TEST: Behringer SPL 3220

 As the last element in the signal chain, limiters have now become a standard that has become an integral part of current record production. What slowly ventured into the audio sector from the broadcast sector for car radios at the end of the eighties and could only be found in high-end studios is now found in even the cheapest DAWs as plug-ins, the sound of which is sometimes more in the direction of physical harm than that they put the finishing touches on the source material. In addition to the plug-in version, which is of course also available in excellent quality, there are a few providers who also offer signal processing externally as outgear. With the Behringer SPL3220 and the t.racks Limit 2/2, we tested two products in the large range of the 100 € brand, which demonstrate their capabilities particularly in P.A. department want to prove.

The areas of application of the Behringer SPL3220 and the t.racks Limit 2/2

To get straight to the point, anyone who believes that the products mentioned are an inexpensive entry point for their personal mastering suite will unfortunately have to say goodbye to this idea. In fact, the products make people sit up and take notice with retail prices of €79 (Behringer SPL3220) and €129 (the t.racks Limit 2/2), but both products, as we can tell in advance, do not meet the demands of professional record production in terms of sound. Their area of application is primarily in the stationary operation of a sound system plus an area that many of you may not have even had on your radar.

I don't know about you, but every time I treat myself to a nice evening at the cinema with my wife, I experience a volume problem in 95% of all American productions, which turns the entire film into a single nuisance and drains the battery on my remote control makes the height soar.

We're talking about the volume balance of speech/music/action passages. I really don't know which idiots were responsible for the final mix, but as soon as I found a comfortable volume for the dialogue passage in the film, the next time I heard music or an action scene, the voice coils almost blew out of the speakers. However, if you use the music passages as a reference for the room volume, you won't understand a single complete sentence in the dialogue. This extremely poor coordination results in constant loud/quiet pressing on the remote control, which almost drives me crazy and yet I still don't catch the first loud impulse of the next explosion.

Compressors / limiters can work wonders here, but the whole thing only works if you route the signal via the appropriate outputs (RCA / headphones) first into the limiter and then into an external stereo system / active speakers and deactivate the internal TV speakers.

The structure of the t.racks Limit 2/2

The the t.racks Limit 2/2, like its tested colleague from Behringer, is very compactly housed in just one U and is designed exclusively for stationary “security monitoring”. Its area of application is to lock it down at a certain volume in order to either protect loudspeakers from overloading or to protect oneself from neighbors/resident-initiated disturbance notices. To ensure that no unauthorized person thinks they have to play with the buttons, the editing options have been reduced to an absolute minimum and also secured with a rudimentary access lock.

The product only has a control in 2 dB steps that can be operated with a small flat-head screwdriver and allows a control range of +6 dB to -22 dB. The setting is secured via a transparent plastic plate, which is closed with 4 Allen screws. 2 ten-digit LED chains provide information about the output level, 4 LEDs about an input level that is too high, the use of the limiter for left and right and the operating status. On the back, the product offers balanced inputs and outputs, each in XLR and TRS. The product does not come with any accessories such as: B. the necessary Allen keys.

The structure of the Behringer SPL3220

In contrast to the t.racks product, the Behringer SPL3220 offers significantly more setting options, which of course also ensures more possibilities for misadjustment. If the t.racks only regulates the level, the Behringer product can also make up the level using a multiband maximizer. The parameters Threshold, Leveler and Ratio are available here to adjust the whole thing using an output and limiter control.

Two different presets allow optimization for music or voice playback, with 2 eight-digit LED chains visually displaying the gain reduction and 2 further, switchable eight-digit LED chains showing the input or output level. On the back, 2 combination sockets (XLR / TRS) as input plus input sensitivity switch (-10 dB / +4 dB) plus 3-pin Euroblock in the input area plus XLR / 3-pin Euroblock in the output area offer a very extensive connection periphery.

Visually, the product relies on smart understatement in that the controls, like a HIFI component, disappear behind a black, foldable plastic panel when required. Two rack wings are included with the product and allow the Behringer SPL3220 to disappear into the rack if necessary. But it can also be placed on the living room shelf at home thanks to its 4 rubber feet.

Behringer SPL3220 and the t.racks Limit 2/2 in practice

Let's start with the t.racks Limit 2/2. The product may use a typical, both unmastered and mastered version of a music track in the sound system area, as well as the above-mentioned. Area of application as a multimedia limiter. Unfortunately, the first impression after switching on the device is modest, as the product reports a clearly perceptible mains hum, even though all products in the signal chain are connected to the same circuit, but not to the same socket.

The t.racks Limit 2/2 can handle short impulses in the area of a kick reasonably well, but as soon as the limiter comes into its working range, the sound is out of the question. The half waves are cut off so harshly that you can only cover your ears, especially with mastered material. In short, the product can be used to protect loudspeakers from unauthorized overload in a permanent installation, although this should also be possible with firmly locked volume controls on a power amplifier.

The sound is subterranean and, due to the “closed” volume control, it can only be used to protect against incompetent fingers at the local village disco. Then please also prevent access to the rack from behind, because the protective circuit in the XLR area can easily be bypassed by plugging the XLR connectors into one another.

The Behringer SPL3220 is of a completely different quality despite the significantly lower retail price. Here, the Multiband Maximizer can be used to significantly improve the preparation of the material in the first stage. The product was particularly impressive in the multimedia area, with the sound of the material changing significantly. In speech mode, the product applies a fairly strong high pass to the signal and increases the high-mid range slightly for speech intelligibility.

In general, the Behringer SPL3220 clearly robs the source material of bass in both the Music and Speech settings, but this is still within reason. On the other hand, with a sensitive setting, the product manages to keep all of the supplied material at the same level without causing a massive change in sound. Of course, everyone has to know whether they want to listen to their action breaker in car radio mode, as the changed dynamics obviously influence the perception of the film, but it is much more relaxing than the remote control orgy.

With heavily mastered material, however, the Behringer product is at its end; as expected, the sound deteriorates more towards mush than the product improves the material in any way. Only the comparison between old, unmastered recordings and new production can be somewhat harmonized here in DJ operation, although the 0 dB department is usually already taken over by Spotify or iTunes anyway. And it's more than questionable whether you want to do a mastering session on the fly with original recordings from the seventies or earlier.

Conclusion

One cannot speak of a real competition between the Behringer SPL3220 and the t.racks Limit 2/2, the differences are too big. Behringer beats t.tacks in all respects, be it sound, connections, operation, editing options, background noise, appearance and price. Unfortunately, despite my best efforts, I can't find any application in which the Limit 2/2 can even begin to hold a candle to Behringer, which is why you can only shake your head at the retail price, which is almost twice as high.

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Additional Informations:

Behringer, a prominent name in the audio equipment industry, traces its roots back to 1989 when Uli Behringer, a Swiss engineer, musician, and visionary, founded the company in Willich, Germany. From its inception, Behringer's mission was to provide musicians and audio professionals with high-quality equipment at affordable prices. This guiding principle has steered the company's journey through the decades, enabling it to carve out a significant niche in the global market.

The company's early years were marked by Uli Behringer's innovative approach to design and manufacturing. With a background in classical piano and a degree in sound engineering, Uli understood the needs and challenges faced by musicians and audio engineers. He started by designing and building his own products in his dormitory at the University of Düsseldorf, which led to the establishment of Behringer. One of the first products to gain widespread attention was the Studio Exciter Type F, a signal processor that enhanced audio quality, demonstrating Behringer's commitment to innovation and quality.

Behringer quickly expanded its product line, venturing into various audio equipment categories, including mixers, amplifiers, loudspeakers, and later, digital audio workstations (DAWs) and synthesizers. The introduction of the EURODESK MX8000 mixer in the mid-1990s marked a significant milestone for the company. It offered features and quality comparable to high-end mixers at a fraction of the price, embodying Behringer's philosophy of making professional audio equipment accessible to a broader audience.

The company's aggressive pricing strategy, enabled by Uli Behringer's decision to move manufacturing to China in the early 1990s, was revolutionary. By establishing one of the first Western-owned factories in China, Behringer was able to significantly reduce production costs without compromising quality. This move not only set a new standard for the industry but also sparked debates about global manufacturing practices and their impact on quality and employment in the West.

Throughout the 2000s, Behringer continued to innovate, introducing products like the X32 Digital Mixer in 2012. The X32, with its unparalleled flexibility, powerful features, and competitive price, quickly became a staple in live sound and studio settings worldwide. It exemplified Behringer's ability to anticipate and meet the evolving needs of the audio industry.

However, Behringer's journey has not been without controversy. The company has faced criticism and legal challenges over its designs and marketing practices. Accusations of copying designs from competitors have led to legal battles, most notably with companies like Mackie and Roland. Behringer has defended its practices by emphasizing its contributions to making audio equipment more affordable and accessible, highlighting the fine line between inspiration and imitation in design.

In 2007, Behringer became part of the Music Tribe, a conglomerate of music and audio equipment brands founded by Uli Behringer. This transition marked a new chapter for the company, enabling it to leverage shared resources, technology, and market presence with other brands in the group. Under the Music Tribe umbrella, Behringer has continued to expand its product range, delving into digital technology and reissuing classic analog synthesizers at accessible price points.

Behringer's commitment to accessibility has also extended to its customer engagement and support. The company has embraced social media and direct customer feedback channels to improve its products and services. This approach has helped Behringer maintain a strong connection with its user base, despite the challenges of operating in a rapidly evolving industry.

Today, Behringer stands as a testament to the vision of its founder, Uli Behringer. From its humble beginnings in a university dorm room to its status as a global player in the audio equipment market, the company's journey reflects a relentless pursuit of innovation, affordability, and quality. As Behringer continues to navigate the complexities of the modern music and audio industry, its legacy is not only its products but its impact on making music creation and production accessible to all.