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.

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.

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.

TEST: Behringer Powerplay HA6000

 Let's not kid ourselves, attention immediately increases as soon as a high-end product, including luxurious tube-based outgear, appears on the scene for testing or personal use. Absolutely understandable, but as much as I personally appreciate these products, I still have a heart beat for the “Work Horses”, which can neither keep up with the preamp glam of the big names in terms of function nor their layout, but are apart from that Strahlemann department boasts functional design, reliability and practical detailed solutions. The Behringer HA6000 headphone amplifier is such a workhorse, as it has a few interesting details that make it much easier to create your own personal headphone mix than you may have been used to.

The structure of the Behringer HA6000

The Behringer HA6000 is a six-channel headphone amplifier, which is housed in a 1U housing and is manufactured in China. As is now common practice with Behringer, the housing is made from a very robust combination of steel and aluminum and should last a long time. The product is designed exclusively for rack operation; rubber feet for stand-alone operation are not included with the product.

Each of the six channels has three unusual features, one of which becomes particularly apparent when we look at the back of the product later. In addition to the standards such as output level and an illuminated Mono L / Mono R circuit, the Behringer HA6000 initially has a 2-band tone control in the form of treble and bass. In this way, the personal sound can be adjusted a little to suit your personal taste. Each channel also has an 8-digit LED display and a separate headphone output. Unfortunately, the rotary controls, which are pleasantly soft and stiff, are not secured to the housing, so the risk of a hairline crack on the circuit board can never be completely ruled out.

Personally, I would be interested in the calculation of countered potentiometer axes, because in my opinion a product would be in a different quality league if it had fixed potentiometer axes, but I fear that even an increase in the retail price by a few euros would reduce sales opportunities in the budget range, as the target audience in this segment is almost exclusively based on the advertised price. Except for the output level control, all rotary controls have a center grid, which makes setting the respective value much easier. Even if the controller only offers the “white line on a black background” version, the setting of the controller can be easily read even in poor lighting conditions. Even though the Behringer HA6000 will primarily be used in the studio, where the lighting conditions are not nearly as problematic as in live operation, it is still good to know that readability is almost always guaranteed.

In the main section there is a master level control, also with an 8-digit LED display and a TRS Direct In if you want to bypass the rear connections in rack operation. If you connect a plug to the Direct In, the MAIN In signals are muted. On the outside on the right there is a strong plastic power switch, the operation of which can be easily controlled by touch. But wait, isn't there another controller missing? Correct, it is the balance controller in question, which regulates continuously between the AUX and MAIN inputs. To understand how it works, however, we have to turn to the back of the Behringer HA6000.

The back of the Behringer HA6000

A big advantage of the Behringer HA6000 is immediately apparent on the outside left of the housing. Cold device socket and a multi-voltage power supply of 100 - 240 volts enable stress-free and board bug-free use with neat cable routing. First, let's look at the placement of the Behringer HA6000 in the signal path. While many headphone amplifiers are used on the AUX / bus of the respective console, the Behringer HA6000 can be looped into the master output. To ensure this, the product has both locked XLR and TRS balanced right/left in/out. For example, you can add a recorder, a P.A. behind the amplifier if necessary. or other input sources without having to use a bus.

The applied sum signal is also the signal that is available as a basis for each headphone channel. In order to ensure that every user has their own personal mix, there are two options. Either you create an individual headphone mix for the user via a corresponding bus on the mixer/interface, which you adjust manually, or you give the user the instrument that he would like to have significantly louder than the rest of the signals in the overall context Cases his own instrument / vocals in standard level to the respective AUX In socket on the back and gives the user the opportunity to individually regulate their volume using the balance control on the front of the housing.

Of course, you can use the same signal management as with a standard mix via several buses, but you can also use the signal from a D.I. on the respective instrument via a split or an additional output. Box, a speaker simulation or other additional outputs directly into the Behringer HA6000 and thus keep the corresponding hardware outputs on the interface or console free. In addition, there is a second headphone out connected in parallel to the front headphone out below the respective Aux In of the channel, so that a total of up to 12 headphones can be connected, with two headphones each sharing a mix. Such a massive use of headphones is a great help when recording choirs, for example. If the Aux In socket on the back of the housing is not used, the balance control controls the stereo balance of the MAIN stereo signal.

The Behringer HA6000 in practice

The Behringer HA6000 comes with a power cable and a quick start guide as accessories, although the included booklet in 5 languages is more of a bonus than a real manual. All functions are described to the bare essentials in one or a maximum of two sentences, plus a very simple wiring example. In addition, the Quick Start Guide also shares the description with the Behringer HA8000, which doesn't exactly increase the clarity. If you look at what other companies include in written form in terms of practical and customer-friendly examples, Behringer has this in mind. still a lot of room for improvement.

When it comes to headphone compatibility, the Behringer HA6000 seems prepared for all eventualities. According to the manufacturer, the minimum headphone impedance is 8 ohms, which should include pretty much all headphones currently on the market. But the amplifier was also able to handle high-impedance studio headphones well during the test due to its high power reserves. Both medium-resistance headphones such as the Beyerdynamic DT 770 PRO with 80 ohms and the Beyerdynamic T1 with 600 ohms were used.

The two-band tone control with its shelving frequencies at 80 Hz and 12 kHz is more about “feeling good” than a real sound processing function. The sound of the filters is appropriate for the retail price, but the possibility of processing your personal signal should still be considered very positive.

The possibility of cascading several HA6000 amplifiers and the resulting scalability of the sum signal is also very nice. Due to the fact that the input signal from the main input is looped through to the main output, any number of units can be connected in series without any kind of sound loss, which means that a large orchestration in the studio can also be supplied with an appropriate monitor mix.

All in all, the Behringer HA6000 leaves a very good impression with an excellent price/performance ratio. The components used are good, the workmanship is impeccable, the concept is coherent. Definitely can also be used for the pro area, although I would like the potentiometer axles to be screwed on for a perfect external presentation.

Conclusion

With the Behringer HA6000, the former German, now Malaysian manufacturer has a very good headphone amplifier in its portfolio. The product combines a good concept with good workmanship and a practical orientation, which can be implemented profitably both in the studio and in live operations.

Anyone who still records entire bands or orchestras and is thinking about a comparatively easy way to scale their system should definitely give the Behringer HA6000 a try.

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Additional Informations:


**The History of Behringer**

**The Early Years**

Uli Behringer was born in 1957 in Willich, Germany. He showed an early interest in electronics and music, and by the age of 14 he was building his own synthesizers. While still in high school, Behringer started a band called "The Monroes" and played keyboards. After graduating from high school, Behringer studied electrical engineering at the University of Applied Sciences in Düsseldorf.

In 1982, Behringer founded his first company, Behringer Electronic, which manufactured Eurorack modules. The company's first product was the UB-1, a VCO module. The UB-1 was a success, and it helped to establish Behringer as a leading manufacturer of Eurorack modules.

In 1989, Behringer founded Behringer GmbH, which would go on to become one of the world's leading manufacturers of audio equipment. The company's early success was due in part to its innovative products and its excellent value for money. Behringer products were often significantly cheaper than those of its competitors, but they offered comparable features and performance.

**Expansion and Growth**

In the 1990s, Behringer expanded rapidly and began manufacturing a wide range of audio products, including mixers, microphones, speakers, and signal processors. The company also established itself as a supplier of DJ equipment and synthesizers.

One of Behringer's most significant achievements during this period was the development of the Xenyx series of mixers. The Xenyx mixers were a huge success, and they helped to make Behringer a household name in the audio industry.

In 1997, Behringer opened its first factory in China. This move helped to reduce the company's production costs and allowed it to offer even more competitive prices.

**The 2000s and Beyond**

In the 2000s, Behringer continued to grow and expand its product range. The company also began to focus more on the digital audio market. In 2001, Behringer released the first of its digital mixers, the X32. The X32 was a critical and commercial success, and it helped to establish Behringer as a leader in the digital audio market.

In recent years, Behringer has continued to innovate and bring new products to the market. In 2016, the company released the DeepMind 12, a polyphonic analog synthesizer that has been praised for its powerful sound and extensive features.

**Behringer Today**

Today, Behringer is one of the largest manufacturers of audio equipment in the world. The company employs over 4,000 people and sells its products in over 130 countries. Behringer is known for its innovative products, its excellent value for money, and its strong commitment to customer service.

**Controversies**

Behringer has not been without controversy over the years. The company has been accused of copying products from other manufacturers, and it has been involved in several legal disputes. However, Behringer has always maintained that its products are original and that it does not copy other companies' products.

In 2006, Behringer was sued by Apple for trademark infringement. The lawsuit alleged that Behringer had infringed on Apple's iPod trademark by using the name "iNuke" for one of its products. Behringer settled the lawsuit in 2007 by agreeing to change the name of the product to "Nuke".

In 2012, Behringer was sued by Moog Music for trademark infringement. The lawsuit alleged that Behringer had infringed on Moog's trademark for the Minimoog synthesizer by using the name "Model D" for one of its products. Behringer settled the lawsuit in 2013 by agreeing to change the name of the product to "DeepMind 12".

**The Future of Behringer**

Despite the controversies, Behringer is a strong and successful company. The company is well-positioned to continue growing in the coming years. Behringer is a major player in the audio industry, and it is likely to continue to bring innovative products to the market.

**Conclusion**

The history of Behringer is a story of innovation, growth, and controversy. The company has come a long way since its humble beginnings in 1982, and it is now one of the world's leading manufacturers of audio equipment. Behringer is sure to continue to be a major force in the audio industry for many years to come.

TEST: Behringer F1220A

 The active floor monitors are practical. Depending on the concept, you have a high degree of flexibility at the start, from the classic wedge to the satellite or even as a small full-range constellation. Modern floor monitors can do all this, especially if they come with a built-in power amplifier.

It is logical that a complete supplier like the German company Behringer from Willich-Münchheide also owns the above-mentioned construction within its diverse product range. Even though the name Behringer often has to deal with contemptuous looks and subtle nose-wrinkling in professional studio operations, this does not hide the high market presence in the budget and home recording sectors.

With the F1220A Eurolive I have a rather small version of a floor monitor that is often used at stage volumes and does not want to compete with a live show by “The Who”. The floor monitor was designed by German engineers, but built in the country where mammals are sometimes eaten alive, in China.


construction

The F1220A Eurolive is a two-way wedge in the popular 12 inch bass speaker and 1 inch tweeter version. The design features an RMS output of 90 watts at 1% THD with a peak of 125 watts, all measured at 8 ohms. With dimensions of 360 mm x 580 mm x 406 mm (H x W x D), the F1220A is quite space-saving and can easily be transported in a car thanks to its weight of 18 kilograms.

The construction rests on 4 soft rubber feet, which provide a very good grip. A single, simple carrying handle on the front of the housing is used to transport the monitor. Six plastic edge protectors distribute any edge impacts on the long sides of the construction, and a close-meshed, stable metal grille, which is attached to the side strips with six screws, protects the two speakers from damage. Thanks to its trapezoidal shape, the box can be used as a floor monitor with two different beam angles; when used on a high stand, the beam angle goes straight to the front.


The box was covered throughout with a simple but robust felt, the workmanship is impeccable and accurate. There is a standard 35 mm flange on the underside of the housing for pole mounting, so that the construction can be used as a small sound system. On the left side, next to the on/off switch, there is also the cold appliance plug; all control functions are located on the front.

In addition to a three-band equalizer (80 Hz shelving, 2.5 Hz bandpass, 12 Khz shelving... Mackie sends his regards ;-)), the design only has a single volume control, which roughly divides the signal into line and microphone . Incidentally, all the controls run very slowly, which can be an advantage when it comes to unintentional adjustment, but at first it seems a bit unusual.

Below the tone control there is a notch filter that can be tuned from 300 Hertz to 6 kilohertz and is intended to counteract any feedback signals. There is also a jack or XLR input and output on the front. Overall, the construction appears robust and gives the impression that it can withstand the rigors of everyday road life, as long as a non-cast box is treated accordingly.


Practice

As expected, when a signal is fed in, the simple volume control opens up a rudimentary problem in terms of input level. Strong signals distort quite early on and unfortunately the signal flow cannot be optimally adjusted due to the lack of a gain control; the peak display is of little help.

If you keep the active speaker in the lower third in terms of performance, you have to attest that it has an unobtrusive, balanced sound. If you are in the immediate sweet spot of the speaker, all frequencies are reproduced relatively evenly, although this changes radically with a sideways movement of approx. 50 cm. From here on, the tweeter horn is actually no longer present in terms of frequency and the woofer also loses some of its direct punch.

However, if you push the construction to its performance limit, which is reached relatively quickly at 90 watts, the playback suddenly turns out to be very harsh and unsmooth. The use of the F1220A Eurolive is therefore reserved for moderate stage volume in small club rooms. A dynamic drummer will be difficult to drown out with this.

In terms of sound, the filters of the construction can be described as decent for the price, but cannot keep up in direct comparison with other budget products such as Mackie. While the bass control still works very tastefully, the mid bandpass and treble shelving are only convincing within the framework mentioned above. A good level can be achieved with a linear setting, but if you increase the bass a little, the relatively weak power amplifier quickly runs out of steam.

I really liked the complete solution, for example for quick sound reinforcement in the pedestrian zone, at sales stands or similar areas of use, where the primary aim is quick and uncomplicated sound reinforcement rather than a full-fledged sound culture. The F1220A Eurolive scores clearly here. We also liked the notch filter, which definitely changes the sound of the construction through a very heavy use of dB, but also deals with the feedback just as decisively, always provided that the user knows how to use the control.



Conclusion

With the F1220A Eurolive, Behringer is bringing a small, active wedge solution onto the market that leaves a decent impression considering the price. If you are looking for a simple, inexpensive, flexible and undemanding design that can be operated at moderate volumes, you should give the product a try.

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Additional Informations:

Klar, hier ist der Artikel:
**Behringer: The company and its wide range of products**

Behringer is a German company that designs and manufactures audio equipment for professional and home use. The company was founded in 1989 by Uli Behringer, and it is headquartered in Willich, Germany. Behringer products are sold in over 130 countries around the world.

The company's product range includes:

* **Mixers:** Behringer offers a wide range of mixers for both live sound and recording applications. These include analog and digital mixers, as well as DJ mixers. Some of the most popular Behringer mixers include the Xenyx series, the XR18 series, and the ProFX series.

* **Microphones:** Behringer offers a variety of microphones for different applications, including vocal microphones, instrument microphones, and drum microphones. Some of the most popular Behringer microphones include the XM8500, the C-1, and the TM1.

* **Headphones:** Behringer offers a variety of headphones for different applications, including studio headphones, DJ headphones, and consumer headphones. Some of the most popular Behringer headphones include the HPS5000, the DT-770 Pro, and the STUDIO 50.

* **Loudspeakers:** Behringer offers a variety of loudspeakers for different applications, including PA speakers, studio monitors, and DJ speakers. Some of the most popular Behringer loudspeakers include the EUROLIVE series, the TRUTH series, and the B212D.

* **Signal processors:** Behringer offers a variety of signal processors, including effects pedals, compressors, and equalizers. Some of the most popular Behringer signal processors include the XD series, the 1176LN, and the Ultra-DI DI20.

* **Synthesizers:** Behringer offers a variety of synthesizers, including analog synthesizers, digital synthesizers, and virtual analog synthesizers. Some of the most popular Behringer synthesizers include the DeepMind series, the Model D, and the Neutron.

* **Other products:** Behringer also offers a variety of other products, including lighting equipment, DJ equipment, and recording equipment.

Behringer products are known for their affordability and quality. The company has won numerous awards for its products, including the **NAMM** **Technical Excellence Award** and the **Musikmesse** **International Press Award**.

Behringer is a major player in the audio equipment industry. The company's products are used by professional musicians, engineers, and audiophiles around the world. Behringer is committed to providing high-quality, affordable audio equipment to its customers.

Here are some additional details about some of Behringer's most popular product categories:

**Mixers**

Behringer mixers are known for their versatility and affordability. The company offers a wide range of mixers to suit different needs and budgets. Some of the most popular Behringer mixers include:

* **Xenyx series:** The Xenyx series is a popular choice for home and project studios. These mixers offer a variety of features, including multiple channels, built-in effects, and USB connectivity.

* **XR18 series:** The XR18 series is a popular choice for live sound applications. These mixers offer a variety of features, including digital signal processing, remote control, and multi-track recording.

* **ProFX series:** The ProFX series is a popular choice for both live sound and recording applications. These mixers offer a variety of features, including analog and digital channels, built-in effects, and USB connectivity.

**Microphones**

Behringer microphones are known for their quality and affordability. The company offers a variety of microphones to suit different needs and budgets. Some of the most popular Behringer microphones include:

* **XM8500:** The XM8500 is a popular choice for vocal applications. It is a dynamic microphone that offers a wide frequency response and a cardioid pickup pattern.

* **C-1:** The C-1 is a popular choice for studio recording. It is a condenser microphone that offers a high-quality sound and a cardioid pickup pattern.

* **TM1:** The TM1 is a popular choice for instrument miking. It is a dynamic microphone that offers a wide frequency response and a cardioid pickup pattern.

**Headphones**

Behringer headphones are known for their comfort and sound quality. The company offers a variety of headphones to suit different needs and budgets. Some of the most popular Behringer headphones include:

* **HPS5000:** The HPS5000 is a popular choice for studio monitoring. It offers a closed-back design, comfortable ear cups, and a wide frequency response.

**DT-770 Pro:** The DT-770 Pro is a popular choice for studio recording and mixing.

**Synthesizer**

Behringer is a major player in the synthesizer market, offering a wide range of analog, digital, and virtual analog synthesizers at a variety of price points. Some of the most popular Behringer synthesizers include:

* **DeepMind series:** The DeepMind series is a line of polyphonic analog synthesizers that are known for their powerful sound and extensive features. The DeepMind 12 is a 12-voice polyphonic synthesizer with a wide range of oscillators, filters, and effects. The DeepMind 6 is a 6-voice polyphonic synthesizer with a more streamlined feature set.

* **Model D:** The Model D is a recreation of the classic Moog Minimoog synthesizer. It features a 3-oscillator, 2-filter design with a variety of modulation options.

* **Neutron:** The Neutron is a semi-modular analog synthesizer that offers a wide range of patching possibilities. It features 3 oscillators, 2 filters, and 2 VCOs.

**Other products**

Behringer also offers a variety of other products, including lighting equipment, DJ equipment, and recording equipment. Some of the most popular Behringer products in these categories include:

* **Lighting equipment:** Behringer offers a variety of lighting equipment, including moving lights, LED fixtures, and fog machines.

* **DJ equipment:** Behringer offers a variety of DJ equipment, including DJ mixers, turntables, and CD players.

* **Recording equipment:** Behringer offers a variety of recording equipment, including audio interfaces, microphones, and headphones.

Behringer is a company that is constantly innovating and expanding its product range. The company is committed to providing high-quality, affordable audio equipment to its customers.

## Behringer: A Brief History

**The Early Years**

Behringer was founded in 1989 by Uli Behringer in Willich, Germany. The company started out manufacturing Eurorack modules and quickly became one of the world's leading suppliers of audio equipment.

**Expansion and Growth**

In the 1990s, Behringer expanded rapidly and began manufacturing a wide range of audio products, including mixers, microphones, speakers, and signal processors. The company also established itself as a supplier of DJ equipment and synthesizers.

**Today**

Today, Behringer is one of the largest manufacturers of audio equipment in the world. The company employs over 4,000 people and sells its products in over 130 countries. Behringer is known for its innovative products and excellent value for money.

**Behringer: Controversies**

Behringer is not without controversy. The company has been repeatedly criticized for copying products from other manufacturers. Behringer has also been involved in legal disputes with other companies, including Apple and Moog Music.

**Behringer: Future Prospects**

Despite the controversies, Behringer is a strong and successful company. The company is well-positioned to continue growing in the coming years. Behringer is a major player in the audio industry and will continue to bring innovative products to the market.

TEST: Behringer Europower PMP 4000

 Even if it is technically almost old hat, an old school protagonist will still have to look twice when examining the performance specifications of current power mixers. Thanks to Class D power amplifier technology, the kilowatts are shot from the hip with the weight of a crate of beer and the housing dimensions of a woman's handbag. When I consider what I was still carrying with the Peavey CS400 thanks to the “Heavy Duty” toroidal core transformers and with 2x 200 watts at 4 ohms it was still in the middle range. With the CS 800 you could already hear the first prayers from the technical crew and before the power amplifier rack was loaded, everyone ran away screaming...

This is all old cheese from the day before yesterday and only makes today's agile sound artist twitch the corners of his mouth very tiredly. Just add a few input channels, a multi-FX for a little spatial Punch and Judy show, a practical monitor and aux routing and you can host the majority of all club events with a comparatively small piece of equipment. Oh yes, definitely don't forget the provocative carrying handle!

The Europower PMP 4000 from Behringer has all of these product details and a few additional features and is ready to run into the open arms of ambitious young artists with the beloved combination of “low selling price meets high performance” in the highly competitive segment of the class up to €500






construction

The PMP 4000 is a 16-channel mixer equipped with 8 mono and 4 stereo channels. In terms of dimensions (H x W x D): 122 x 476 x 460 mm, the mixer is very handy, which also supports the low weight of 13.3 kilograms. However, with 2x 800 watts at 4 ohms (1600 watts bridged), the same product offers enough power to provide vocal sound in smaller clubs or to use the keyboard version of the solo entertainer at the next wedding party at one in the morning when everyone is already drunk Offering “Highway To Hell” with a high-decibel rock star feeling.

The power mixer sits in a plastic/metal tray, is impeccably manufactured and rests on four rubber feet that are glued crookedly, but this does not affect its functionality. 2 plastic bridges also allow the device to be placed on the front side. 2 Speakon Outs serve as connections for power output. Two fans, which are secured with simple wire grilles, ensure the necessary cooling of the interior.

The channel concept corresponds to the standards, as there is an XLR as a microphone input (unfortunately unlocked), a jack as a line input plus a Y insertion point in front of the catch-up amplifier, which works between -10 dB and +60 dB and has an overload LED in yellow. Also standard is the Mackie memory three-band tone control (12 kHz shelving, 2.5 kHz bandpass, 80 Hz shelving) and, as usual in this price range, unlocked plastic potentiometer axes.

When it comes to aux handling, the PMP 4000 has two monitor sends plus one FX send, all designed in mono out, equipped with their own master faders, colored in the flavors “Plastic Red” and “Plastic Orange”, Katjes Yoghurt Drops to greet. The internal power amplifier can also be used externally in stand-alone mode in loop operation. A switchable impact sound filter, PFL switch, mute switch and a moderately running fader round off the channel section. With a plastic slider, all channels can be optionally assigned 48V phantom power.

While channels 1 - 12 have the configurations mentioned above, the last two stereo channels are only fed with a level knob, the two monitor sends and a PFL. Channels 9/10 and 11/12 can be fed either via jack or cinch, selected using a pressure switch. The tape/CD input has an optional karaoke function, in which the solo voice is to be removed from the stereo image using phase cancellations.

The product also has a seven-band hum equalizer, a “stereo surround simulator” and a multi-effects device equipped with 100 presets. As expected, the product is manufactured in China in order to keep wages, additional wage costs and environmental protection taxes as low as possible.


Practice

Despite its generous features, the Europower PMP 4000 is surprisingly clear. The assignment is logical, the handling is practical, you can quickly find your way around after a short training period. The device also has enough visual control displays and a large number of PFL pressure switches ensure good control options in advance and avoid unpleasant surprises.

Even though the visual and technical features are higher than the retail price, the sound of the product brings the user back to the present. The filters sound appropriate for the price, i.e. they bend the frequency response, but nothing more. You simply can't expect a sonically characterful life of its own at this price. The shelving treble sounds quite hard and yet scratches quite badly when the same frequencies are boosted.

The built-in Multi-FX has an impressive number of factory-set effect parameters, but its sound is only in the middle range. Pleasant number games like 24 bit or 40 kHz cannot hide the fact that the product reaches its limits very quickly, especially in the computationally intensive area of room simulations. Larger rooms in particular sound synthetic and will probably only survive the end of the reverb tail with loop functions.

The faders aren't the cheapest quality, but they don't run like they're stored in oil either. A little more resistance would be good, but at this price it probably won't be possible. Since this product will not be used in a real FOH position anyway, but rather on the stage next to the keyboard player, consistent fades will not be necessary during the show anyway.



Conclusion

The Europower PMP 4000 is once again a product that, due to Chinese production, offers extensive features and sufficient connection peripherals for little money. The area of application and practical suitability are varied and the product will find its buyers. In terms of its area of application, which will probably be in the area of small combos, unplugged constellations or solo entertainment, the product offers reasonable features.

It goes without saying that high-quality components cannot be used in the area of sound management at a price of just under 400 euros. Anyone who can handle comparatively hard and angular filters and interprets the effects device as more of a bonus will get along well with the product and for know how to use it for its intended purposes.

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Additional Informations:

The origin and evolution of Behringer is a narrative that embodies innovation, controversy, and the democratization of audio technology. This expanded history delves deeper into the company's milestones, challenges, and its impact on the audio industry.

### Foundation and Philosophy

The inception of Behringer in 1989 by Uli Behringer, in Willich, Germany, was driven by a personal need for affordable music equipment. Uli's background as a musician and sound engineer, combined with his academic pursuits in electrical engineering, laid a unique foundation for the company. Behringer's early efforts were focused on creating products that he himself needed and could not afford, a philosophy that would become the cornerstone of the company's mission: to provide professional audio equipment at prices within reach of aspiring musicians and producers.

### Breakthrough and Expansion

The 1990s were a defining decade for Behringer. The company's initial product offerings were well-received, leading to rapid expansion. Behringer's strategy involved meticulously analyzing market-leading products, then engineering cost-effective alternatives without compromising quality. This approach, while controversial, allowed Behringer to introduce a wide array of products, from mixers and amplifiers to speakers and studio processors, significantly underpricing competitors.

### Manufacturing Innovations

Behringer's move to China in the late 1990s was a strategic pivot that played a critical role in the company's ability to scale production while maintaining low costs. The establishment of Behringer City, a state-of-the-art manufacturing complex, was unprecedented in the audio equipment industry. This facility not only allowed for greater control over the manufacturing process but also demonstrated Behringer's commitment to innovation in production techniques.

### Digital Revolution

The transition to digital technology marked a significant evolution in Behringer's product development. The introduction of the X32 Digital Mixer in the 2010s was a game-changer for the industry, offering features and performance previously unseen at its price point. Behringer's foray into digital products didn't stop at mixers; the company expanded its portfolio to include digital interfaces, synthesizers, and other electronic music equipment, catering to both the analog nostalgia and the modern digital workflow.

### Synthesizers and Electronic Music

Behringer's venture into synthesizers and electronic music instruments in recent years has been met with enthusiasm from the music production community. The company has successfully tapped into the resurgence of interest in analog synthesizers, offering affordable replicas of classic models. These products have opened up new creative possibilities for musicians who were previously priced out of the analog synth market.

### Controversies and Legal Battles

Behringer's aggressive market strategies and product similarities have led to several legal confrontations with competitors. The company has faced accusations of copying designs and infringing on patents. Despite these challenges, Behringer has often emerged unscathed, defending its practices as legal and in the service of making music production accessible to all. These controversies have sparked debate within the industry about innovation, imitation, and the ethics of business practices.

### Community and Criticism

Behringer's relationship with its customers and the broader music community has been complex. While many applaud the company for making music production more accessible, others criticize it for what they see as compromising the integrity of the industry. Behringer has been proactive in engaging with its user base, soliciting feedback, and continuously improving its products in response to community input.

### Future Directions

As Behringer moves forward, the company continues to explore new technologies and markets. With a keen eye on emerging trends in music production, Behringer is positioned to remain a significant player in the audio industry. The company's commitment to innovation, affordability, and quality ensures that it will continue to influence music production for both amateur and professional creators alike.

### Conclusion

The history of Behringer is a testament to the transformative power of vision, innovation, and persistence. From its inception in a small German town to its status as a global brand, Behringer has continually reshaped the landscape of audio technology. By breaking down financial barriers to professional-quality sound, Behringer has not only changed the way music is made but has also empowered a new generation of artists to express themselves through sound. The legacy of Behringer is ultimately found in the music of those it has enabled to create, a melody that continues to evolve with each passing year.

Creating a comprehensive list of all products ever released by Behringer is a monumental task, given the company's prolific output since its inception in 1989. Behringer has produced a wide range of audio equipment, including mixers, amplifiers, loudspeakers, synthesizers, digital audio processors, and a variety of studio and recording equipment. Below is an overview of product categories and examples of products within those categories, rather than an exhaustive list, reflecting the diversity and breadth of Behringer's offerings over the years.

### Mixers
- **XENYX Series**: Analog mixers with USB connectivity, ranging from compact to large formats.
- **EURODESK Series**: Large-format mixing consoles designed for studio and live applications.
- **X32 Series**: Digital mixing consoles that revolutionized the market with their features and affordability.

### Audio Interfaces
- **UMC Series**: USB audio interfaces providing a range of input/output options for home recording.

### Amplifiers
- **iNUKE Series**: Lightweight, high-power amplifiers for live and installed sound.
- **EUROPOWER Series**: Portable power amplifiers suitable for musicians, DJs, and small venues.

### Loudspeakers
- **EUROLIVE Series**: A wide range of powered and passive loudspeakers for live sound reinforcement.
- **B215D**: Active 2-way loudspeakers known for their performance and value.

### Microphones
- **C-1**: A large-diaphragm condenser microphone suitable for studio recording.
- **XM8500**: Dynamic vocal microphone designed for live and studio applications.

### Headphones
- **HPS3000**: Studio headphones offering high-resolution audio reproduction.
- **BH 770**: Professional-grade studio reference headphones.

### Studio Processors
- **DEQ2496**: Ultra-high precision digital 24-bit/96 kHz EQ/RTA mastering processor.
- **MDX4600**: Reference-class 4-channel expander/gate/compressor/peak limiter.

### Synthesizers
- **Model D**: A modern reproduction of the classic analog synthesizer with a distinctive fat sound.
- **DeepMind 12**: A 12-voice analog polysynth with deep editing capabilities and effects.

### Drum Machines
- **RD-8**: A recreation of the classic analog drum machine, known for its characteristic sound and sequencing capabilities.

### Digital Processors and Effects
- **VIRTUALIZER 3D FX2000**: Multi-engine effects processor with 3D surround.
- **ULTRA-DI DI100**: Direct injection box for stage and studio applications.

### DJ Equipment
- **DJX750**: Professional 5-channel DJ mixer with advanced digital effects and BPM counter.

### Musical Instruments
- **UMX610**: A 61-key USB/MIDI controller keyboard with a separate audio interface.

### Recording Equipment
- **CONTROL2USB**: High-end studio control and communication center with VCA control and USB audio interface.

This overview captures the essence of Behringer's product lines, highlighting the company's versatility and commitment to providing affordable solutions across the spectrum of audio production and performance needs. Given the dynamic nature of Behringer's product development, their portfolio continues to evolve, embracing both analog traditions and digital innovations.