TEST: Behringer RX 1602 V2

 Not so long ago, let's say 1 - 2 decades, buying a Behringer product could get you out of your community faster than it took to unpack the device. In particular, the noise and sound behavior of many products could barely meet the demands of an after-work musician; even the home recording community largely kept their hands off the products, not to mention the pro department. The sales of the last few years and the rise of Uli Behringer's company to one of the largest trademarks in the world show that these times are long gone and that Behringer has had the necessary know-how for sophisticated products since it incorporated some big names like Midas. Today we're talking about a comparatively simply structured product, the Behringer RX1602 V2, a mixer that offers a compact and elegant solution to the problem of summing multiple stereo line sources in the home studio.

The concept of the Behringer RX1602 V2

Home recorders in particular are well aware of the space problem in their rooms. If you set up your studio in the basement or attic and primarily work with many external stereo sound generators, you either have to place an official console in your room, start the major replugging process every time you change the sound generator, or get a line mixer that converts the various signals into a sum stereo signal. Of course, the same applies to the live area.

The second edition of the Behringer RX1602 follows exactly this line, which has 16 balanced jack inputs on the back for separate mono or stereo use and is available as a 1U rack version for a retail price of just 87 euros. Compared to version 1, there is now finally the often requested symmetrical TRS output plus a monitor/send, which can also be connected to the headphone output on the front. The headphone output of course has a separate volume control. The input sensitivity of the channels can be switched between the Studio Pro level of +4 dB and the Consumer level of -10 dB using a pressure switch above. Unfortunately, there are no visual indicators of the switching status of the switch, so the constellation “rack installation - dark - black switch - black background” is based more on the principle of feeling the switching status than on visual perception.

Fortunately, Behringer has dispensed with the “supply voltage plague” in the form of an external power supply and has given the product a power socket that supplies voltage to an internally installed toroidal transformer. Let me say this much at the outset: the background noise level is thankful for it; it was almost zero during the entire test operation. This impression is also supported by the massive housing, which comes in the now classic black and silver Behringer look and is comparatively light at just under 1.8 kg, but still torsion-resistant and robust. No longer special, but still worth mentioning, the multi-voltage power supply, which can handle all supply voltages from 100 - 240 volts. Anyone who tours the world a lot like me can't put into words how much of a relief these power supplies make in practice.

The Behringer RX1602 V2 comes with a power cable and a user manual, there is nothing more. The rack wings are screwed on and can also be removed for desktop use, but the product does not come with any stick-on rubber pads or anything similar. When using it on a desktop, it is important to ensure that no scratches occur on the underside.

Even though most 1U line mixers are already designed quite spartanly, the Behringer RX1602 V2 goes one better in terms of basic equipment. All 16 channels only have 3 controls plus a combined mute / peak pressure switch, which still leads to a tightness on the front panel that should not be underestimated. The mute switch lights up if the voltage is too high; more control is not required. LED chain, or at least a small green signal LED? Nothing, red pencil, there's no other way to keep this VK!

The three controls are a volume control for the channel, a balance control and a separate volume control for the monitor / send area. Very helpful if you want to send the existing signal through an FX again or create an independent headphone mix. A stereo out would be nice for true stereo, but unfortunately it is not possible, see red pencil. In the master section there are two separate volume controls for right/left, a master out for the monitor and the selector switch for the signal path of the monitor out. Finally, there are two eight-digit LED chains that provide information about the output level of the product and a large, square power switch that clicks into place with a sensible click.

The separate output controls give the balance control of the individual channels a completely different value, as different volumes in the stereo image can be adjusted accordingly before the final output to the stereo sum. The Monitor Out is usually configured as a pre-mute-pre-fader. However, you can modify the circuit board comparatively easily (at the expense of voiding the warranty) to convert it into a post-fade send per channel. Instructions can be found online, but as expected there is no mention of this possibility in the manual provided.

The rotary controls themselves are gridded, which makes the control path much more comfortable, but unfortunately their axis is not counteracted on the housing, which leads to increased play in the control. The risk of an increased load on the circuit board is even greater because, especially in the upper row of controllers, the distance between the individual controllers is just approx. 7 millimeters, which means that you are forced to touch the other controller during the control process. Only those who place their fingers directly on the controller from the front and only operate the controller with their fingertips can adjust the control path without fiddling. Not so nice, but unavoidable if you want to accommodate a comparatively large number of channels in a given area.

In practice

Ultimately, it wouldn't really make sense to rave about the sound of the Behringer RX1602 V2 as a pure signal manager, as there are completely different factors within the signal flow that determine the sound experience. If anything, you should keep an eye on the headroom of the product, which is well positioned with an output power of +22 dB, and keep an eye on the noise behavior, which, as already mentioned, was not noticeable. The product has a frequency response of 20 Hz to 20 kHz ± 0.2 dB, which is more than enough for all applications.

In particular, the only drawback in version 1 of the Behringer RX1602 V2, the asymmetrical outputs, is now history and allows the product to be used in a much more practical way. The Behringer RX1602 V2 is ideal for the synth submixing department and is convincing across the board. I also see the function as a submixer for the live area, provided you don't need an EQ on the mixer. Of course, group management in the studio is also possible, for example if you use an external controller. Here you could premix the different signals without having to turn on the computer. Keyboards, preamps or even AUX products such as MP3 players can be managed in this way.

In particular, the price/performance ratio of the Behringer RX1602 V2 is more than just cheap, especially when you look at the alternatives to this product. The product is rather inconspicuous, has zero glamor, but it does its job exactly as you would want it to in various situations. The product, like many other Behringer products, once again leaves a very good cost/benefit factor, as well as an uncomplicated overall impression. A problem solver like you want.

Conclusion

With the Behringer RX1602 V2, Germany's most successful audio product manufacturer has a very practical product in its portfolio. What the 16-channel line mixer lacks in esprit and sexiness, it makes up for with a practical concept that is unrivaled in terms of price. Countless home recording studios are waiting for a product like this to manage their signal flow and will be happy with this line mixer, especially since the only shortcoming of its predecessor, the unbalanced outputs, has now been eliminated.

Just right for a certain group of users and definitely recommended.

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Additional Informations:

19-inch rack line mixers are integral components in both live sound reinforcement and studio recording environments, offering a compact and efficient solution for managing multiple audio signals. These devices, designed to fit standard 19-inch equipment racks, are prized for their space-saving form factor, versatility, and the ability to handle several input sources, making them a staple in various audio setups. This article delves into the intricacies of 19-inch rack line mixers, exploring their features, applications, and the technological advancements that have shaped their development.

### Historical Context and Evolution

The concept of the line mixer dates back to the early days of electronic music and recording studios, where managing multiple audio sources became a necessity. Initially, mixers were large, cumbersome units that occupied significant space. The introduction of the 19-inch rack standard, a specification for mounting electronic equipment in a standardized frame or enclosure, revolutionized the design of audio equipment, including mixers. This standardization allowed for more efficient use of space and facilitated the integration of various devices into cohesive systems.

As technology advanced, so did the capabilities of rack line mixers. Early models were relatively simple, offering basic mixing capabilities without much in the way of additional features. However, as the needs of audio professionals evolved, so too did the complexity and functionality of these units. Modern 19-inch rack line mixers now boast a wide range of features, including multiple input and output channels, equalization controls, effects processing, and digital connectivity options.

### Key Features and Specifications

A typical 19-inch rack line mixer comprises several line-level input channels, which can accommodate various audio sources, such as microphones (with the use of external preamps), instruments, and playback devices. Each channel usually has its own level control, and mixers often include additional controls for tone shaping (such as treble and bass or a more comprehensive equalizer), panning (for stereo image placement), and auxiliary sends (for external effects or monitor mixes).

One of the defining characteristics of rack line mixers is their compact, rack-mountable design. This design ethos prioritizes space efficiency and ease of integration into existing setups, making these mixers particularly appealing for installations with limited space or for mobile applications where portability and quick setup are essential.

### Applications

19-inch rack line mixers are remarkably versatile, finding applications in various settings:
- **Live Sound Reinforcement**: Ideal for venues, churches, and performance spaces, these mixers can manage multiple playback sources and instrument lines alongside vocal microphones.
- **Broadcasting**: Used in radio and television studios to mix audio content from different sources before it is transmitted.
- **Recording Studios**: Although many studios utilize larger, more complex mixing consoles, rack line mixers are often employed for specific tasks, such as sub-mixing drum machines or synthesizers.
- **Rehearsal Spaces and Home Studios**: Their compact size and straightforward functionality make them suitable for smaller setups, where they can efficiently handle the mixing needs of bands or solo artists.

### Technological Advancements

Recent years have seen significant technological advancements in 19-inch rack line mixers. Digital processing capabilities are increasingly common, offering users a broader range of effects and signal processing options directly within the mixer. Digital connectivity, including USB and Ethernet ports, facilitates direct integration with computer-based recording systems, streamlining the recording process and enabling sophisticated control over the mix from software applications.

Moreover, the advent of digital networking technologies, such as Dante and AVB, has revolutionized the way audio signals are routed and managed, allowing for greater flexibility and scalability in audio installations. These technologies enable audio signals to be transmitted over standard network infrastructures, reducing cable clutter and enhancing the potential for remote mixing and system integration.

### Conclusion

The 19-inch rack line mixer remains a crucial tool in the arsenal of audio professionals, blending traditional mixing functionalities with modern technological innovations. Its enduring popularity underscores the importance of adaptability, reliability, and efficiency in audio equipment design. As technology continues to evolve, it is likely that 19-inch rack line mixers will continue to adapt, offering even more sophisticated solutions to the challenges of audio signal management. Whether in the context of live performance, broadcasting, or studio recording, these compact yet powerful devices play a pivotal role in shaping the sounds that define our auditory experiences.