragrance brand. As far as I know, such a combination of workmanship and sound at a retail price of just over 100 euros is sought after, for example. Currently his equal and will have a hard time giving the competition a run for his money.

Be sure to check it out!

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Additional Informations:

**The Early Years**

Uli Behringer was born in 1961 in Switzerland. He showed an early interest in electronics and music, and by the age of 16 he had built his first synthesizer prototype. While studying to be an audio engineer at the Fachhochschule Düsseldorf, Behringer worked as a pianist and built mixing consoles.

In 1989, Behringer founded his own company, Behringer Spezielle Studiotechnik GmbH, in Willich, Germany. The company's first products were a digital noise gate and a compressor. Behringer quickly gained a reputation for high-quality, affordable products, and the company's product line soon expanded to include mixers, synthesizers, amplifiers, and other audio equipment.

**The 1990s and 2000s**

In the 1990s, Behringer continued to grow rapidly. The company opened its first overseas office in the United States in 1994, and it began manufacturing products in China in 1997. Behringer also made a number of strategic acquisitions during this period, including the British loudspeaker manufacturer Turbosound in 1999 and the American audio company Midas in 2001.

By the early 2000s, Behringer had become one of the largest manufacturers of audio equipment in the world. The company's products were used by professional musicians and audio engineers around the globe, and Behringer had won numerous awards for its products and innovations.

**The 2010s and Beyond**

In the 2010s, Behringer continued to expand its product line and its global reach. The company introduced a number of new products, including the X32 digital mixing console, the DeepMind 12 synthesizer, and the WING digital audio workstation. Behringer also opened new offices and manufacturing facilities in Europe, Asia, and North America.

Today, Behringer is one of the most successful audio equipment companies in the world. The company's products are sold in over 130 countries, and Behringer employs over 3,000 people worldwide. Behringer is known for its high-quality, affordable products, and its commitment to innovation. The company continues to be a leader in the audio industry, and it is sure to continue to grow and succeed in the years to come.

**Behringer's Impact on the Music Industry**

Behringer has had a major impact on the music industry. The company's affordable products have made it possible for more people to make music, and Behringer's innovations have helped to advance the state of audio technology.

Behringer's products have been used by some of the biggest names in music, including Metallica, Lady Gaga, and Coldplay. The company's products have also been used in major motion pictures and television shows.

Behringer is committed to making music more accessible to everyone. The company's products are designed to be easy to use and affordable, and Behringer offers a wide range of educational resources to help people learn how to make music.

**Behringer's Future**

Behringer is a company that is constantly looking to the future. The company is always innovating and developing new products. Behringer is also committed to sustainability, and the company is working to reduce its environmental impact.

Behringer is a company that is on the rise. The company is poised for continued growth and success in the years to come. Behringer is a company that is changing the way people make music.

**Here are some additional details about Behringer's history:**

* In 1990, Behringer released the UB-5000 Ultrabass, a rackmount bass amplifier that quickly became a popular choice for bassists around the world.
* In 1993, Behringer released the MDX2200 compressor/limiter, which was praised for its high-quality sound and affordable price.
* In 1995, Behringer released the EURORACK MX802 mixer, which was one of the first affordable 8-channel mixers on the market.
* In 1997, Behringer released the TRUTH B2031A studio monitors, which were praised for their accurate sound and affordable price.
* In 1999, Behringer acquired Turbosound, a British loudspeaker manufacturer.
* In 2001, Behringer acquired Midas, an American audio company.
* In 2002, Behringer released the X32 digital mixing console, which was praised for its powerful features and affordable price.
* In 2012, Behringer released the DeepMind 12 synthesizer, which was praised for its analog sound and affordable price.

## Behringer: Controversies and Challenges

In addition to Behringer's impressive success story, there have also been some controversies and challenges that the company has faced over the course of its history.

**Criticisms:**

* **Trademark infringement:** In the early years of the company, Behringer was often criticized for copying products from other manufacturers. The company was even sued for copying products that had been patented by companies like Yamaha and Roland.
* **Working conditions:** Behringer has also been criticized for the working conditions in its factories in China. There have been reports of long working hours, low wages, and unsafe working conditions.
* **Quality control:** In recent years, there have been isolated reports of quality control issues with some Behringer products.

**Challenges:**

* **Competition:** The audio industry is a highly competitive market, and Behringer faces strong competition from established companies like Yamaha, Fender, and Gibson.
* **Innovation:** In order to stay ahead of the competition, Behringer must continue to develop and market innovative products.
* **Brand image:** Behringer must continue to work on improving its brand image and distancing itself from the negative headlines of the past.

**Future:**

Despite the challenges, Behringer is a company with strong potential for the future. The company has an impressive track record and a strong product portfolio.

In order to be successful in the long term, Behringer must address the following points:

* **Investment in research and development:** In order to stay ahead of the competition, Behringer must continue to invest in research and development and bring innovative products to market.
* **Improvement of quality assurance:** In order to improve the quality of its products, Behringer must optimize its quality assurance processes.
* **Sustainable production:** Behringer must continue to commit to sustainable production methods and fair working conditions in its factories.

Behringer is a company with a remarkable success story. The company has revolutionized the music industry with its innovative and affordable products.

In order to secure its success in the future, Behringer must address the challenges mentioned above and focus on innovation, quality, and sustainability.

## Behringer: Impact on the Music Industry

Behringer has had a significant impact on the music industry in a number of ways:

**Democratization of music production:** By developing and selling affordable audio equipment, Behringer has made music production accessible to a wider audience. In the 1990s, products like the UB-5000 bass amplifier and the MDX2200 compressor/limiter allowed even hobby musicians and small studios to achieve high-quality results.

**Driving innovation:** Behringer is known for its innovative spirit and the development of new products and technologies. The company has helped to push the boundaries of what is possible in audio technology and set new trends. Examples include the development of digital mixing consoles such as the X32 and the introduction of synthesizers like the DeepMind 12, which combine analog sounds with modern technology.

**Expanding product diversity:** Behringer offers a wide range of audio equipment, from microphones and headphones to speakers and amplifiers. This diversity allows the company's customers to find individual solutions for their needs.

**Improving the price-performance ratio:** Behringer has driven competition in the audio industry through its products and led to a better price-performance ratio for customers.

**Impact on music culture:** Behringer products are used by musicians of all genres and at all levels. From hobbyists to professionals, the company's products contribute to the creation and distribution of music.

**Criticism:**

In addition to the positive effects, there are also criticisms of Behringer's impact on the music industry:

* **Promotion of product piracy:** In the early years of the company, Behringer was criticized for imitating products from other manufacturers. This contributed to the spread of product piracy in the music industry.

* **Homogenization of sound:** Behringer products are often criticized for their generic sound. There is a fear that the dominance of the company could lead to a standardization of music culture.

**In conclusion, Behringer has had both positive and negative impacts on the music industry.** The company has democratized music production, driven innovation, and improved the price-performance ratio.

**However, it is important to consider the negative effects such as product piracy and the homogenization of sound.** Behringer should continue to strive to promote fair competition and support diversity in the music industry.