TEST: Bettermaker Mastering Limiter 2

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

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

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Additional Informations:

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

### The Genesis of Bettermaker

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

### The Bettermaker Product Line

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

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

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

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

### Innovation and Digital Integration

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

### Craftsmanship and Quality

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

### The Bettermaker Philosophy

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

### The Impact on the Audio Industry

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

### Looking Forward

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

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

TEST: Behringer Ultragraph 3102 - 1502

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

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

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



construction

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

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

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

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

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



Practice

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

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

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


Conclusion

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

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

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

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

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Additional Informations:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TEST: Behringer Ultracurve Pro

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


Conception

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


Area of application

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

1.) Studio

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

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

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


2.) Live technology

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


3.) HiFi

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

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


In/Out

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


Conception

Let's list the individual tools:

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

2.) Multiband compressor

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

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

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

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

7.) Analyzer

8.) Metering: Both in bar and VU form

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


Practice

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

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

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

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

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

Conclusion

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

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

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Additional Informations:

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

### Audio Interfaces

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

### Mixers

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

### Synthesizers

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

### Digital Pianos and Keyboards

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

### Loudspeakers and Studio Monitors

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

### Effects Units and Signal Processors

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

### Drum Machines and Electronic Percussion

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

### Conclusion

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

TEST: Behringer U-Phoria UMC 1820

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

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

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



Conception

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

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

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

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


Practice

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

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


Conclusion

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

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

Be sure to check it out!

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Additional Informations:

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

Evolution of Audio Interfaces

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

Functionality and Core Components

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

Types of Audio Interfaces

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

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

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

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

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

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

Key Features to Consider

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

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

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

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

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

Connectivity Options and Considerations

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

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

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

Impact on the Audio Production Landscape

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

The Future of Audio Interfaces

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

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

### Integration with Software and Cloud-Based Solutions

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

### Advanced DSP and Machine Learning

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

### Networked Audio and Scalability

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

### Enhanced Portability and Mobile Integration

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

### Sustainability and User-Centric Design

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

### Conclusion

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

TEST: Behringer U-Phoria UMC 404

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

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

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



Conception

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


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

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

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

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

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

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

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


Practice


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

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



Conclusion

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

Be sure to check it out!

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Additional Informations:

**The Early Years**

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

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

**The 1990s and 2000s**

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

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

**The 2010s and Beyond**

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

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

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

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

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

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

**Behringer's Future**

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

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

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

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

## Behringer: Controversies and Challenges

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

**Criticisms:**

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

**Challenges:**

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

**Future:**

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

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

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

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

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

## Behringer: Impact on the Music Industry

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

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

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

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

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

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

**Criticism:**

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

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

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

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

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

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.