# behringer x32



## Dreadpoet

Holy Cow!!! I just came from my sound supplier and he had a Behringer X32 un-boxed and I gotta say I was impressed....did I just say that??? Behringer is not exactly known for their exemplary quality yet I saw something that seemed well thought out, well designed and well made. Here is the kicker...it is around a $3000 price point. I will say that I did not get a chance to listen to it or whatever...but I was rather impressed. I do hear that they are currently on backorder as demand seems to be rising and the price may be rising to some degree with the demand. However, if Behringer can make a fully digital console with all the bells and whistles as some of the bigger boys...I see a definite game change on the rise in terms of affordable digital consoles.


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## wiscolighting

As long as you can put up with the endless mockery... if it works for you than awesome!


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## Dreadpoet

You do realize that Midas' development team had a pretty heavy hand in this console? At the end of the day, I could careless what name is on it...so long as it "honks".


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## Footer

We had one act come in recently with ADA-8000 units for all of their pre amps. It sounded pretty decent. Behringer is starting to get much better. I have heard pretty good things about this new console as well. It will give the 01V a run for its money.


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## DrPinto

The check is in the mail.
Iraq has WMDs.
It's not you...it's me.
No way does that make you look fat.
A Behringer board will not let you down.


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## Footer

DrPinto said:


> The check is in the mail.
> Iraq has WMDs.
> It's not you...it's me.
> No way does that make you look fat.
> A Behringer board will not let you down.



I don't think that statement will be true much longer.


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## Aman121

I admit to being a big behringer hater (and I have the expierences to back it up), but this console does look interesting. The Mackie sr24.4 in our main space at school has long passed its sell by date, and we are in the market for a smaller format digital console. We have been considering a few Yamaha boards and a presonus studio live, maybe I'll throw this on the table as well. The features listed make it look mighty impressive for the price.....


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## museav

The X32 has been generally well received, although we will have to wait to see how the durability and reliability play out. But there are two aspects that may want to be considered when comparing it to others options.

The first is distribution. Although they will sell some units, the primary sellers of the X32 are not going to be contractors, integrators, production companies, etc., it's going to be online and mass market retailers. Thus the distribution and support model is more that of MI than of pro audio. For example, as a Consultant I have been unable to find out who I should contact and not only had a Behringer rep tell me flat out that they had no idea who I should contact but then suggested that I call the consumer support line with any questions.

Somewhat related, I think you are seeing a shift in support for products like the Behringer X32, Presonus StudioLive, Software Audio Console, etc. from the support coming from dealers and manufacturers to the users themselves are the primary form of tech support via online forums and user groups. I recently spoke with a Allen & Heath rep who noted that because it opened up some new dealers and markets, the GLD-80 posed a support challenge that has them rethinking how they may offer support for some products. Basically, they can't afford to have highly trained, experienced techs sitting around answering "where do you plug this in" questions on products that are low margin to start with and many of the dealers selling them can't or can't afford to answer such questions, so the manufacturers are having to look for other ways to address that level of support. And taking advantage of the user base potentially offers a low cost way to do that. So I would not be at all surprised to see the X32 tech support being more user based than manufacturer or dealer based.


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## DrPinto

museav said:


> Somewhat related, I think you are seeing a shift in support for products like the Behringer X32, Presonus StudioLive, Software Audio Console, etc. from the support coming from dealers and manufacturers to the users themselves are the primary form of tech support via online forums and user groups. I recently spoke with a Allen & Heath rep who noted that because it opened up some new dealers and markets, the GLD-80 posed a support challenge that has them rethinking how they may offer support for some products. Basically, they can't afford to have highly trained, experienced techs sitting around answering "where do you plug this in" questions on products that are low margin to start with and many of the dealers selling them can't or can't afford to answer such questions, so the manufacturers are having to look for other ways to address that level of support. And taking advantage of the user base potentially offers a low cost way to do that. So I would not be at all surprised to see the X32 tech support being more user based than manufacturer or dealer based.



"Thank you for buying our product. If you have any questions, don't bother us. Go look on the internet. They might know."

If a company eliminates customer service because they believe it costs too much. I suspect that they will not have customers for very long.

A smarter idea would be to offer free customer service for the first 90 days, then offer technical assistance via a 1-900 number that charges a set fee. Those 1-900 numbers can be used for something other than talking dirty...


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## bishopthomas

We have two of these in our shop. Two other sound companies have them as well. Don't knock 'em till you've tried 'em...


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## Dreadpoet

I prefer community support over customer support on most days...unless its a technical support...or emotional support...jock support....ahh I'm lost.


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## JoeSanborn

Hi Guys,
I would like to introduce myself. My name is Joe Sanborn, I am the Channel Marketing Manager at BEHRINGER.

I read some of the comments and want to assure everyone that you will be amazed by the service you will receive on your X32.

Please send me a PM with questions at anytime. Or in the rare case you have a service issue, I am here to support you.

We are so confident in our new manufacturing capabilities, (having just spent 20 million dollars in improvements), that we have extended our warranty to a 3-year warranty.
You will also see Patrick Ferdig, our VP CARE (service), directly responding to any service issues.

I personally have been a sound engineer for the past 25 years and fully understand the level of support you need on a digital console. 

If you have feature-set requests or suggestions, we are also open, and I will push those to our development team. With the recent launch of the X32, our development team has been lighting fast at releasing firmware upgrades.

Also anyone who would like an X32 demo please let me know and I will arrange this if possible.

You may want to check out the forum:
http://soundforums.net/junior-varsity/4393-x32-discussion-86.html

I am here if and when you need me, and I stand 100% behind this product.

Best,
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


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## avkid

It's been made very clear by both Uli and Joe that it's a brave new world at Music Group.
I look forward to seeing the result.


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## DrPinto

JoeSanborn said:


> Hi Guys,
> I would like to introduce myself. My name is Joe Sanborn, I am the Channel Marketing Manager at BEHRINGER.
> 
> I read some of the comments and want to assure everyone that you will be amazed by the service you will receive on your X32.
> 
> Please send me a PM with questions at anytime. Or in the rare case you have a service issue, I am here to support you.
> 
> We are so confident in our new manufacturing capabilities, (having just spent 20 million dollars in improvements), that we have extended our warranty to a 3-year warranty.
> You will also see Patrick Ferdig, our VP CARE (service), directly responding to any service issues.
> 
> I personally have been a sound engineer for the past 25 years and fully understand the level of support you need on a digital console.
> 
> If you have feature-set requests or suggestions, we are also open, and I will push those to our development team. With the recent launch of the X32, our development team has been lighting fast at releasing firmware upgrades.
> 
> Also anyone who would like an X32 demo please let me know and I will arrange this if possible.
> 
> You may want to check out the forum:
> X32 discussion - Page 86
> 
> I am here if and when you need me, and I stand 100% behind this product.
> 
> Best,
> Joe Sanborn
> Manager, Channel Marketing
> MUSIC Group
> BEHRINGER



It's always nice to see people from various manufacturers as members of the Control Booth community. Welcome!

I'm very glad to see that you stand behind your product and offer free technical support. 

My opinions on Behringer products are based on my experience with your equipment. I used to use a Behringer mixer, but that is no longer used - it's an older board and there's just too many things wrong with it. I LOVE your CT-100 tester - works like a charm and the price can't be beat. I thought quality was an issue with some of your offerings, but I'm willing to keep an open mind with your X32.

I did read about your new factory in the city of Zhongshan in Guangdong Province, China. Is anything still made in Germany or is all your equipment now made in China? Just curious.


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## museav

JoeSanborn said:


> We are so confident in our new manufacturing capabilities, (having just spent 20 million dollars in improvements), that we have extended our warranty to a 3-year warranty.


I have to be honest, this is exactly the type of comment that troubles me. From what others at Behringer have said and what is in the product warranty statement, the X32 has a one year warranty. If you buy a X32 and do not register it then it has a one year warranty. That warranty can be apparently extended to three years if you register the unit with MUSIC Group soon after purchase, however many of the components that traditionally would be most likely to break or fail on a mixer such as meters, faders, pots, I/O connectors and essentially anything with which you physically interact are still limited to one year of coverage. So for a product like the X32 the warranty offered seems to effectively be a one year warranty that can rather easily be extended to three years on the chassis and internal components. That is still better warranty coverage than most other mixers and is a positive, however I think people should be provided an accurate representation.


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## JoeSanborn

Hi Brad,
Thanks for taking the time to get back to me.

As I stated in the original post we are here to help.

While yes there are restrictions, as in any warranty, I fully agree with you that this is still better than most companies in our industry.

As this forum is an X32 forum, I am mainly here to help, and reinforce that if you buy an X32, you have someone to contact for questions on operation and in the rare case you need service. The X32, and related X32 products such as S-16, P16 and the EUROCOM range of install products, represent a huge move forward for BEHRINGER. *We understand that you need the support and want you to know you will get it.

For clarity, below are links to the BEHRINGER warranty on our website:
BEHRINGER: Support

BEHRINGER: Limited Warranty

The most important thing with a product such as the X32 is fast, direct access to support, in the rare case you might need it.
Our Las Vegas repair facility can be reached directly by calling:
702-800-8290
option 1 for tech support
If it is related to X32 please ask for Chase.

Thank again for your feedback.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


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## bishopthomas

Hey, Joe, and welcome to Control Booth! It's great to have you here. It seems that Behringer presence amongst online forums has really stepped up with the release of this console. I wish you all the best in trying to create a new and improved name in Behringer products.

On another note, Release the S16 already!! Testing, shmesting.... I want a digital snake right now!


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## JoeSanborn

bishopthomas said:


> Hey, Joe, and welcome to Control Booth! It's great to have you here. It seems that Behringer presence amongst online forums has really stepped up with the release of this console. I wish you all the best in trying to create a new and improved name in Behringer products.
> 
> On another note, Release the S16 already!! Testing, shmesting.... I want a digital snake right now!



Hi,
Thanks, I really appreciate that!
I hear you on the S16. I'm looking forward to these coming out as well! Should make life much easier. Will try to give you guys a heads up when they might hit the market.

Have a great weekend!

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


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## chausman

Does anyone know what the overall max channel count is?


bishopthomas said:


> We have two of these in our shop. Two other sound companies have them as well. Don't knock 'em till you've tried 'em...



Anything else you'd like to share? How do you like it compared to other small digital consoles, such as the LS9?


JoeSanborn said:


> If it is related to X32 please ask for *Chase.



*Only when calling...unless Behringer wants to send me an X32 to [-]play[/-] use...


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## Footer

chausman said:


> Does anyone know what the overall max channel count is?
> 
> 
> 
> Anything else you'd like to share? How do you like it compared to other small digital consoles, such as the LS9?
> 
> 
> 
> *Only when calling...unless Behringer wants to send me an X32 to [-]play[/-] use...



The question is how good is it compared to the 01V... which is what price range it is in. That is all it has to beet. If if beats out the LS9, which comes in 3x more expensive, great.


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## museav

chausman said:


> Does anyone know what the overall max channel count is?


Max channel count or max input count? As far as internal signal routing the inputs are 32 mono channels, 8 mono aux returns and 8 stereo effects returns along with an internal oscillator and talkback mic. The X32 itself physically has 32 mono mic/line inputs, 8 mono aux inputs, a stereo USB recorder/player, a 32 channel USB 2.0/FireWire400 card and two 48 channel AES 50 ports. The AES 50 ports are primarily for use with the S16 remote I/O box still in development.

So a lot of potential I/O but do be aware that one related apparent compromise is that physical inputs are assigned to channels in 8 channel blocks. Many times that will not be a factor but if you want to do something like use the USB/FW card for effects playback from a computer then even if you want just 2 channels of playback that will still require 8 of the input channels. Once the S16 is available that will have a similar situation, if you only use 4 or 6 inputs on an S16 it will still have to be assigned to 8 or 16 channels on the mixer. So some situations may take a little planning to avoid running out of channels with the physical I/O being used.


chausman said:


> Anything else you'd like to share? How do you like it compared to other small digital consoles, such as the LS9?


I think that depends a lot on the application. Of course the most obvious advantage of the X32 is the capability and functionality for the cost. And I personally find functions like the electronic 'scribble strips' of the X32 very useful, but in some applications some may not see that as much of a benefit.

At least for some time people are probably much more likely to have a Yamaha show file and/or to be familiar with the LS9, but that may change over time. The one place I think Yamaha has everyone else beat is compatibility, their range of optional cards allows interfacing with a multitude of other devices and signals. I believe that also helps in terms of long term viability, if a new audio signal format is introduced chances are good an associated card will be made available to allow the mixer to work with it, however that ability does have a cost and not everyone makes use of it.

But beyond such generalizations a comparison may really depend upon the specific application.


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## JoeSanborn

*Question: "Does anyone know what the overall max channel count is?"*

Mic inputs:
- 32 XLR Mic inputs with Midas designed mic pre amps, (with individual phantom power), these generally come up on input layer 1 and 2 - unless you re-patch.

Additional inputs - Aux Analog Inputs and various digital sources, come up on input layer 3:
01 - 06 = Aux Analog input channels on 1/4" TRS (2 of these inputs are either 1/4" or RCA)
07 - 08 = The USB memory stick recorder - returns to 2 channels on input layer 3
09 - 16 = The internal FX return to 8 channels on input layer 3

Of course you can re-patch anything, but this shows a typical setup.

There are a total of 166 possible Input sources, when you start considering AES50/S16, firewire/USB, etc.
32 Mic inputs
6 Aux inputs
32 Firewire/USB inputs
48 AES50 Port A inputs
48 AES50 Port B inputs
= 166 possible input sources

This is from our website:
X32’s extensive connectivity includes 32 high-end programmable mic preamps, 6 balanced Line Ins and Outs on 1/4" TRS, 16 balanced XLR Outs, plus dual Phones and balanced Control Room outputs on both XLR and 1/4" TRS connectors. Additionally, a single AES50 CAT5 cable from FOH to the stage can transfer up to 48 channels of bi-directional audio, collecting all input signals and delivering all bus outputs, along with 16 individual monitor feeds for BEHRINGER’s brand new P16 personal monitoring system—all on just one line! The two AES50 ports provide connectivity for up to 6 BEHRINGER S16 stage boxes, or for sharing signals between multiple consoles—all with its ultra-low latency and high reliability the SuperMAC technology is known for.


*Question: "How do you like it compared to other small digital consoles, such as the LS9?"
*
Last month I did a shootout with an X32, LS9 and StudioLive, with a group of independent sound engineers in Mississippi.

If you are interested please read this post about the event:
Thoughts on the Mixer shoot-out and the VUE presentation...
or
RESULTS: Digital Mixer Shootout and VUE Audiotechnik Demo


I hope the information helps.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


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## bishopthomas

chausman said:


> Anything else you'd like to share? How do you like it compared to other small digital consoles, such as the LS9?



The LS9 sounds like garbage. The preamps are harsh, the EQ takes hard cuts to get anything out of it, and the compressors are almost useless. If you're used to a Yamaha digital then you start using something else you will realize what you're missing out on (I did). Sure it's become the industry standard, but only because it hasn't had any competition (until now). You can buy an X32 with a 32 channel stage box for less than the LS9-32 and be way ahead of the game. I'm so glad that something has come out to give the LS9 a run for its money. I did a quick A/B with the X32 and Soundcraft SI Compact through a QSC K12. The Soundcraft sounded slightly better, but the X32 definitely held its own. There are things about the Behringer that I like more than the SI.

Number one is the digital snake option. There are no expansion cards needed; just buy the (inexpensive) S16's and an ethernet cable and you're up and running. The X32 has fully parametric EQ while the Soundcraft does not. It's not necessary to go to sends on faders, just select the channel and use the knobs. This makes for quicker access while mixing. I've always like Lexicon effects (what's in the Soundcraft), but the Behringer's is also quite usable. There are user defined keys similar to the Yamaha consoles, however this has 3 "layers" worth of them, plus user defined encoders. So you can set an encoder to adjust effects parameters and a button to mute the effect. Color coded scribble strip is a nice thing to have. DCA's. The LS9 can't even do groups (well, it can, but it's kind of ridiculous how you have to go about it).

Seriously, a very impressive console that should be about double what they're charging. Is it going to meet riders? Hell no. But for anyone looking for a 32 channel digital console there's no reason to go with anything else. Another cool feature: If you have two of them (monitors/FOH) you can run a Cat 5 between the two and share preamps, so no need for a stage box. They really put a lot of thought into this. It's impressive, since most Behringer gear is just a direct ripoff of something else. One of the first original Behringer designs I've used and I'm extremely impressed.


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## JohnD

It is good to see Behringer getting away from being a cloneshop. However, Uli has just "leaked" some info about the upcoming X16.


Hmm, why does that look so familiar, oh yeah, this:


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## Aman121

Wow they aren't even trying to hide it anymore. Same layout, number of inputs, everything. That ought to blow some circuits at Mackie. I almost wonder if mackies gonna get eaten by behringer someday, mackies entire product line and behringer's pro PA and mixer line could almost be interchanged..


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## Edrick

I saw one of these in the wild yesterday at a wedding I was working, boy was that a nice setup for a wedding. Well the guy was giving it a trial run as they just bought it and he was also doing some recording via firewire to see how the recording capabilities of this board sounded. So I'll check with him and let you guys know his results. It was quite nice and I had to do a double take when i saw it was a Behringer. Defiantly seemed like a good console and he had nothing but good things to say about it from what he's used it for os far. I'm actually sold on getting one so in the next few months I plan to purchase one as the multi track recording sold me so I can use it both for live and studio.


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## Edrick

JoeSanborn said:


> *Question: "Does anyone know what the overall max channel count is?"*
> 
> Mic inputs:
> - 32 XLR Mic inputs with Midas designed mic pre amps, (with individual phantom power), these generally come up on input layer 1 and 2 - unless you re-patch.
> 
> Additional inputs - Aux Analog Inputs and various digital sources, come up on input layer 3:
> 01 - 06 = Aux Analog input channels on 1/4" TRS (2 of these inputs are either 1/4" or RCA)
> 07 - 08 = The USB memory stick recorder - returns to 2 channels on input layer 3
> 09 - 16 = The internal FX return to 8 channels on input layer 3
> 
> Of course you can re-patch anything, but this shows a typical setup.
> 
> There are a total of 166 possible Input sources, when you start considering AES50/S16, firewire/USB, etc.
> 32 Mic inputs
> 6 Aux inputs
> 32 Firewire/USB inputs
> 48 AES50 Port A inputs
> 48 AES50 Port B inputs
> = 166 possible input sources
> 
> This is from our website:
> X32’s extensive connectivity includes 32 high-end programmable mic preamps, 6 balanced Line Ins and Outs on 1/4" TRS, 16 balanced XLR Outs, plus dual Phones and balanced Control Room outputs on both XLR and 1/4" TRS connectors. Additionally, a single AES50 CAT5 cable from FOH to the stage can transfer up to 48 channels of bi-directional audio, collecting all input signals and delivering all bus outputs, along with 16 individual monitor feeds for BEHRINGER’s brand new P16 personal monitoring system—all on just one line! The two AES50 ports provide connectivity for up to 6 BEHRINGER S16 stage boxes, or for sharing signals between multiple consoles—all with its ultra-low latency and high reliability the SuperMAC technology is known for.
> 
> 
> *Question: "How do you like it compared to other small digital consoles, such as the LS9?"
> *
> Last month I did a shootout with an X32, LS9 and StudioLive, with a group of independent sound engineers in Mississippi.
> 
> If you are interested please read this post about the event:
> Thoughts on the Mixer shoot-out and the VUE presentation...
> or
> RESULTS: Digital Mixer Shootout and VUE Audiotechnik Demo
> 
> 
> In regards to the LS9, this is also a comparison chart I put together with the X32, LS9, StudioLive and GLD80
> https://www.dropbox.com/s/ue0ozpa0b308h3c/X32 Comparison Chart.pdf
> 
> I hope the information helps.
> 
> Best
> Joe Sanborn
> Manager, Channel Marketing
> MUSIC Group
> BEHRINGER



So at any time you can only mix 40 channels but have a possibility of using 40 of any 166 channels?


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## museav

Edrick said:


> So at any time you can only mix 40 channels but have a possibility of using 40 of any 166 channels?


You can apparently route any of the available inputs to the 32 mono mic/line channels and 4 mono Aux 1-4 inputs while Aux 5/6 are dedicated to the associated X32 rear panel inputs and Aux 7/8 are default assigned to the X32 USB playback. So as far as external inputs that's apparently 4 fixed and 36 assignable mix channels (plus the internal oscillator and talkback microphone) and if you had all of the 166 potential inputs then any of those could be assigned to the 36 assignable channels.

However, you cannot do so in any combination as the input to channel routing is not approached on an individual channel basis but rather as 5 groups (4 groups of 8 inputs for the mic/line channels and a single group of 4 inputs for the aux returns). Each group can be assigned inputs from only one 'device' (X32 rear panel, X32 FireWire/USB card, AES A or AES B). The mono mic/line inputs also have to be assigned as inputs 1-8, 9-16, 17-32, 33-40 or 41-48 while the 4 aux return channels are limited to inputs 1-4 on each of the 'devices'. Thus channels 1-8 on the X32 could be assigned to AES A 1-8 or Local 17-32 or any of 20 different 8 input groups, but Channels 1-8 could not be assigned to 4 Local and 4 FireWire/USB card inputs or to AES B inputs 1-6 and 11-12.

This seems to be one of those things that may not be a factor at all in some applications and may just require a little more thought and planning in others, but could be a significant issue in some situations. For example, using only one or two inputs on any 'device', much less multiple 'devices', could result in running short on channels rather quickly.


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## bishopthomas

Very glad I held off on buying the Macke DL1602...


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## museav

Aman121 said:


> Wow they aren't even trying to hide it anymore. Same layout, number of inputs, everything. That ought to blow some circuits at Mackie. I almost wonder if mackies gonna get eaten by behringer someday, mackies entire product line and behringer's pro PA and mixer line could almost be interchanged..


A 16 channel mixer is hardly a new idea. Neither is having the physical I/O arranged and located like that or the gain/trim controls and power switches where they are located or the overall size, all of which may be partly driven by making the units rack mountable. The only really original physical element seems to be using the iPad for the mixing surface and the location of that is pretty much determined by where the faders need to be, so it is not surprising to me that this and the DL1608 would be similar in size and layout.

According to Uli Behringer, the X16 is targeted (his word) to be available Q2 of 2013 and around US$1,000. So about the same price as the Mackie DL1608 but also about a year later (assuming that date does not end up being delayed as was the X32 release).

Uli's comment about the X16 that "Aside from the reduced channel count (16 inputs, 8 outputs) it has the same DSP engine and functionailty of the X32." suggests that Behringer may want people to perceive this mixer as a smaller version of the X32. However, it pretty clearly appears to lack some of the functionality of the X32 such as support for FireWire and, more significantly, support of the AES 50 digital snakes. It is not just a different form factor than the X32 but also appears different enough in capability and functionality that it probably should be a separate model or series and I sincerely hope that Behringer does not market this mixer as the X16, especially as I think a good number of people would like to see atrue X16 that is simply a downscaled X32. 

I find the Behringer and Mackie analogy interesting as over the years they have competed for much the same markets and with products like the X32 Behringer seems to be trying to be successful in markets where Mackie somewhat failed (anyone remember the TT24?).


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## bishopthomas

I'm with you. It HAS to have AES50 or it's just a waste. I plan on buying the stage boxes as soon as they come out. To not be able to use them with the half size X32 would be ridiculous. I will have to say that whatever that iPad mixer is it is clearly modeled after the DL1602. It's what Behringer is good at, it's what they do. I just hope it's not actually an X16...


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## neotrotsky

No matter what their company men say, Behringer is still a clone shop of the first order: Their "Xenyx" boards are Mackie rip-offs pound for pound and suffer some pretty horrible failure rates (I should know: I got burned TWICE by their shoddy quality). Then there was the tussle of their C-2 small diaphragm condensers that were nearly IDENTICAL to the TLM-102's. Throw in the newest lot of copyright-skirting like this "iPad" mixer, and you have proof that it's a different line, but the same old fashioned practice. 

Besides, if it doesn't meet the rider, the gig won't go. At the end of the day, it's a paycheck for most of us. And, in example of this iPad "mixer", A used VLZ 1604 Pro can be had for about $350-$400 locally and that meets nearly every rider. Yes, it's not fancy digital, but it makes me the money to afford a desk made by someone who doesn't have a more 'liberal' view of patents and copyrights. We complain about our own intellectual property being protected as designers and artists. We should afford the same to the QUALITY companies that make our tools. Support the companies who use the best (well, the best you can find in the corporate world) ethics. You can even find companies who produce in China who don't blatantly rip-off other designs and companies like Behringer at the same price point and sleep better at night with nice kit. Phonic, Truesonic and a few others have proven that AND are starting to meet rider requirements. Behringer, due to their business practices, will not. The damage is done


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## museav

neotrotsky said:


> Throw in the newest lot of copyright-skirting like this "iPad" mixer, and you have proof that it's a different line, but the same old fashioned practice.


I'd be one of the last to argue about Behringer's past practices, but I don't think that applies in this particular case. If the argument is that a product having similar user controls in a similar general layout is infringing on prior work then there are a huge number of analog mixers that are infringing on prior art including the VLZ 1604 that you mentioned.

Especially when you have common third party devices for the primary control surfaces I think you will start to see the differentiation between products being defined more by the related processing, firmware and software than by the physical form factor. In fact Behringer's justification for the "X16" name is that it shares the same DSP, software, etc. with the X32 and thus from a manufacturing perspective they consider them in the same family despite the rather obvious physical differences and that the two related products seem to be addressing different markets, applications and users. 


neotrotsky said:


> Besides, if it doesn't meet the rider, the gig won't go. At the end of the day, it's a paycheck for most of us.


I agree completely where tech riders are relevant and that will likely be applicable to the X32, however I don't think the Mackie DL1608 or Behringer X16 are aimed at those markets. I personally don't see many Mackie DL1608 or Behringer X16 mixers being purchased by venues, sound providers or production companies, as the Mackie DL1608 video reflects, why would those types of users want a mixer that relies on an iPad that some weird, tripping BE can walk off with while they stick their head in a urinal and flush? The interest in such products seems to be primarily from small bands providing their own PA, musicians mixing from the stage, etc. where tech riders are much less likely to be relevant.


neotrotsky said:


> Phonic, Truesonic and a few others have proven that AND are starting to meet rider requirements. Behringer, due to their business practices, will not.


By "Truesonic" I assume you mean Alto Professional, for whom the Truesonic series is one of their product lines. I have to say that I was not aware of Alto or Phonic gaining in tech rider acceptance, although they may not often be specifically excluded by name. And while I am not arguing the sentiment, I have to wonder how often any manufacturer being specifically excluded in tech riders is actually related to their business practices, in fact my experience is that the markets and applications where Alto Pro and Phonic may be common are also ones where people often don't seem that concerned about issues like copyright infringement. That is also exactly why I find Behringer's attempts to offer products in markets where that may be more of a factor so interesting.


----------



## nickbramblecornwell

I would like to start by committing social suicide within my group of audio engineering friends... i think the X32 is a fantastic console for what is was made for. ah i feel cleaner for saying it out loud. What i mean by "what it was made for" is that i have seen the console in real life. 

I am that p**** in guitar center rewiring the demo rig that had behringer speakers and replacing them with QSC's and then replacing those with JBL's and then trying the altos and attempting to create a complex mock show scenario for myself the best i can with what isn't locked at Guitar Center to get a real feel for how this console will help me when the director/crew chief/promoter/God is starting to breath down my neck. In my experience this consoles staple is in small live application. Much in the same way that the Mackie 1204 and 1604 had wonderful lives in small theaters and in bars and are currently riding out "retirement" as a "musicians first" console's the X32 will have a similar life. And that is not down playing its worth. It's intuitive, sleek and honestly the body design albeit has nothing to do with its abilities does make it a more lucrative and appealing console. But as many positive attributes as any of us can bring up about the console none of us will utilize it on a touring platform. 

The market for this console should be regional theaters and sound companies that will serve a smaller gig. Any gig is important but your not going to send a PM5D to a (Insert town name here) day. 

I like the board, the name is stigmatic and let us not forget who the consumer base should be for this console. If the goal was to make a system that could go on a 9 month tour don't sell your console through the "Musicians choice." That statement does not mean to "Diss" GC but when making a product with a specific consumer base in mind you must play by the rules of the market. Microphones to an extent ascend above that obtuse impulse, but with a digital mixing console i feel a little different. 

And maybe thats just because my fundamental years in this industry have been during the digital revolution of mixers.

if the goal WAS to expand the consumer base and to have more buyers of the product i think that Behringer should have at a very slow pace introduced this branch of the company. Create three consoles with different points of interests for engineers the way that yamaha did, do this over a three to five year plan where all of a sudden the product is being demo'd under the gun at a festival and let the interest we have in the product remain mostly hungry for a while... Feed me in bit's and keep me hungry so that i sit and wait excitedly. 

-Nick Bramble Cornwell


----------



## JoeSanborn

neotrotsky said:


> No matter what their company men say, Behringer is still a clone shop of the first order: Their "Xenyx" boards are Mackie rip-offs pound for pound and suffer some pretty horrible failure rates (I should know: I got burned TWICE by their shoddy quality). Then there was the tussle of their C-2 small diaphragm condensers that were nearly IDENTICAL to the TLM-102's. Throw in the newest lot of copyright-skirting like this "iPad" mixer, and you have proof that it's a different line, but the same old fashioned practice.
> 
> Besides, if it doesn't meet the rider, the gig won't go. At the end of the day, it's a paycheck for most of us. And, in example of this iPad "mixer", A used VLZ 1604 Pro can be had for about $350-$400 locally and that meets nearly every rider. Yes, it's not fancy digital, but it makes me the money to afford a desk made by someone who doesn't have a more 'liberal' view of patents and copyrights. We complain about our own intellectual property being protected as designers and artists. We should afford the same to the QUALITY companies that make our tools. Support the companies who use the best (well, the best you can find in the corporate world) ethics. You can even find companies who produce in China who don't blatantly rip-off other designs and companies like Behringer at the same price point and sleep better at night with nice kit. Phonic, Truesonic and a few others have proven that AND are starting to meet rider requirements. Behringer, due to their business practices, will not. The damage is done



Hi,
I have to say I disagree with you comments.

Not sure where the comparison of the BEHRINGER C-2 and Neumann TLM-102 mics is coming from... one is a small diaphragm and the other is a large diaphragm... one is $65 and the other $699. Two very different products for two very different applications. I also do not think mixing with an iPad is "new concept".

In regards to our XENYX line you might want to check out our new XENYX Q series mixers. These are very unique and even feature internal Klark Teknik FX, built in compressors, wireless mic ready, and USB.
Behringer: XENYX QX2222USB

Or our UFX1604: features a built in 16-track direct to USB stick recorder
Behringer: XENYX UFX1604

The bottom line is you will be hard pressed to find any product at the X32 price point, that has any where near the features or sounds as good, which is what really matters. Mix a show on one, you might have a change of heart!

I can tell you the new products at NAMM will be unlike any you have seen at any price point as well.

I hope we can earn your business!

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## neotrotsky

JoeSanborn said:


> Hi,
> I have to say I disagree with you comments.
> 
> Not sure where the comparison of the BEHRINGER C-2 and Neumann TLM-102 mics is coming from... one is a small diaphragm and the other is a large diaphragm... one is $65 and the other $699. Two very different products for two very different applications. I also do not think mixing with an iPad is "new concept".
> 
> In regards to our XENYX line you might want to check out our new XENYX Q series mixers. These are very unique and even feature internal Klark Teknik FX, built in compressors, wireless mic ready, and USB.
> Behringer: XENYX QX2222USB
> 
> Or our UFX1604: features a built in 16-track direct to USB stick recorder
> Behringer: XENYX UFX1604
> 
> The bottom line is you will be hard pressed to find any product at the X32 price point, that has any where near the features or sounds as good, which is what really matters. Mix a show on one, you might have a change of heart!
> 
> I can tell you the new products at NAMM will be unlike any you have seen at any price point as well.
> 
> I hope we can earn your business!
> 
> Best
> Joe Sanborn
> Manager, Channel Marketing
> MUSIC Group
> BEHRINGER



OK, let me clarify that I made an error: I for some reason I wrote the TLM mic when I meant the Oktava MK-219. I have no idea why my thinking was split considering as you said, the mics are nothing alike. But, it is what it is and my brain was on holiday. 

And, you can cut and paste all of the spec sheets you wish. The proof is in the gig, and the stacks of failed Behringer gear. I have personally had to Behringer boards fail on me, both within months of purchase and each time the "Wal Mart" of music stores fought me tooth and nail saying that they were "quality" boards that never failed, when you could clearly see the stack of opened Bheringer boxes of various gear behind the counter. In fact there was another person in at the same time bringing in a failed compressor and Europower desk. To trust a Behringer product after years of taking audio guys out at the knees during a gig would be a stupid mistake to put it lightly.

If Behringer wants to earn my business, it's simple:
-Stop ripping off other manufacturers
-Get bought out by a real company, wait 5 years for the stink of Behringer's past to wear off, and beat the competition with REAL innovation.

Then, I *might* give you a second look for my backup/wedding grade kit. 

Might.


----------



## JoeSanborn

neotrotsky said:


> OK, let me clarify that I made an error: I for some reason I wrote the TLM mic when I meant the Oktava MK-219. I have no idea why my thinking was split considering as you said, the mics are nothing alike. But, it is what it is and my brain was on holiday.
> 
> And, you can cut and paste all of the spec sheets you wish.  The proof is in the gig, and the stacks of failed Behringer gear. I have personally had to Behringer boards fail on me, both within months of purchase and each time the "Wal Mart" of music stores fought me tooth and nail saying that they were "quality" boards that never failed, when you could clearly see the stack of opened Bheringer boxes of various gear behind the counter. In fact there was another person in at the same time bringing in a failed compressor and Europower desk. To trust a Behringer product after years of taking audio guys out at the knees during a gig would be a stupid mistake to put it lightly.
> 
> If Behringer wants to earn my business, it's simple:
> -Stop ripping off other manufacturers
> -Get bought out by a real company, wait 5 years for the stink of Behringer's past to wear off, and beat the competition with REAL innovation.
> 
> Then, I *might* give you a second look for my backup/wedding grade kit.
> 
> Might.




Hi
First off, let me apologize for any past service issues you might have had with our products.
I can say that we are working very hard to have better customer satisfaction.

As this forum thread is about the X32, most of my comments have to do with this product to keep it on point.

I have to say I disagree with your assessment. Many major top artists are inquiring about using X32 consoles, especially those who are carrying their own monitor rigs.

With the acquisition of Midas and Klark Teknik, we have invested over 20 million dollars in our manufacturing and testing procedures. This has benefited all of our companies including BEHRINGER and products such as the X32.


*The positive response to the X32 has been undeniable:*
SOS August 2012 article:
"The X32 should win the ‘Best Product of 2012’ award with considerable ease!"
Product Review - Behringer X32

We were just nominated for a Mix Magazine Tech Award the highest honor for our industry.

If you check some of the other boards such as Sound Forums, you will find we are really going out of our way to make sure customers are very satisfied with their X32 purchase.
X32 discussion - Page 107

I recently spoke to Patrick Ferdig our VP of Care, (service), and he had a few comments about improvements we have made in regards to service.

*From Patrick Ferdig VP Care*
We must admit that our customer service left something to be desired in recent years.

As our business doubled year over year, we failed to take proper care of our customers and struggled to build the support infrastructure. We relied on external service centers and third party spare parts providers that clearly didn’t work. 

We’ve learned our lesson and have since made significant investments in our Customer Care Operation.
We have recently purchased a state-of-the-art facility in Las Vegas that houses our US response team, repair depot and parts fulfillment.

We also repurposed our Midas manufacturing facility in Kidderminster, UK to serve as our European Care Center.
Overall, our Care Division now employs over 125 employees on four continents providing support in 7 languages and we’re investing more.

While we haven't achieved the desired Customer Care level yet, it is our Company goal is to provide the very best customer experience in the industry. * Give us a call and see for yourself.

Regarding the quality concerns, last year alone we made a US$ 20 million investment in our state-of-the-art manufacturing facility and quality. As a direct result, we have now reached a quality level that allows us to confidently offer a 3-Year Warranty Program since the beginning of this year.
*(end of Patrick Ferdig comment)*

Once again, I am truly sorry if you had any bad experiences in the past. We hope that you will give us another chance with our products.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## tk2k

Joe, I think it's fair to say 'the proof is in the pudding' and it will take several years of consoles in the field before many of us will feel comfortable genuinely recommending one to anybody in professional audio. I think that's something you and your company should embrace, a product of the year award is a good start, but what all of us really care about are fault numbers. If BEHRINGER really wants to prove to us the company has changed, what you should do is, in a year, collect failure rates for the X32 or other 'in that class' consoles you make and compare them to others in the industry. It's not good enough to make a better product, it has to be more reliable. I know in my case I've often opted for a 'worse' product with a higher reliability record, and higher build quality.

I'm very much willing to give your company another chance, it's just a lot of us are worried about the perceived risk. Why not offer, to verified professionals in installation/non portable settings, an introductory 3 year guarantee on the WHOLE system, excluding user damage. If any part fails, they get a 25% refund off purchase price, and the part replaced. If you want to to compete with presonus and Mackie, show us you will stand behind your products, monetarily. 

As to your quote below, I'm sorry but it's just not true. No "major top artist" who has the money to carry their own in-ears would by an X32, it's just too inexpensive, and too new. I could see them carrying a Pro1 or Pro2, but statements like that are just so far from believable it discredits other statements the company makes. Now, it may be true you got requests, but the fact that it feels like a lie to 95% of us reading this matters more than if it's true. 

Lastly, per customer support, consider setting up a dedicated professional support line, make us have to register and prove we are professionals (like Canon and Nikon do with their pro support) we'd all greatly appreciate it. 

Again, thanks for sharing your thoughts with us. Always a pleasure to engage with manufacturers, as well as your VP.



JoeSanborn said:


> I have to say I disagree with your assessment. Many major top artists are inquiring about using X32 consoles, especially those who are carrying their own monitor rigs.
> ......
> Best
> Joe Sanborn
> Manager, Channel Marketing
> MUSIC Group
> BEHRINGER


----------



## avkid

neotrotsky said:


> If Behringer wants to earn my business, it's simple:
> -Get bought out by a real company, wait 5 years for the stink of Behringer's past to wear off, and beat the competition with REAL innovation.



I think you fail to understand the true size of Music Group and their presence in the world market.


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## Aman121

There are many people out there who just shop for price. Behringer has made its millions off of starving artists, Craigslist DJs, garage bands, churches and schools on tight budgets, and people who just don't know any better. Behringer has failed me plenty of times, but they also have produced some decent pieces of kit. Its aparant that the are trying to grow up and move into the pro world, by it's not all there yet. Their shady marketing and design theft practices are not something you want to see in any company trying to cater to pros. They flat out lie about the specs of their amplifiers, steal product ideas and designs, and buy out good company's like Midas and lower the quality of _their_ products. Im glad their finally trying to clean up their act, and I appreciate what joe is doing, but it's going to take more than one new product and some guy answering questions about it in a forum to restore my faith in behringer.


----------



## chausman

Aman121 said:


> ..and buy out good company's like Midas and lower the quality of _their_ products.



Source? Evidence?


----------



## Aman121

chausman said:


> Source? Evidence?


 
I cant remember where I first heard about it but ive heard from several people that the build quality of Midas consoles has been going down and failure rates are going up. Could be wrong, could have just been a bad batch. I dont mind being proved wrong if I am worng, its just what ive heard.


----------



## Footer

Aman121 said:


> and buy out good company's like Midas and lower the quality of _their_ products. Im glad their finally trying to clean up their act, and I appreciate what joe is doing, but it's going to take more than one new product and some guy answering questions about it in a forum to restore my faith in behringer.



Really? Can you actually cite any examples of this? I have not heard a peep out of anyone with any gear that Klark or Midas has been making since the Music Group takeover. A DN360 today is the same as a DN360 from 15 years ago. I have also not heard anyone complaining (more than usual...) on the quality of a new Venice. Granted, since the merging, they killed off the Heritage line and the XL250 in favor of digital. That is a bit loss, but at the same time it is looking towards the future instead of the past. With that move, they put the nail in the coffin of analog.... which someone was going to do eventually. 

I have heard some small growing pains with the new Midas digital consoles. They are still pretty young though because Midas was so late to the game. The X32 is Behringers attempt to put a very affordable Digital console in the hands people that would normally buy a 32 channel Mackie and outboard gear... all for the same price you can get a console that before would cost a good amount more. If they manage to get any of the mid range pro market... great. 

If this thing actually fit my needs I would not be able to fill a rider with it. I do believe I will see it though for bands that carry their own ears rig. Sure beats the hell out of one of those little crest consoles.


----------



## tk2k

chausman said:


> Source? Evidence?


Anecdotally, I have three colleagues who have had three separate pro2 or pro2c's phantom power fail mid show, and refuse to come back until the whole console and stage box was rebooted.


----------



## neotrotsky

JoeSanborn said:


> Hi
> First off, let me apologize for any past service issues you might have had with our products.
> I can say that we are working very hard to have better customer satisfaction.
> 
> As this forum thread is about the X32, most of my comments have to do with this product to keep it on point.
> 
> I have to say I disagree with your assessment. Many major top artists are inquiring about using X32 consoles, especially those who are carrying their own monitor rigs.
> 
> With the acquisition of Midas and Klark Teknik, we have invested over 20 million dollars in our manufacturing and testing procedures. This has benefited all of our companies including BEHRINGER and products such as the X32.
> 
> 
> *The positive response to the X32 has been undeniable:*
> SOS August 2012 article:
> "The X32 should win the ‘Best Product of 2012’ award with considerable ease!"
> Product Review - Behringer X32
> 
> We were just nominated for a Mix Magazine Tech Award the highest honor for our industry.
> 
> If you check some of the other boards such as Sound Forums, you will find we are really going out of our way to make sure customers are very satisfied with their X32 purchase.
> X32 discussion - Page 107
> 
> I recently spoke to Patrick Ferdig our VP of Care, (service), and he had a few comments about improvements we have made in regards to service.
> 
> *From Patrick Ferdig VP Care*
> We must admit that our customer service left something to be desired in recent years.
> 
> As our business doubled year over year, we failed to take proper care of our customers and struggled to build the support infrastructure. We relied on external service centers and third party spare parts providers that clearly didn’t work.
> 
> We’ve learned our lesson and have since made significant investments in our Customer Care Operation.
> We have recently purchased a state-of-the-art facility in Las Vegas that houses our US response team, repair depot and parts fulfillment.
> 
> We also repurposed our Midas manufacturing facility in Kidderminster, UK to serve as our European Care Center.
> Overall, our Care Division now employs over 125 employees on four continents providing support in 7 languages and we’re investing more.
> 
> While we haven't achieved the desired Customer Care level yet, it is our Company goal is to provide the very best customer experience in the industry. * Give us a call and see for yourself.
> 
> Regarding the quality concerns, last year alone we made a US$ 20 million investment in our state-of-the-art manufacturing facility and quality. As a direct result, we have now reached a quality level that allows us to confidently offer a 3-Year Warranty Program since the beginning of this year.
> *(end of Patrick Ferdig comment)*
> 
> Once again, I am truly sorry if you had any bad experiences in the past. We hope that you will give us another chance with our products.
> 
> Best
> Joe Sanborn
> Manager, Channel Marketing
> MUSIC Group
> BEHRINGER



First off, slick way to avoid the fact that yet another consumer has pointed out Behringer's blatant patent rip-off practice in speaking about the microphones mentioned and turning it into another sales-pitch. Bravo! I'm sure your bosses would be proud. But, if we want to talk consoles and the running habbit of infringing upon intelectual property, we could talk about The Behringer 1204 Pro... OOPS!!! I mean the Mackie 1202 pro. You couldn't even avoid the copy of the name much less the pound for pound copy of their layout, pattern and even the poor attempt to model the sound of their mic preamps. 

But, there is a bigger issue that you convienently don't mention in your sales-pitch: You say "Many Big Names" use Behringer. Why not TELL us who? I'd like to know the top-tier artists trust their shows to copyright-infringing, mass market Chinese-manufactured consoles when nearly EVERY tech rider in the industry specifically states NO BEHRINGER. The empty promises and flashy sales pitch may work for undecuated "worship leaders" of church bands, but people around here make their car payments on art. They also probably have been victims of being ripped off by someone infringing on their intelectual property. So, why would we as an industry trust our careers to a company that is known WORLD WIDE for making gear that can't be trusted as far as you can throw it (which about the only useful thing you can do with many Behringer desks).

The long and the short of it: I know your job is to blow smoke in our eyes and insist that Behringer has turned over a new leaf much like a Meth dealer will sell themselves to try to land a McJob. But, the reputation of your company has already been set. And, I'm sure if one actually takes the time, the X32 is probably a copy of another console already in the patent office that we just haven't noticed yet. Behringer had *yet* to prove that they can make a professional device that isn't either a direct rip off, or a faulty, flimsy piece of Chinese clone product. That's not to say there aren't good products made in China by well regulated companies. Tascam, Mackie, BMW, Ford and Apple have proven that Chinese made goods don't have to be bad. But, they also OWN those factories. They don't enter into "vague" partnerships. They don't make empty statements how they spent x amount of dollars on some unnamed, undocumented factory in a town with a Chinese sounding name. And, they don't make wild unsubstantiated claims that their equipment that is cited time and time again by hundreds if not thousands of acts to NOT be present on their gigs is being used by "top name" artists, while not even naming ONE of those supposed "artists.

There is a fine line of a manufacturer helping the community, and a salesman trying to get us to buy the same scam over and over. The market (i.e. the entertainment industry) already knows your game, and while there are countless numbers of amateurs, beginning production techs and churches... they will learn that your company will burn them soon enough.


----------



## JoeSanborn

Hi Guys,

All I can say is look forward. The Year is 2012. Seems like both BEHRINGER and Midas are having very good years. Mix Magazine Tech Awards, (the highest honor in audio manufacturing), has nominated both the BEHRINGER X32 and the Midas Pro2 for Tech Awards.
The 28th TEC Awards Nominees for Technical Achievement

*SMALL FORMAT CONSOLE TECHNOLOGY *
*Behringer X32*
Line 6 StageScape M20d 
Mackie DL1608
Maselec MTC-1 Mastering Transfer Console
PreSonus StudioLive 16.0.2
Rupert Neve Designs 5059 Satellite Mixer 

*SOUND REINFORCEMENT CONSOLE TECHNOLOGY *
Allen & Heath GLD 
Avid VENUE SC48 Remote
DiGiCo SD5 
*Midas PRO2/PRO2C *
Soundcraft Si Compact V2
Yamaha CL5

The X32 and the Pro2 are amazing products. Just for the record, the Midas Pro2 sold more units in one month, than all other Midas consoles ever sold... in the history of Midas. I think a few people like them...

*Tech Award Process:*
Nominees are selected in 27 categories of Technical Achievement and Creative Achievement. *Eligible nominees are those projects or products that, in the opinion of the Nominating Panel, represent superior accomplishment in their respective fields.* This year, these products or works must have been completed, released or performed during the period beginning July 1, 2010 and ending August 31, 2011.

I am here to help and answer questions. I thought this forum was to find out more about the X32?

If any of you guys want a demo let me know, I'm in Los Angeles and we have Product Specialists in most major markets.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## neotrotsky

JoeSanborn said:


> Hi Guys,
> 
> All I can say is look forward. The Year is 2012. Seems like both BEHRINGER and Midas are having very good years. Mix Magazine Tech Awards, (the highest honor in audio manufacturing), has nominated both the BEHRINGER X32 and the Midas Pro2 for Tech Awards.
> The 28th TEC Awards Nominees for Technical Achievement
> 
> *SMALL FORMAT CONSOLE TECHNOLOGY *
> *Behringer X32*
> Line 6 StageScape M20d
> Mackie DL1608
> Maselec MTC-1 Mastering Transfer Console
> PreSonus StudioLive 16.0.2
> Rupert Neve Designs 5059 Satellite Mixer
> 
> *SOUND REINFORCEMENT CONSOLE TECHNOLOGY *
> Allen & Heath GLD
> Avid VENUE SC48 Remote
> DiGiCo SD5
> *Midas PRO2/PRO2C *
> Soundcraft Si Compact V2
> Yamaha CL5
> 
> The X32 and the Pro2 are amazing products. Just for the record, the Midas Pro2 sold more units in one month, than all other Midas consoles ever sold... in the history of Midas. I think a few people like them...
> 
> *Tech Award Process:*
> Nominees are selected in 27 categories of Technical Achievement and Creative Achievement. *Eligible nominees are those projects or products that, in the opinion of the Nominating Panel, represent superior accomplishment in their respective fields.* This year, these products or works must have been completed, released or performed during the period beginning July 1, 2010 and ending August 31, 2011.
> 
> I am here to help and answer questions. I thought this forum was to find out more about the X32?
> 
> If any of you guys want a demo let me know, I'm in Los Angeles and we have Product Specialists in most major markets.
> 
> Best
> Joe Sanborn
> Manager, Channel Marketing
> MUSIC Group
> BEHRINGER



Your ability to avoid the facts and pretty much spam this board with your company's advertising is impressive to say the least. Not ONE POINT has been even acknowledged by yourself about Bheringer's shady business practices, your unsubstantiated claims that "industry leaders" use your products while countless real-world tech riders insist that not one of your products are to be used on their gigs, and you still won't even give the name of *ONE *"Big name act" that will admit to using a Behringer. You can claim all the hollow awards you want, but the truth is that no one in the real world will touch your consoles because in the end, it will either be a rip off of someone else's hard work, or it will fail within a few months. It's the real world results, and frankly they're out on the entire internet to see. Just type Behringer Review into a Google search and the results aren't so flattering for your company. Or, is everyone on the internet lying?

You claim all of these "industry awards". Why don't you also show the claims of copyright infringement Behringer's been hit with? Then again, if you did, that would take up a BUNCH more pages on this site than is worth reading. 

Consumers appreciate clarity from a manufacturer. So far, the only thing you do is spew forth advertisting and useless sales jargon. A company who is TRULY hoenst about revamping their image will admit when they do wrong. You act like the examples of your company's intelectual property theift don't exist, and that pretty much shows that you would just rather get people to buy your consoles ASAP so you can delete the account on this board when reports of the X32 start failing come out. That seems to be Behringer's business model from other sites I've frequented. Either that or they go through sales reps faster than I can keep track on message boards that cater to our industry, which also doesn't speak well for your employer.

Proof. Provide proof or go back to conning churches into buying sub-standard powered mixing consoles.


----------



## bishopthomas

Wow, you guys are really coming down hard on Behringer. I certainly agree that in the past their products have been obvious clones, failure rates out of the box have been extremely high, and they have in general had a reputation for producing cheap MI gear. But I really do believe that they are aware and trying to change that popular opinion. It certainly won't happen with closed minded attitudes like I'm seeing here. Having used the X32 I can honestly say that it is an amazing console that should cost $4000-5000 instead of under $3000. Sure it's not going to replace the XL8's, Venues, D5 Lives and PM5D's on riders, but that's not what it's for. And as far as bands inquiring about using it as an IEM console.... If I was still actively working with the internationally touring, 2000 cap, 3 year Warped Tour main stage band that I used to tour with, then I would most certainly have one in their IEM rig and one for me at FOH. Then I'd happily run a CAT5 cable every night and share preamps and make nice sounds come out of PA systems around the world. So please don't be in such disbelief that touring bands aren't considering it. Is Coldplay taking one on the road? Probably not. But they have the budget to have whatever they want and then some. Again, Behringer is not competing with the big boys, but the medium sized players had better watch out.

Oh yeah, as far as failure rates go... I have a Soundcraft SI Compact that has gone down several times while I have not ever had a problem with an X32. Nor have I heard of any issues from the 3 companies I know that own 4 between them. The Soundcraft shut down three times the other day during soundcheck. Voltage was 114V, a little low but shouldn't be enough to cause it to fail. One of the first shows I used it on it locked up during the show and I couldn't change layers, select channels, or access mix buses. Another console had power supply issues (they're aware of the manufacturing defect and have issued a recall) witch caused it to lock up completely 5 minutes before show time once. A MixWiz saved the day. I've had M7CL's freeze due to firmware glitches. On Yamaha digitals it is possible to send the effects to themselves. Instead of causing massive feedback the console freezes and requires a reboot. All of this and never a single problem with any of the Behringers.

So before you start nay-saying maybe you should open your mind and your ears for a little bit and try the product you are so adamantly against. I didn't like sushi until I tried it...


----------



## neotrotsky

Oh, I have had the misfortune to try Behringer products. Why do you think they have such a bad rep? EVERYONE is in on some conspiracy to undermine them? No. It's because they are about as reliable as a Daewoo but not as original. Even their sales rep won't give one straight answer or answer for their company. They are low grade manufacturers who blatantly rip off other designs. I would think that working in an industry where intelectual property is paramount to protect, buying from a company who has constantly ripped off other designs would sit poorly with you. And, it's not the failures that are a problem (although it is to me), it's the fact that they fail at a ridiculously high rate. Just think: Why do GC, Musician's Friend and Amazon have SOOOO many of "Factory Refurbished" Behringer products? Because they keep failing and they simply patch them and shove them back on the market! The more "factory refurb" units a company has, the less I want to use them. To see that truth, just do a quick search online.

See: Facts. Kind of a novel concept. Sort of like providing proof of what "big name" acts use Behringer products, huh mr. sales rep?

But hey, if you want to buy this load from a company that often makes huge claims but never backs up their products or their talk with facts, it's your money. Just remember: That Behringer stuff will need to be removed if any pro company wants to perform in your house. Behringer gear loses gigs.


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## bishopthomas

neotrotsky said:


> Oh, I have had the misfortune to try Behringer products.



I haven't even read the rest of your post, but I already feel like it's going to be more drivel. Since you're already not even responding to what I've said. I didn't suggest you try "Behringer products." Let me make this very clear: You should try the Behringer X32 before you get so up in arms against it.


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## bishopthomas

I am not arguing that Behringer products haven't been blatant copies or have had high failure rates. I'm simply saying that they seem like they're aware and are working hard to change that perception. I don't think you'll ever see an X32 on a rider, but, again, that's not what it's marketed to. Based on actual product (the X32 that we're talking about) experience I can say that it has been quality gear all around. Good sound, reliable, and at a ridiculous price point. None of your points have anything to do with the product that this thread is titled after. You are simply giving narrow minded arguments because you don't like this company. You're entitled to your own uneducated opinion. I doubt you're in the market for a small format digital console anyway, so why are you so worried about it?


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## neotrotsky

And, for those who may not know of Behringer's history of ripping off intellectual property and designs, a quick run down of some of their more famous ideas they have stolen: 

-First off, the weakest move of all: Ripping off Apple's website design for their OWN Behringer online design
Behringer&rsquo;s Latest Rip-Off Job: Apple.com

-The Electro-Harmonix EMM... vs. the Behringer VM-1 

-Behringer DJX700 mixer? Look at the Pioneer DJM600. And, they screwed that one up too.

-Behringer FCB1010 effects pedals look familiar? That's because they were lifted EXACTLY from the Roland FC300

-Those Behringer C2's mentioned before that were a blatant rip-off? THIS was the mic I was remembering: The Neumann KM184, just with a lousy low-pass OR -10dB pad (you can't choose both, only one or the other... they even screwed up the copy!). Although, nice try mr. sales rep trying to make me think otherwise in order to try to make me look the fool. Real classy.

-Behringer's FCA1616? Lifed directly from RME's "Fireface" series.

-Behringer's RV600 reverb? Blatant rip off of the Verbzilla. The Big "B's" RV400 lifted right from the RV-3

-Behringer's RV20 near field monitors? I would think Roland, the company that made them first, would have something to say about that (Roland is like Macke: A particular victim to Behringer's stealing ways)

-Behringer XENYX= Mackie ONYX but with cheaper PCB's and more plastic.

I can go ON and ON and ON.... care to answer these issues Mr. Sales Rep? Why should we believe Behringer has our interest at heart when your employer has blatantly ripped off other companies and pawned the 2nd rate gear on us, the consumer, for so long? 

I'm still waiting for that list of "big names" who use your gear.

-


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## neotrotsky

Why should I pay them more money when they have CONSISTENTLY provided poor grade amateur stuff that have been ripped off from others? Why do *I* have to shell out cash so they can prove themselves worthy? They should be paying *ME* to use their gear at this point because they have no reputation worth my while. I sure won't pay them another cent until they can prove they're not thieves and the average low grade China clone importer that they are known to be. As for "uneducated": The lawsuits leveed against them are pretty clear. The blatant copying is pretty clear. The mountains of "refurbished" Behringer junk that can be had for cheap are easy to find. If anything you'd have to say that those who do *not* know of Behringer's willingless to infringe upon anyone's copyright are pretty unedcuated. 

And, to the comment that the X32 isn't made to be used in "professional" venues: Then why am I going to bother with it? Such a statement alone proves that it's not good enough to be considered useful if I cannot use it in a professional venue. Just more consumer-grade-at-best junk. What gets me is how a company like this is tolerated on many discussion boards who try to educate those getting into the industry on how to do it right and how not to get ripped off. Behringer is a perfect example of what *not* to do in the entertainment industry.

Behringer: Same sthick, but now *digital*. Nothing to see here, move along.


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## JoeSanborn

Once again. It is 2012.
Read the second sentence in regards to the Tech Awards.

Tech Award Process: "Nominees are selected in 27 categories of Technical Achievement and Creative Achievement. Eligible nominees are those projects or products that, in the opinion of the Nominating Panel, represent superior accomplishment in their respective fields. "

Either way, I'm not hear to argue.
This is an X32 Forum. Any X32 owners feel free to contact me any time if I can help you out with your console.

All the Best,
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


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## bishopthomas

neotrotsky said:


> ... because they have no reputation worth my while.



And you have no reputation worth any of our while. Who are you and why does your opinion on this piece of gear that you've never owned matter?


neotrotsky said:


> And, to the comment that the X32 isn't made to be used in "professional" venues



Who said they're not to be used in "professional" venues. Hopefully you're not referring to anything I said. Otherwise, I think you're yet again missing the point.


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## neotrotsky

The point is why buy equipment that is admitted to be sub-par? You can buy "professional" grade equipment from other manufactures and still not pay a whole bunch of cash. A&H and Mackie have done this for years. They enable a bunch of venues and those just starting out to have a quality kit for not alot of cash, and you know it will work.

I have just pointed out what everyone else who has been burned by Behringer already knows. Or, do only particular opinions matter around here? He wants to sell stuff... so it's pretty clear what his agenda is. Helping those members of this board I'm pretty sure is pretty low in comparison to his agenda of making money.

And, he has YET to provide us with one "big name" who desires to have Behringer consoles used on their gigs. I'm just asking for *one* bit of factual information that isn't from a glossy brochure that can be quantified in the real world, and not just from a few dozen people at some trade show where the "winners" could very well be paid for by some sponsorship fee or something. 

Just *one* band. One touring company. Heck, ONE singer. That's all. 

If facts this simple are difficult to get out of their sales rep, how are they going to be about their warranties? I'm just trying to get people to actually use their brains instead of believing a sales pitch


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## bishopthomas

neotrotsky said:


> The point is why buy equipment that is admitted to be sub-par? You can buy "professional" grade equipment from other manufactures and still not pay a whole bunch of cash. A&H and Mackie have done this for years. They enable a bunch of venues and those just starting out to have a quality kit for not alot of cash, and you know it will work.



There is nothing at even twice the price of the X32 that can come close to offering the same feature set and quality as this console does. I have an SI Compact that's slightly less functional than the X32 at double the price. I don't plan on getting rid of it, but I do plan on buying at least one X32 (as soon as the S16 is released). It's going to kill the LS9. It will not affect the $15,000+ consoles because that's a difference class catered to a different group of people. Neither one is less "professional grade" just because they have different features.


neotrotsky said:


> I have just pointed out what everyone else who has been burned by Behringer already knows. Or, do only particular opinions matter around here? He wants to sell stuff... so it's pretty clear what his agenda is. Helping those members of this board I'm pretty sure is pretty low in comparison to his agenda of making money.



His sign off clearly states that he is the marketing manager at Behringer. There's no hidden agenda. There have been several Behringer employees, including Uli himself, joining and participating in discussions on the X32 is many forums. I'm sure it's something that they discussed as part of the product rollout and this is part of their job now. They're trying to sell products, but they're also trying to gain a presence in this market while attempting to change people's perspective on the Behringer name. Some people, such as yourself, will just simply not be willing to give them another chance.


neotrotsky said:


> And, he has YET to provide us with one "big name" who desires to have Behringer consoles used on their gigs. I'm just asking for *one* bit of factual information that isn't from a glossy brochure that can be quantified in the real world, and not just from a few dozen people at some trade show where the "winners" could very well be paid for by some sponsorship fee or something.
> 
> Just *one* band. One touring company. Heck, ONE singer. That's all.



I thought I did. I'm not mentioning names. But the band that I used to (and still sometimes do) work for is one. And I own a company (that I'm not naming here), so there's an example of that. Plus the other three companies that are within 20 minutes of my warehouse (one of which shares the space with me and has two). I'm not a sales rep. I don't give two ****s about what your opinion is on Behringer gear. But I hate misinformation and plain ignorance, especially when spewed forth in a public forum for the entire world to read. Your opinion is non validated and holds no merit. You have not tried the console that you're bad mouthing and so I have no idea why you're trying to keep this argument going.


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## neotrotsky

Misinformation? The lawsuits against them for copyright infringement aren't made up. And, as far as "price point", I'll go with a Presonus 24 channel console long before this Behringer and get reliable use that I know works. And, that is accepted and even requested on MANY riders. Behringer, again, is requested NOT to be used. I think that making the clam that some of the "biggest names" use their gear opens it up to use examples. If they refuse to say, then do NOT use it as some sort of sales pitch. It's an easy cop out that allows you to make a big claim, but not have to provide any real evidence or facts. 

Why should I give them another chance after YEARS of bad business practice? Do I owe them something? No. So why should I spend money on them when they produce sub-par equipment. And, why defend a company already cited countlessly for fraudulent business practices? I really don't understand the logic of defending a company that has ripped alot of people off already. That is why I still "keep this going" because they don't deserve the kind of benefit of the doubt that everyone on here seems to want to give them. I have a right to my opinion simply because I have provided a small sample of a TON of fact about their willingness to infringe on copyright. 

And, you seem quite quick to insist that to you, my opinion is not valid but somehow yours is. What makes you better than me? At least I'm not resorting to vulgarity and quick to defend a company that wants to simply sell stuff. My "opinion" is non-validated? By who's standards? Am I supposed to get written permission from you for the privilege to write my opinion? You think alot of yourself. I'm just a TD of a small venue. I have no pretenses but I know bad business when I see it. 

I am not bad mouthing. I am providing previous evidence that can be found by any simple google search. If that is "spewing forth" opinions that you don't find personally fulfilling, then it looks like your panties will be in a bunch for a long while. I'm simply too busy trying to make a living to please the rest of the world about opinions of their favorite corporate manufacturer. 

No, I will not try their new console. 10 years of junk and rip-offs have secured that. If they send one to my venue, I *may* try it out and have my crew check it out, but I won't risk my PROFIT by having it in a live show where it will fail... that is, if the rider doesn't forbid it. Face it: Behringer doesn't have ANY position in the professional market to stand from. They will need to comp ALOT of gear to get people to change their minds. I won't spend one cent on their gear out of my budget, and I strongly advise my staff not to either. That has been a standing rule for years. There is a reason for that... just ask 10 people who have bought Behringer products and you'll get a pretty clear answer on why the majority of them no longer have that product.


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## bishopthomas

neotrotsky said:


> And, you seem quite quick to insist that to you, my opinion is not valid but somehow yours is. What makes you better than me?



My opinion is validated by actually using the product in question, rather than basing my opinion on hearsay. Again, I don't care if you buy one or not (I know you're not going to buy this or any other console any time soon). I'm not trying to convince you. I simply want to see opinions and arguments based on actual experience of the product in question. Fine, you don't like the company's business practices, I think that's clear. But the X32 IS a great console for the money, and like it or not, people will be buying it and it WILL change the popular opinion of this company.

And I've really lost all interest in this little back and forth so you won't see me responding to any more of your online picketing.


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## museav

JoeSanborn said:


> I am here to help and answer questions. I thought this forum was to find out more about the X32?


No, the forum is here to serve and aid the forum members and supporters. The discussion started out being about the X32 but forum discussions do tend to drift onto related issues and as long as they don't get too far off track I see no reason to limit that. But we probably need to limit both the dergatory comments and the overt marketing as neither is really serving the purpose of the forum.


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## DuckJordan

Neo, just shut up. We've all heard the babel before about blatant rip-offs. Show the lawsuits that required a cease and desist. The suits that actually went through the courts and found behringer guilty. Otherwise you are just slandering a company who in the last couple years has been moving in a direction to change not only the quality of their gear but, also change how the industry perceives them. Yes they have DJ level gear that can't with stand road abuse. Is it marketed in a way to make you think it could? No, is it the right tool for the job in most cases? yeah. I find that when you talk about a product (the X32) but haven't touched one. Oh and you don't need to buy one to test one out. you show just how ignorant and full of slander you really are. I'm sorry there are sound engineers with a lot more experience and quite a bit more respect in the industry than you saying the exact opposite. In fact as far as I know you may be a high school kid who's just mad because someone else told him or her that behringer is bad (notice the generic blanket statement, these are almost always wrong).

the discussions on a true sound forum which cater to large production companies, weekend warriors, and the guys designing gear have pretty much voiced the concerns about quality, they've also had members testing out the features and the claims behringer makes for the console and quite honestly it has excelled or met all of them. Some big names working in companies much larger than I probably ever will have stated this will be the low cost digital console to beat. They even suggest its a runner for any console 10k or less.


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## tk2k

JoeSanborn said:


> Once again. It is 2012.
> Read the second sentence in regards to the Tech Awards.
> 
> Tech Award Process: "Nominees are selected in 27 categories of Technical Achievement and Creative Achievement. Eligible nominees are those projects or products that, in the opinion of the Nominating Panel, represent superior accomplishment in their respective fields. "
> 
> All the Best,
> Joe Sanborn
> Manager, Channel Marketing
> MUSIC Group
> BEHRINGER



Yes, it is 2012. I addressed this specifically, release failure statistics for the x32 as compared to others in the industry, from an outside independent company. 



Also, to quote myself from before on the MIDAS issue,

"Anecdotally, I have three colleagues who have had three separate pro2 or pro2c's phantom power fail mid show, and refuse to come back until the whole console and stage box was rebooted."

Now this could be a software issue and not a hardware issue, but honestly when it comes to the X32 it's the software I worry about. Yamaha consoles are not my favorite to use, but the software is rock solid, fast, and predictable. Anyone can throw together an FPGA and some preamps, it's making it all work together that separates ProTools from other recording systems, Apple from Dell, etc.


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## josh88

Wow this got pretty vicious since I looked at it last. All I know is I've worked with some of behringers newer stuff and I thought it wasn't half bad. Are there better options? Sure, but not necessarily for the same price. And it certainly wasn't the end of the world when I had to use their stuff. 


Sent from my iPad using Tapatalk


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## Footer

neotrotsky said:


> The point is why buy equipment that is admitted to be sub-par? You can buy "professional" grade equipment from other manufactures and still not pay a whole bunch of cash. A&H and Mackie have done this for years. They enable a bunch of venues and those just starting out to have a quality kit for not alot of cash, and you know it will work.
> 
> I have just pointed out what everyone else who has been burned by Behringer already knows. Or, do only particular opinions matter around here? He wants to sell stuff... so it's pretty clear what his agenda is. Helping those members of this board I'm pretty sure is pretty low in comparison to his agenda of making money.
> 
> And, he has YET to provide us with one "big name" who desires to have Behringer consoles used on their gigs. I'm just asking for *one* bit of factual information that isn't from a glossy brochure that can be quantified in the real world, and not just from a few dozen people at some trade show where the "winners" could very well be paid for by some sponsorship fee or something.
> 
> Just *one* band. One touring company. Heck, ONE singer. That's all.
> 
> If facts this simple are difficult to get out of their sales rep, how are they going to be about their warranties? I'm just trying to get people to actually use their brains instead of believing a sales pitch




Here is your BIG name: Dweezil Zappa or Zappa Plays Zappa. They tour internationally with a SAC system utilizing Behringer ADA8000 for their input and output. ALL the sound you hear when you see their shows is going through Behringer gear.

....And most professional lump Mackie into the same pile as Behringer, I know I do. 

Finally, if you bought a C-2 thinking it would sound as good as a KM 185 you have not been around this industry long. They are both small cardoid condensers in a silver shell. One costs a grand, the other costs 60 bucks. I don't think you would be able to find a single person out there who says they are actually comparable in sound quality. Also, that mic also looks a lot like the 451, so are you saying AKG is also ripping off the 185?


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## JoeSanborn

Footer said:


> Here is your BIG name: Dweezil Zappa or Zappa Plays Zappa. They tour internationally with a SAC system utilizing Behringer ADA8000 for their input and output. ALL the sound you hear when you see their shows is going through Behringer gear.
> 
> ....And most professional lump Mackie into the same pile as Behringer, I know I do.
> 
> Finally, if you bought a C-2 thinking it would sound as good as a KM 185 you have not been around this industry long. They are both small cardoid condensers in a silver shell. One costs a grand, the other costs 60 bucks. I don't think you would be able to find a single person out there who says they are actually comparable in sound quality. Also, that mic also looks a lot like the 451, so are you saying AKG is also ripping off the 185?



Hi Kyle,
That is great, I was unaware Dweezil Zappa's tour was using the ADA8000s'.

The X32 is two months into it's launch and we are just starting to get some larger tours interested in the X32.
Matt Breunig Monitor Engineer for the Killers is working with us as an endorsee of the X32.
We are speaking to several other engineers and want to point out these people are approaching us, after checking out the X32 independently.
I should be able to share others in near future, but as I said we only recently launched this product.

Thanks for the support!

Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


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## JoeSanborn

Hi Guys,
Looking back I think the conversation shifted when the X16 was discussed in an earlier post.

I have to point out we would be bringing a very different, and better solution to the market. 
- The Mackie DL1608 is lacking, an Ultranet 16 channel discreet monitoring solution
- 16 x 16 disreet recording via USB vs. stereo main mix only
- Midas designed mic pre amps, as in the X32, which sound amazing

So all in all a very different solution. We are brining more "bang for your buck", with a better feature set.

Uli's post: X16 Preview
We like to share with you a preview of our new X16, which is based on the X32 digital mixer. 

The iPad/PC based digital mixer includes 16 Midas-designed preamps, Ethernet connection for a wireless router, Ultranet for our P16 Personal Monitor system and also a bi-directional 16-channel USB recording interface. Like the X32, it will be remote controllable via iPad and PC (iXControl, XControl). 

The unit is also rack and floor mountable for fixed installations.

Aside from the reduced channel count (16 inputs, 8 outputs) it has the same DSP engine and functionailty of the X32.

Delivery is targeted for Q2 2013 and the estimated price will be around US$ 1000. 

Comments are appreciated.

Uli
(end Uli's post)

I hope it helps clarify.

Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## JoeSanborn

Hi Guys,
I wanted to share a post that Uli Behringer posted on Sound Forums, which addresses some of the questions brought up in the past few days.

IP: See Sound Forums post - Answer 51
Uli Behringer of The Music Group Q&A - Page 3
(Uli's Post):
Once again thank you for your question. This is an often asked question and frankly has led to criticism over the years.

The simple answer is that we have for many years considered our products to be followers of market trends and have designed them accordingly. Our product strategy has been to introduce products into categories where there is proven market demand and win based on our value proposition. That strategy has spawned many products whose visual appearance “mimics” that of the market leaders in many segments.

Also we do listen to our customers as this has been and will always be a huge part of our philosophy. In fact it has formed our company motto: "We hear you". We listen when customers tell us what they want and they do this often to a very detailed extent: "We'd like you to make an amp like this brand, but with these features and this look but can you make it at this price?" And we do listen to our customers.

Using ideas from other competitors is perfectly legal as long as you don't infringe on patents, trademarks, etc. and again what the law permits and what the public deem acceptable often differs greatly. 

How many guitars look like Fender Strats? How many cars or phones look alike? 

Frankly every manufacturer becomes inspired by other competitors and this is how the world works. When we attend trade shows we often see other manufacturers "borrow" our designs, and where legal we have no issue with it. 

One may legitimately ask, “How close is too close?” when it comes to appearance. Everyone may have a different personal opinion on the topic but there are rules in law and trade practice that govern what is referred to as “trade dress”. A product’s form, shape and control placement can be protected by a Design Patent if the manufacturer believes that these are defining features that are unique. In that case other manufacturers cannot make a product that shares the same features. 
However if these are not unique or protected features, then everyone is free to use those ideas.

Our intent is to make great products that are affordable and intuitive to use. Sometimes that means that the industrial design will follow the well-established protocol for that type of product. Other times it means we must start with a clean sheet of paper and do things differently. 
Examples of the latter are our Eurocom line of installed products, the iNuke power amps series, our new Q series mixers and of course our new X32 digital mixer. I have been largely involved in the design of those products and all have been designed to be unique to the extent that they are even covered by multiple design patent applications in my own name.

As a fan of great industrial design, it has always been my dream to build products that set us apart from others. This dream is about to be realized with the opening of our new Design Center of Excellence in Manchester, UK later this summer. 
Headed by award-winning designer Mark Harman Powell, who brings senior design expertise from BMW, Jaguar, Land Rover and JBL, the team will be responsible for setting design direction for all our products. 
Great design is no less important than features and reliability so we are investing heavily here.

CEO 
MUSIC Group
MUSIC Group - About Us
(end of Uli's post)

Also take a look at:
Posts 51, 52 and 54 which address a few other topics of interest:
http://soundforums.net/varsity/4299-uli-behringer-music-group-q-3.html

I have also asked some of our guys from the Midas team to answer questions in regards to the Midas Pro 2.

I hope it helps with some of the questions raised.

Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## KyleChirnside

tk2k said:


> Anecdotally, I have three colleagues who have had three separate pro2 or pro2c's phantom power fail mid show, and refuse to come back until the whole console and stage box was rebooted.



Hello,

My name is Kyle Chirnside, I am the Customer support managerfor Midas/Klark Teknik in LV, NV. Please have your colleagues contact me or Frank Heinrich listed on the MIDAS site about their issues. These are things we havent heard of before and would like to research. My information is below. 

Kind regards, 


CHIRNSIDE Kyle
Manager, Customer Technical
MUSIC Group Services NV Inc.
Tel: +1 702 800 8290 ext 5714
Mobile: +1 702 371 2328
Email: [email protected]
Web: Midas Consoles | Klark Teknik | Turbosound - Professional Loudspeaker Systems


----------



## KyleChirnside

Hello Conrtol Booth folks,

I am Kyle from MIDAS / KLARK TEKNIK. If you have any support questions, please feel free to ask.

Just a little background about me, I was a touring FOH engineer for 17 years, I have been doing and engaged in show production for 25 years. I have used and abused MIDAS and every other console imaginable in a live setting for a long time. When the artists I worked for could afford a desk, I used a XL4. MIDAS approached me when the XL8 was in a BETA format, I wanted to take it out so bad, but the rental price at the time was out of my artists range. This put me first in line for the release of the PRO6. I was the First American to tour with this desk, world wide. When Music Group aquired the MIDAS and KLARK brands, I was skeptical as any one else. 

I was just recently removed from the road to relocate to LV to head up the US office for Customer support and training for MIDAS/KLARK TEKNIK/TURBOSOUND. Being here and working directly with all the brands, I understand the family. Mr. Behringer saw the gold in the MIDAS touch, him and his team have stepped up support and production from all the brands in THE MUSIC GROUP. I could not ask for a better position, for a better company or a cooler CEO that can answer great threads. He truely cares about his customer service, and professional products.

Kind regards, 


CHIRNSIDE Kyle
Manager, Customer Technical
MUSIC Group Services NV Inc.
Tel: +1 702 800 8290 ext 5714
Mobile: +1 702 371 2328
[FONT=Calibri,sans-serif][FONT=Arial,sans-serif]Email: [FONT=Arial,sans-serif][email protected][/FONT][/FONT][/FONT]
[FONT=Calibri,sans-serif][FONT=Arial,sans-serif]Web: [FONT=Arial,sans-serif]www.midasconsoles.com[/FONT][FONT=Arial,sans-serif] | [/FONT][FONT=Arial,sans-serif]www.klarkteknik.com[/FONT][/FONT] | www.turbosound.com [/FONT]


----------



## MNicolai

I think it's appropriate to juxtapose the "Old Behringer" with the "Music Group Behringer".

I can only go on what I have been told by JoeSanborn as to what the Music Group Behringer will look like, but I am interested to see which direction the company takes over the course of the next few years. There are certainly a lot of variables that go into deciding which manufacturer's products to sell, but one of the larger ones will be their support. Regardless of what anyone's opinion of Behringer is, I think everyone who reads this thread should realize just how really, really easy Behringer is making it to get a direct line of communication with them for support.

It is well within everyone's capability here at CB to call Behringer's support line. If, for whatever the reason, I called that number and didn't get my problem solved, I know I would feel comfortable calling Joe Sanborn and that he could point me in the right direction. There's value in having that kind of open relationship with a manufacturer, both for whoever is buying the console and for whoever is selling that console to that customer. Same goes for Midas. I know KyleChirnside has only one post, but that one post is enough for me to feel comfortable calling and saying, "Hey -- I've really got a problem with ________ here. What can we do or who do I need to get in touch with to get this taken care of?"

JoeSanborn and KyleChirnside, I hope both of you are not strangers here to CB in the future. I've gotten pretty good at finding phone numbers for customer suppport lines on many manufacturer's websites, but it really is invaluable to know that in addition to those, there are people here at CB who I can send a message to and ask questions of.


----------



## KyleChirnside

MNicolai said:


> I think it's appropriate to juxtapose the "Old Behringer" with the "Music Group Behringer".
> 
> I know KyleChirnside has only one post, but that one post is enough for me to feel comfortable calling and saying, "Hey -- I've really got a problem with ________ here. What can we do or who do I need to get in touch with to get this taken care of?"
> 
> JoeSanborn and KyleChirnside, I hope both of you are not strangers here to CB in the future. I've gotten pretty good at finding phone numbers for customer suppport lines on many manufacturer's websites, but it really is invaluable to know that in addition to those, there are people here at CB who I can send a message to and ask questions of.



Thanks. We were, and are users just like the people that have the questions or problems. 

Kind regards, 


CHIRNSIDE Kyle
Manager, Customer Technical
MUSIC Group Services NV Inc.
Tel: +1 702 800 8290 ext 5714
Mobile: +1 702 371 2328
Email: [email protected]
Web: Midas Consoles | Klark Teknik | Turbosound - Professional Loudspeaker Systems


----------



## JoeSanborn

Hi Guys,
We are offering an X32 Webinar UserGroup session this coming Saturday!
The first hour will be an X32 overview, as we did last week, followed by the second hour for anything you would like demonstrated and or questions.

Justin Fry and Chris Painter will be the presenters for this event.

I hope you can make it!

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER

*X32 Webinar and User Group #3

Join us for a Webinar on October 20*


Space is limited.
Reserve your Webinar seat now at:
https://www4.gotomeeting.com/register/532167327

This is an X32 Webinar open to anyone who would like to know more about the X32. 
This event is a great opportunity to learn more, ask questions, and share info about the X32.
Title:	X32 Webinar and User Group #3
Date:	Saturday, October 20, 2012
Time:	10:00 AM - 12:00 PM PDT
After registering you will receive a confirmation email containing information about joining the Webinar.
System Requirements
PC-based attendees
Required: Windows® 7, Vista, XP or 2003 Server

Mac®-based attendees
Required: Mac OS® X 10.5 or newer

Mobile attendees
Required: iPhone®, iPad®, Android™ phone or Android tablet


----------



## JoeSanborn

Hi Guys,

We are having out Webinar/User Group tomorrow, info below.
I hope you can make it!


X32 Live! Webinar/User Group - Signal Routing Setup

Join us for a Webinar on October 25


Space is limited.
Reserve your Webinar seat now at:
https://www4.gotomeeting.com/register/539132591

Please join us for our X32 Live! Webinar/User Group #4. 
This webinar will focus on routing signals on the X32 including, interal mic pre amps, aux inputs, AES50 to S-16, Firewire USB to DAW, and P16 routing. 
The first hour will be a presentation on this topic followed by one hour of questions and live demos! 
Title:	X32 Live! Webinar/User Group - Signal Routing Setup
Date:	Thursday, October 25, 2012
Time:	10:00 AM - 12:00 PM PDT
After registering you will receive a confirmation email containing information about joining the Webinar.


EVENT #2:


X32 Live! Webinar/User Group - X32 and ProTools

Join us for a Webinar on October 25

Space is limited.
Reserve your Webinar seat now at:
https://www4.gotomeeting.com/register/397260103

Please join us for our X32 Live! Webinar/User Group #5 
The first hour of the webinar will focus setting up and configuring the X32 to use with ProTools. We will focus on getting audio in and out of PT, Control Surface functions using HUI with the X32. 


The second hour will be open for questions and live demos! 
Title:	X32 Live! Webinar/User Group - X32 and ProTools
Date:	Thursday, October 25, 2012
Time:	4:00 PM - 6:00 PM PDT
After registering you will receive a confirmation email containing information about joining the Webinar.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## Footer

So when this thread blew up, I decided to throw myself on the bomb and see what this console really had to offer. It just happens that as the same time my venue is in need of a new monitor console. Being a state building, getting new things takes time so I thought it would be a great time to give the X32 a run. I contacted Joe and he was more then happy to send me a console to demo for November. The northeast rep, John Dinicola, brought the console up and did training on it for one of my engineers and myself. Even though John's apartment was in Hoboken... and two days before had 4' of water infront of it... and he had to wait two hours for gas, he successfully made it up. 

We did about an hour and a half of training before we started patching up the act for the night. The show was a woodstock era tribute band with 30 inputs and 8 mixes. The group was a house band with different frontmen for each of the "bands". I ran the console for the first night. Our house wedges are active Meyer UM-1P with no processing.

So, first impressions is this thing reminds me a lot of the AVID consoles. There are no menus/setting buttons to hit to get to anything. Need more compression, grab the dynamics encoder, need to tighten that gate... grab the gate encoder... etc. During the show there was no reason to touch any of the things on the screen. Everything is right there on the front panel ready to go. If you do need to dig into the details on any of the sections, a quick "view" button on each section drops you right into the screen for that section of the console. Setup and patching was rather simple. That block of 8 thing is a little weird, but in my world where we are used to and wired for analog anyway that is really not a big deal. The display screens on each channel are extremely easy to read. Even better, you can customize the color for each screen. That was something that really came in handy when flipping layers. 

As far as actual show operation goes this thing sings as a monitor console. Besides have a 4 band parametric on every input and an 6 band on every mix, you can throw a 31 band graph on each mix as well. To set the graphs, you can use the DCA/Mix faders which is pretty cool and fast. You can have the master fader that usually controls L/R control your cue wedge which is beneficial. The speed of this console shows though when you put it in "sends on fader". It is very easy to throw into this mode with a big button in between the master and channel section. The button glows bright red when active, though I wished it flashed as well. When in this mode it works just like on Yamaha consoles, you press a select on a mix and then all channel faders move to what is on that mix. The channel screens put a notation on every screen saying which mix is active. There is a flipside to this as well, which I did not think I would use that much but became the killer feature of this console. When you select a channel and sends on fader is active the master section gives you control of each mix for that individual channel. So, when I was dialing in mixes during sound check it was easy to select a single mic and set that input for each musician onstage. During the show if a musician was having an issue I could select there mix and easily dial in what they needed. Working both ways was extremely fast. I know other consoles have this feature, but for a console this size it is killer. I never once reached for the dedicated mix controls. I'm sure it I was mixing FOH I would, but for monitors they are not really needed. This alone made my night one of the easiest I have ever had behind a monitor console. I was pretty active most the night with the changing frontmen and I never got lost. 

Now, as far as sound goes I can find no faults in this console. The headamps sound great and have plenty of headroom. The console sounds rather warm and clean. It is not as warm as our Heritage but is **** close.

The next night we had NY Banjo featuring Bela Fleck and about a half dozen other banjo players in (including the guy who played Dualing Banjos on Deliverance). My engineer that had less the a hour on the console before the day started was easily able to get the show up and going. Bela's engineer, who has been with him for 25 years, had no complaints about the sound when we were dialing in the mixes before the band arrived. That show also went off without issue. 

So, yes, this console does have some limitations. The block of 8 thing can bite you. The effects inserts are a bit weird, not all 8 blocks can be used the same. But, for a street price under 3 grand you get a killer console that is well built, feels good on your hands, and has a ton of power. I'm still going to be getting an SC48 for our monitor desk strictly due to the 32 input restriction of this console, but I will have no issues running shows on this console before that console shows up. It will also give us some more flexibility in our smaller space which is very much needed. There is nothing that touches this console for under 10k as far as I am concerned. No, its not a Profile or an SD7, but it blows anything double or triple its price out of the water. This thing really is a game changer. 

I have the console for a few more weeks and will put it in an FOH situation and record with it. I'll let you guys know how that works out. 

Woodstock show: 



NY Banjo:


----------



## Talley

It looks good and everyone I know who has one or has used one really likes it. I look forward to using one.


----------



## Dreadpoet

I would like to say that I think that it is great that this company can illicit such a highly emotional response to producing something that looks credible. I think this is an example of us being resistant to lesser quality merchandise attempting to grow up. An example of this in lighting land is Elation and probably in a few years Chauvet. While I do not think the X32 is going to replace most pro-designers rigs...it may do alot to make digital sound more affordable so we should see it in more educational settings, Night clubs, small musical theatres, small touring bands etc..so bully to them for making that possible.


----------



## Les

Dreadpoet said:


> I would like to say that I think that it is great that this company can illicit such a highly emotional response to producing something that looks credible. I think this is an example of us being resistant to lesser quality merchandise attempting to grow up. An example of this in lighting land is Elation and probably in a few years Chauvet. While I do not think the X32 is going to replace most pro-designers rigs...it may do alot to make digital sound more affordable so we should see it in more educational settings, Night clubs, small musical theatres, small touring bands etc..so bully to them for making that possible.



Casio had the same problem when they first introduced a pro line of digital pianos. They're pretty well received now, but I think there's still a slight stigma attached to the name on the back of the keyboard.


----------



## EricE

neotrotsky said:


> That's not to say there aren't good products made in China by well regulated companies. Tascam, Mackie, BMW, Ford and Apple have proven that Chinese made goods don't have to be bad. But, they also OWN those factories.



Er, you do realize that the Music Group owns their own factory - in China - for exactly the reasons you mentioned and that the X32 is one of the first products to come out of that new factory? 

I realize there is apparently lots of brand animosity towards Behringer for past actual or perceived misdeeds, but your over the top reaction doesn't seem very professional to me (ironic given the theme of your rant). I don't mind if people have strong opinions or positions - but they look less silly if they are based on fact.

As for the riders - if Behringer has turned over a new leaf and the X32 is every bit as good as it appears to be (I doubt SOS would have gushed if it was half as bad as you are implying) then riders will change. If not via people being reasonable, then via lost business. Economics always wins 

EDIT: And with lines like this:


> Proof. Provide proof or go back to conning churches into buying sub-standard powered mixing consoles.



Is it any wonder that Joe doesn't bother responding to you?

"ALL I REALLY NEED TO KNOW I LEARNED IN KINDERGARTEN" - sigh....


----------



## DuckJordan

Just had a mid sized band come through sporting the x32 and they love it.


----------



## mattseymour

I've just come across this thread while looking for some real world experiences of the X32. It's interesting one comment about the software being the concern... My experience of any Behringer digital kit is the software is excellent. My old DDX3216 was intuitive and really nice to use. Unfortunately many of the capacitors weren't soldered in place.

That's the problem, currently toxic to the Behringer brand for anyone with experience with audio equipment; they just don't build or QA their stuff anywhere near well enough. They're not alone in putting out some sub standard equipment. Four racks of Focusrite preamps in a clean BBC studio all had failures from bad buttons within a year. 

But Behringer kit seems to fail more than anyone elses. I've just bought three ADA8000 units. All three were bad. It seems to be a problem with the adat chip used. Fair enough, but it should have been caught before they left the factory. Has their been a general recall of stock? Not to my knowledge.

£2k may be very cheap for what the X32 offers. But it's a lot of money to spend on finding out whether Behringer have fixed their processes. I'd expect an LS9 to be good for 10 years loyal service. I'd hope the X32 makes it to the end of its warranty. 

That may not be fair, but it's how I feel about it. Faced with a purchasing decision, I just can't go with the X32.


----------



## bishopthomas

Matt, I was waiting for someone to bring up the DDX3216. I never owned one, but I have read nothing but excellent things from very happy users. The only negative about the console is that they stopped making it. As far as your comments about QC, I completely agree with you as far as past issues and experiences. It seems to me that Behringer is really trying to turn their appearance around, although that is going to take a long time and effort. I've used two different X32's in show situations and I really like the console. I'm willing to give Behringer another shot, but unfortunately for them they may have permanently lost a lot of customers.


----------



## Footer

Dreadpoet said:


> While I do not think the X32 is going to replace most pro-designers rigs...it may do alot to make digital sound more affordable so we should see it in more educational settings, Night clubs, small musical theatres, small touring bands etc..so bully to them for making that possible.



In my venue it already is. We are going out for quotes tomorrow to pick this thing up. And, as far as cost accounting goes this 3,000 dollar console is going to pay itself off much faster then the 10,000 to 40,000 dollar consoles that we are used to buying. I spent today talking to the northeast D&B distributor about this very console... and they are blown away by it and what it can do. Yes, I have had to deal with the snickers from the guys as they roll of the bus, but with the 4 shows we have done on it thus far no one has had any complaints. All the artist leave happy and no one really cares what paint is on the console. My engineers love it. The pro world is going to eat this thing up... it sounds good, its small, and it is cheap. Instead of renting a console for 14 weeks at 500/wk, you can buy a console and pay it off in 6 weeks. At the end of the tour if it still works, you got a free console for the next gig. Hell, buy two and throw one under the bus as a spare. Everything has a life span in this industry. If you figure a 20,000 SC48 or M7 will last you 5 years before it stops filling riders, that is 76 dollars a week. Using that same math, you pay this console off in 10 months. So, in other words your console is paid off 4 years and 2 months earlier. If it lasts until the warranty is up in 3 years your way ahead. That is the real math at work here. 

There is no reason to me that I think this console is not going to outlast its usefulness. The one I have feels great to the touch. I would not be buying this thing if I did not think I can fill riders and do shows with it... and I am not doing small shows in the least.


----------



## JohnD

Kyle, I don't know if you have restrictions on who you can buy from, but I noticed this bundle from Proaudiostar in Brooklyn.
Behringer X32 Digital Mixer + Gator G-Tour X32
Same basic price as most of the usual suspects, but you sort of get the gator case for free. It is also a three part "nosecone" case instead of the usual two part case. It's not an R and R or Oly case, but still not bad.


----------



## mattseymour

bishopthomas said:


> Matt, I was waiting for someone to bring up the DDX3216. I never owned one, but I have read nothing but excellent things from very happy users. The only negative about the console is that they stopped making it. As far as your comments about QC, I completely agree with you as far as past issues and experiences. It seems to me that Behringer is really trying to turn their appearance around, although that is going to take a long time and effort. I've used two different X32's in show situations and I really like the console. I'm willing to give Behringer another shot, but unfortunately for them they may have permanently lost a lot of customers.



The ddx3216 really was nicely designed. There were claims it copied the Yamaha 01v and while that's arguably true in terms of styling, Yamaha use all custom chips so it was a completely different beast inside. I used to use mine with all 32 channels, made direct out multi track recordings and I never needed to consult the manual once, such was the quality of the ui design. 


The preamps left something to be desired but it sounded just fine. 


I believe they stopped making it because analog devices stopped making the dsp chips it used. Might be wrong about that. 


However the reason I parted with it was the fear of unreliability. It let me down once at a non-critical moment and then on repair many caps were found not to be soldered in place. 


I think the latest manufacturing techniques, using surface mount, and processes such as xray examination of boards should mean this doesn't happen. However it shouldn't really have happened in the first place. I've long said Behringer reduce their costs by outsourcing qc to the end user. For a volume manufacturer that actually makes sense. Make the product cheap and disposable. If a product fails out of the box or within warranty just bin it and replace it. Inconvenient for the customer but not the end of the world. 


However that approach can't work with a digital desk being aimed squarely at the smaller Yamaha market. 


My suspicion is Behringer have vastly improved their manufacturing processes which makes failures less likely. However they may not have done much with their qc of the finished product. The example of ada8000 units with defective Adat chips hitting the market would back this up. It isn't enough to be sure you've assembled things correctly, you actually have to check they work properly too. 


I do think Uli Behringer is genuine in wanting to build a lasting company of quality. Convincing audio pros will take a long time. I'd personally want the x32 to be out on the road for a couple of years before I could consider buying one.


----------



## museav

mattseymour said:


> I do think Uli Behringer is genuine in wanting to build a lasting company of quality. Convincing audio pros will take a long time. I'd personally want the x32 to be out on the road for a couple of years before I could consider buying one.


I agree and I think that for many of those people there is definitely a less than stellar legacy to overcome as well as addressing production, marketing, sales and distribution processes that originated to serve the entry level MI market.

Although not the only manufacturer with such issues, I think you still see vestiges of the latter in Behringer seeming to have difficulty getting products out in a timely manner, ala the X32, S16 and now the ELX series speakers. I understand wanting to create a market in advance of a product release but sound providers, consultants, contractors, etc. have to make commitments in advance and then live up to those commitments, thus they will support manufacturers that can do the same and avoid those who don't.

A 'to be seen' factor is continuing development and support. The long term viability of firmware and software based products can be very dependent on ongoing development and support and realistically, a lower cost, lower margin product can only justify continued development and support as long as the quantity of units being sold can support the associated costs. This has seemed to kill some otherwise promising products in the past and thus I will be interested to see how this works out for many of the newer, lower cost product offerings.

The same 'return on continued investment' factor also applies to hardware as manufacturers of chips, converters, etc. often find it increasingly difficult to justify continuing to manufacture components if they have a limited and decreasing market. And while bringing the component manufacturing in-house gives you much greater control, for example continuing a component production long after it might otherwise be financially justified, it also means having to support any component production off just your own sales. That is likely also one reason why it has been hinted that the X32 is just the first, and the flagship, of a series of products to be based around the same core hardware, firmware and software.

I believe the overall challenge is that of taking the advantages that may be derived from a commodity product approach and applying them to more professional products. Others have tried with mixed and often less than stellar results. I do think Behringer is in a unique position, is working on the related issues and has a good start with the X32, but bluntly, there were a lot of issues to address and some of them will require some time before the results can be judged.


----------



## DavidDaMonkey

I've been looking for info on daisy chaining two X32s together. Does anyone know if this is a possibility or how it functions?


----------



## museav

DavidDaMonkey said:


> I've been looking for info on daisy chaining two X32s together. Does anyone know if this is a possibility or how it functions?


Daisy-chaining in what manner? What are you trying to do? You could take the analog outputs of one console into analog inputs on the other to cascade them but I get the feeling that is not what you're wanting to do.


----------



## tk2k

DavidDaMonkey said:


> I've been looking for info on daisy chaining two X32s together. Does anyone know if this is a possibility or how it functions?



do you mean like Cascade in YamahaWorld? No this can't do that.


----------



## DavidDaMonkey

museav said:


> Daisy-chaining in what manner? What are you trying to do? You could take the analog outputs of one console into analog inputs on the other to cascade them but I get the feeling that is not what you're wanting to do.




Nope, I was hoping more for being able to have the two talk to each other to essentially have one board control over twice as many inputs and faders. Is that essentially what cascade is? Its something I've never had to deal with before. I wonder if I could send MIDI signals from one to the other to control scene changes. Not just next or previous, but jumping to actual scene numbers.


----------



## bishopthomas

I think if you need 64 channels you're probably not going to be looking at Behringer products. And I say that as probably the most outspoken X32 fan on here.


----------



## Dreadpoet

Bishop...I totally agree with you...not only is a person probably not going to be looking at a behringer...the probably shouldn't be looking at the X32, there are better consoles out there for those with the currency and if you have the kind of need and "flow" to purchase the equipment that requires 64channes and over then you should sink more change in to a better sound console. What the X32 provides is a good solution for small operations at a reasonable $$.


----------



## indigo7us

Hi there,

I've been looking back on hundreds of older posts (7+ year old posts) and this board seems like the answer for quite a few of them. I got the chance to use this for a couple of shows and its a pretty good board for what it does. There are situations where this thing is perfect, and times when this is not enough.

This board sounds pretty decent through mid level, tri amped JBL's.

It has quite a few really usefull features and is a very good value for the money. 

This board will not fill riders anytime soon, and will probably not be great for large tours, but for a mid size club mixing various bands and variety acts, this thing will probably do everything you need it to do, and do it pretty well. Its fairly well built, not like a midas, but its not meant to compete with a midas. At a smaller level it does what it is supposed to do, and doesn't on the surface feel like a blatant reverse engineered rip off of every other digital board out there.

Time will tell if it can hold up, but for the time being it is a well priced mid-sized console and it delivers at that level, don't expect anything more, or less.

Just my 2 cents.

Devin


----------



## dbmcclain

Just got an X32. Trying to add NY Compression on the output, and can't figure out how to route the reverb on Mix 1&2 into the NY compressor on Mix 9&10. Anyone know how to do effects stacks on the X32?


----------



## bishopthomas

Send the reverb's return to mix 9/10. Although..... You're trying to compress the reverb? I'm not exactly following what you're trying to accomplish.


----------



## dbmcclain

bishopthomas said:


> Send the reverb's return to mix 9/10. Although..... You're trying to compress the reverb? I'm not exactly following what you're trying to accomplish.



I found the way after another 10 minutes of exploring. There is a bank of AUX Returns that can be separately managed. Hence you can stack to your heart's content, up to 8 effects if you like. I have to say the X32 is a remarkable product for its price range.

At any rate, the reason for compressing the reverb, along with the dry signal, is to create a compression branch that gets mixed back in to the dry and dry-reverb branches. This produces "New York" compression, and it is used to enhance listening. At high input levels, the compression adds almost nothing to the dry sound. But as the levels decline, the compression adds more and more. The effect is much like "classic compression" curves, and is psychoacoustically more pleasing to listen to. Bass and treble don't disappear as quickly when the music drops in level. So it functions as a sort of dynamic "Loudness" control.

This is *not* intended for mastering or recording channels, but rather for monitoring channels. And since the reverb is part of the overall sound field, it should also be processed along with the dry channel, so that the psychoacoustic effects are imparted to the entire sound field.

- DM


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## arttd

Purchase an X32, and mix a few dozen shows on it. Then come back and compare it to other digital consoles you own. Preaching to the choir is easy.


----------



## museav

dbmcclain said:


> At any rate, the reason for compressing the reverb, along with the dry signal, is to create a compression branch that gets mixed back in to the dry and dry-reverb branches. This produces "New York" compression, and it is used to enhance listening. At high input levels, the compression adds almost nothing to the dry sound. But as the levels decline, the compression adds more and more. The effect is much like "classic compression" curves, and is psychoacoustically more pleasing to listen to. Bass and treble don't disappear as quickly when the music drops in level. So it functions as a sort of dynamic "Loudness" control.


A lot of people probably know this as parallel compression and it's basically trying to enhance some of the details at lower levels without affecting the dynamics for higher level signals.


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## FMEng

I wonder how well parallel compression works in the digital realm? If the digital compressor has any latency, it will not combine with the unprocessed channel without comb filtering when the two paths are near equal in gain. This may be something that works great in analog and turns to crap in digital, since latency is a fact of life.


----------



## JoeSanborn

Hi Guys,
We have a few Webinars coming up:

*X32 Live! Webinar/User Group - X32 & ProTools In-Depth*
*Join us for a Webinar on December 7*

Space is limited.
*Reserve your Webinar seat now at:*
https://www4.gotomeeting.com/register/277188759

Please join us for our X32 Live! Webinar/User Group #13 
The first hour of the webinar will focus setting up and configuring the X32 to use with ProTools. We will focus on getting audio in and out of PT, Control Surface functions using HUI with the X32, as well as other tips and tricks. We will also discuss how the X32 operates in the studio, identifying scenarios and situations unique to the studio world. 
The second hour will be open for questions and live demos! 

Title:	X32 Live! Webinar/User Group - X32 & ProTools In-Depth
Date:	Friday, December 7, 2012
Time:	4:00 PM - 6:00 PM PST


*X32 Live! Webinar/User Group - X32 & S16 Stagebox*
*Join us for a Webinar on December 13*

Space is limited.
*Reserve your Webinar seat now at:*
https://www4.gotomeeting.com/register/651672591

Please join us for our X32 Live! Webinar/User Group #14! 
This Webinar will focus on expanding on our new Pro Audio family of products including the S16 Stagebox. We will go over setting up the S16, various configurations, and a variety of real-world scenarios in which you would use the Stagebox. We will also go over connecting the S16 with the X32 via Cat-5 cabling, and touch upon other products that could be used in conjunction with the X32 and the S16. 
The second hour will be open for questions and live demos! 

Title:	X32 Live! Webinar/User Group - X32 & S16 Stagebox
Date:	Thursday, December 13, 2012
Time:	1:00 PM - 3:00 PM PST

I hope you can make it!

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## dbelletz

Howdy.
Just got the x32.
Unboxed it, plugged it in, NOTHING

The only thing that lights up is the background lighting of the button to the right side of the display, nothing else.
Even waited a full 5 minutes, NOTHING.
Guess it has to back.

WAAAAAAAH!!!


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## chausman

dbelletz said:


> Howdy.
> Just got the x32.
> Unboxed it, plugged it in, NOTHING
> 
> The only thing that lights up is the background lighting of the button to the right side of the display, nothing else.
> Even waited a full 5 minutes, NOTHING.
> Guess it has to back.
> 
> WAAAAAAAH!!!




Have you contacted Behringer/JoeSandborn? 

BEHRINGER: Support



JoeSanborn said:


> Hi Guys,
> I would like to introduce myself. My name is Joe Sanborn, I am the Channel Marketing Manager at BEHRINGER.
> 
> I read some of the comments and want to assure everyone that you will be amazed by the service you will receive on your X32.
> 
> Please send me a PM with questions at anytime. Or in the rare case you have a service issue, I am here to support you.
> ...
> 
> I am here if and when you need me, and I stand 100% behind this product.
> 
> Best,
> Joe Sanborn
> Manager, Channel Marketing
> MUSIC Group
> BEHRINGER


----------



## MNicolai

That sucks and I don't know enough about the x32 to comment on it specifically, but from what I know about other lighting and sound consoles, I can think of at least a couple good reasons why a console may not power up initially that, if they are the case, I would not hold against a manufacturer. On one hand, these consoles are meant to be bounced across the country in trucks, but on the other, it's really easy for someone to forget something simple like to lock/secure/glue a cable going where it connects to the internal power supply and then have it come loose getting bounced around in shipping.

Now if you had tried to turn it on and it started smoking, then I'd be more concerned.

I wouldn't worry -- JoeSanborn and the Behringer/MUSIC Group tech support staff should have you covered. Let us know how it goes.


----------



## DaveySimps

I thought I recall reading that some of the first units shipped had a ribbon cable issue (they were loose upon shipment). Those that had the issues had them fixed swiftly, and had not had any issues after that. As others have said, let Behringer Support know. They should get you squared away.

~Dave


----------



## JoeSanborn

dbelletz said:


> Howdy.
> Just got the x32.
> Unboxed it, plugged it in, NOTHING
> 
> The only thing that lights up is the background lighting of the button to the right side of the display, nothing else.
> Even waited a full 5 minutes, NOTHING.
> Guess it has to back.
> 
> WAAAAAAAH!!!



Hi,

I just saw your post, sorry for the troubles.
Occasionally things can happen from mishandling in shipping.

I am sending you a PM with my direct contract info as well as Chase McKnight, our head X32 techs contact info.
We will make sure you are taken care of.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## bishopthomas

Why is it that people post these issues in an online forum before contacting the manufacturer/vendor? Are you asking us for help or just want to inform us of a defective unit?


----------



## museav

bishopthomas said:


> Why is it that people post these issues in an online forum before contacting the manufacturer/vendor? Are you asking us for help or just want to inform us of a defective unit?


Dieter posted about his dead X32 on at least two forums and in both cases received responses from Behringer reps within 12 hours of posting.


----------



## JohnD

I admit I am something of a cynic, but I wonder if the "squeaky wheel factor" is coming into play. By venting in public, perhaps a solution is expedited?


----------



## MNicolai

JohnD said:


> I admit I am something of a cynic, but I wonder if the "squeaky wheel factor" is coming into play. By venting in public, perhaps a solution is expedited?



Maybe.

I'm more inclined to say that there's been a trend over the last several years towards looking for answers online before calling the manufacturer. In many cases, especially for consumer products, you can often find an answer faster and easier through a Google search or through other internet resources than calling a phone number -- especially as more and more phone support lines are staffed by people who are pulling their information from the same places as customers.

One of my coworkers gave up on PC's a few years ago when he bought a new one that failed him when it wouldn't run his audio editing programs. He called Microsoft, Microsoft pointed it's finger at the reseller. He called the reseller, the reseller blamed the Microsft and the software developer of the audio editing programs. Then he called the software developer, and ended up talking to someone who read him answers off of the same web FAQ he had already read through.

A lot of people coming primarily use consumer-quality devices have long forgotten the days where you called someone to get an answer to a technical problem.


----------



## museav

MNicolai said:


> Maybe.
> 
> I'm more inclined to say that there's been a trend over the last several years towards looking for answers online before calling the manufacturer. In many cases, especially for consumer products, you can often find an answer faster and easier through a Google search or through other internet resources than calling a phone number -- especially as more and more phone support lines are staffed by people who are pulling their information from the same places as customers.


Manucturers also seem to be relying more on their users and forums to provide support. If you can get a user base to voluntarily provide support then the cost of providing a forum for them to do so is much less than having to hire support personnel.


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## squashbucket

I've have owned an X32 since late August, and mixed 4 good sized musicals, 6 weddings and 27 bands, and even linked two of them together for a series of live radio broadcasts. Not a single failure. This board is a real workhorse. It links beautifully with Qlab. It replaced my analogue mixer, 2 firewire interface boxes and a bunch of DI boxes and slew of cables (my booth is still somewhat of a rats nest, but much less so)! I would highly recommend the X32 for a small to medium venue, especially if you do Musicals, Plays, Concerts, and especially if you have to do two different shows in the same day. We often have a musical on a sunday afternoon and then a concert in the evening, and the X32 makes the change over sigificently easier. I haven't gotten my hands on the digital stage boxes yet, but that will be the next piece in the rep puzzle.


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## JohnD

Behringer is showing the new members of the X32 family at NAMM, here are links to the Behringer pages.
Behringer: DIGITAL RACK MIXER X32 CORE
Behringer: DIGITAL RACK MIXER X32 RACK
Behringer: DIGITAL MIXER X32 PRODUCER
Behringer: DIGITAL MIXER X32 COMPACT
EDIT, adding possible prices, listed as MAP.
X32 CORE $ 999.99
X32 RACK $ 1499.99
X32 Producer $ 1999.99
X32 COMPACT $ 2499.99


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## museav

JohnD said:


> Behringer is showing the new members of the X32 family at NAMM, here are links to the Behringer pages.
> Behringer: DIGITAL RACK MIXER X32 CORE
> Behringer: DIGITAL RACK MIXER X32 RACK
> Behringer: DIGITAL MIXER X32 PRODUCER
> Behringer: DIGITAL MIXER X32 COMPACT
> EDIT, adding possible prices, listed as MAP.
> X32 CORE $ 999.99
> X32 RACK $ 1499.99
> X32 Producer $ 1999.99
> X32 COMPACT $ 2499.99


There still seems to be some vagaries regarding exctly what each of these variations on the X32 are and do as well as unknowns such as availability but hopefully that will be clarified in the next few days and weeks. It looks like Soundcraft also introduced some competition with their new Si Expression consoles. And while Presonus's 32 channel StudioLive offering is an improvement, I personally believe it is essentially not enough of an improvement to generally fare that well compared to the latest competition.


----------



## MANoMARS

museav said:


> And while Presonus's 32 channel StudioLive offering is an improvement, I personally believe it is essentially not enough of an improvement to generally fare that well compared to the latest competition.


I regret the x32 did not came out earlier. I had to invest in a new mixer and could not wait for the x32 to came out. If i could wait a few months more i would invest in a 32 ch console. But for budget reasons as i have to generate money outside of our school i had to purchase the Presonus studiolive 16.4.2 Man do i regret that purchase. Its doing well for input to daw and live recording but its not giving me the extras of a digital console. I dont like the effects and comps. I'm set back to my old yamaha AW4416 wich i purchased in 2004. So i using my own gear instead of that of school in live situations. Im now considering to sell the presonus and buy the x32 but its gonna cost me and i dont think my school want to pay for my mistake. I'm lucky whe did'nt had to do any bands this year becourse my mistake would show out real quick in the mixing quality.

Unlike many audiophiles put the nose up if they here the name Behringer im very pleased with the products i have from them. I use the b controls for light (freestyler) and vj mixing (Resolume)for years now. If u just cant afford the ultimate gear and there is no realy need for it Behringer always had the right solutions. The DDX32 whas realy good and affordable so did the ada8000. 
As i read the experiances on several forums and the few chances i had to work with the console myself i kinda felled in love with it. Sure its not the top high end product. But what u get 4 this money is impressive. If i read people saying 2700 Euro is to much money to lose if there console would give up after the 3 years of warrenty i wonder what they do with it proffesionaly. I mean u would have less then 10 gigs for 100 euro in a year to lose money on youre investment. In that case i woulndt invest at al. But i'm sure the x32 will be seen a lot in the small band circuit course of all the extras like live recording and the monitor options.

I also think the system would be great for real cheap in school broadcasting. If behringer would made cheap single outputs from the aes50 i could send signals to each classroom i want. 

Sorry for my bad english.


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## bishopthomas

I'm mixing monitors on one right now kind of a festival type concert in a theatre. It's definitely doing the job, although I wish I had my SI Compact instead (it's at FOH).


----------



## bishopthomas

JohnD said:


> Behringer is showing the new members of the X32 family at NAMM, here are links to the Behringer pages.
> Behringer: DIGITAL RACK MIXER X32 CORE
> Behringer: DIGITAL RACK MIXER X32 RACK
> Behringer: DIGITAL MIXER X32 PRODUCER
> Behringer: DIGITAL MIXER X32 COMPACT
> EDIT, adding possible prices, listed as MAP.
> X32 CORE $ 999.99
> X32 RACK $ 1499.99
> X32 Producer $ 1999.99
> X32 COMPACT $ 2499.99



That's very interesting. Actually, I can't wait to check out those options when I get home and have more time


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## JohnD

I have also been following this at prosoundweb.com and soundforums.net and there are some great thoughts there.
Since this is digital, there could be all sorts of software additions. The best idea to me is to add speaker processing. Yes, it could use up some effects routing but that would be a fair trade. Great for weekend warriors. The possibilities with the X32 Rack are interesting, use a Rack plus an S16 stagebox onstage and an X32 for FOH, then if you only need a few mic inputs, say a podium mic and audio for video, you could just use a laptop or ipad from onstage.


----------



## museav

JohnD said:


> The best idea to me is to add speaker processing. Yes, it could use up some effects routing but that would be a fair trade. Great for weekend warriors.


Yes and no. It means having everything in one package, which makes for a compact, simple system. But it also means having everything in one package, meaning that if you have any problems you can't do something like borrow a mixer to get you through since you'd also have to address the speaker processing. It also may not make as much sense when you are seeing a number of new powered speakers being introduced, in some cases such as Behringer, Mackie, PreSonus and Line 6 by the same manufacturers as the mixers, with their own onboard processing.


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## bishopthomas

I'm having trouble figuring out the difference between the S16 and Rack. Maybe it's because I'm cruising the webs with my phone. Is it that the Rack has internal processing and the S16 is strictly just preamp/conversion for snake use? I guess since they're pushing the ipad thing so hard that would make sense. S16 needs a control surface, Rack can be controlled via iPad. Sound feasable? If so I will probably be buying at least one Rack unit as well as an X32 or one of the smaller mixers. Then I can mix off an ipad for smaller gigs, then bring out a console maybe with another rack to allow for digital snakeness. Can't wait to see some of this stuff in person.


----------



## chausman

bishopthomas said:


> I'm having trouble figuring out the difference between the S16 and Rack. Maybe it's because I'm cruising the webs with my phone. Is it that the Rack has internal processing and the S16 is strictly just preamp/conversion for snake use? I guess since they're pushing the ipad thing so hard that would make sense. S16 needs a control surface, Rack can be controlled via iPad. Sound feasable? If so I will probably be buying at least one Rack unit as well as an X32 or one of the smaller mixers. Then I can mix off an ipad for smaller gigs, then bring out a console maybe with another rack to allow for digital snakeness. Can't wait to see some of this stuff in person.



That's how it appears to me. Rack as the "brain" that runs with or without a control surface, and S16 as just a stage box for the digital snake/pre amps.


Sent from my iPad using Tapatalk HD


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## JohnD

I keep looking around at prices and sometimes a deal really isn't a deal. Check out this from proaudiostar.
Behringer X32 Digital Mixer


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## Call911

JohnD said:


> I keep looking around at prices and sometimes a deal really isn't a deal. Check out this from proaudiostar.
> Behringer X32 Digital Mixer



I picked one up at guitar center for a local church. When I presented the non-for-profit papers and they saw it was for a church, they knocked it down to $2,100. I was impressed, as my quote I was going to ask them to match was $2,500.


----------



## museav

JohnD said:


> I keep looking around at prices and sometimes a deal really isn't a deal. Check out this from proaudiostar.
> Behringer X32 Digital Mixer


Or look at this, Tascam CD-200i , do I want the $291.48 version or the $1,000,000 one? Seems like they really value the extended warranty or some cheap RCA cables and a few blank CDs.


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## bishopthomas

Wow, that's pretty crazy. I didn't think Behringer had that much of a profit margin. When it comes time to buy I think I'm going to contact a long lost buddy who is a dealer and see what he can do for me.


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## TimmyP1955

I believe it's like this:

If 16 channels and 8 outputs will do, and all your mixing will be via iDevice(s), an X32Rack will do. If you need all 32 channels or all 16 outputs, add an S16.

Or, if you don't care to have the X32Rack's controls and display for emergency use, you can use an X32Core and one or two S16.

Either of these setups, along with an XLR splitter, would be just the thing for a band on IEMs.


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## simoneves

I'm intrigued by the new X32 variants, but there's one thing about them which puts me off.

They have 16 (well, 17) lovely powered faders, but at first glance it appears you can only use the first 8 for input channels, with the second 8 reserved for buses/groups/DCAs.

Maybe I need to reconsider my workflow, but for live theatre use (which is what I do) I hardly ever do anything other than channels-to-stereo-main. I don't really need 32 (or 40) inputs as you get on the full X32. I'd be quite happy with a 16 (22) input system as long as it had 16 real channel faders, or at least was able to map the second set of 8 to channels 9-16.

Maybe this is possible under the hood and there's just not a hot-key for it?

Anyone know?


----------



## simoneves

simoneves said:


> I'm intrigued by the new X32 variants, but there's one thing about them which puts me off.
> 
> They have 16 (well, 17) lovely powered faders, but at first glance it appears you can only use the first 8 for input channels, with the second 8 reserved for buses/groups/DCAs.
> 
> Maybe I need to reconsider my workflow, but for live theatre use (which is what I do) I hardly ever do anything other than channels-to-stereo-main. I don't really need 32 (or 40) inputs as you get on the full X32. I'd be quite happy with a 16 (22) input system as long as it had 16 real channel faders, or at least was able to map the second set of 8 to channels 9-16.
> 
> Maybe this is possible under the hood and there's just not a hot-key for it?
> 
> Anyone know?



After a quick delve through the X32 manual, I suspect I am being a dummy.

Can I just assign DCA1 to just Channel 9 (or 17, on the full-size X32), and so on, and therefore have live fader control of all 16 (or 24, on the full-size) channels? I'd still have to use the paging to access OTHER functions of channels 9-16 (or 17-24), but at least the faders would be there.


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## bishopthomas

simoneves said:


> After a quick delve through the X32 manual, I suspect I am being a dummy.
> 
> Can I just assign DCA1 to just Channel 9 (or 17, on the full-size X32), and so on, and therefore have live fader control of all 16 (or 24, on the full-size) channels? I'd still have to use the paging to access OTHER functions of channels 9-16 (or 17-24), but at least the faders would be there.



Yes, absolutely. Did you find out how to assign DCA's? What's the issue you're having?


----------



## simoneves

bishopthomas said:


> Yes, absolutely. Did you find out how to assign DCA's? What's the issue you're having?



No issue yet because I don't own one yet! 

I was just trying to decide whether I had to splash for the full-size version in order to get more than 8 channel faders at the same time, even though I don't really need all those inputs. Yet.

There was stuff about how to assign stuff to DCAs in the manual, but I don't remember the details, and I didn't keep the PDF download.


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## bishopthomas

Oh, I see. Yeah, you can certainly do it that way if that's what works for you. Just make sure the input fader is at 0 and know that a VCA changes your sends as well.


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## simoneves

I guess I need to read up on what DCAs actually do. What you said implies that (when assigned, in this case) they are an *additional gain* stage in the path, so that the fader still has a relative effect (and therefore needs to be parked at 0). By "it changes the sends" as well, do you mean that the DCA gain is always "pre-aux", even if the aux is set to "pre-fader"? (ie. the order is DCA, pre-fader aux send, fader, post-fader aux send)? That would be fine, as I don't ever use pre-fader aux sends from channels (or, at least, not ones that I'd want to have DCAs attached to).


----------



## Footer

I would be amazed if the 16 fader console does not have a way to "cascade" the next 8 channels on the DCA/mix area. You can not do this on the full sized, but it would blow my mind if you can't do this on this smaller desk.


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## simoneves

IMHO, it's still a bit silly, though, that it doesn't just give you the option of assigning that second bank of faders to channels, given that all the strips are functionally identical and all it would need is another "bank select" button for the second set.


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## simoneves

Footer said:


> I would be amazed if the 16 fader console does not have a way to "cascade" the next 8 channels on the DCA/mix area. You can not do this on the full sized, but it would blow my mind if you can't do this on this smaller desk.



My point exactly.

Trivial to implement in the software, but if there ain't a button for it, then... :\

I guess because it's not actually immediately obvious *which* channel set to put there. If you have 9-16 selected on the first bank, would you also want them on the second bank? Should that mode just always do the "next 8", after the ones selected for the first bank? What should it put on the second bank if you've selected the "last 8" in the first bank? If you wanted it to be completely flexible, you'd need a complete set of channel bank select buttons (1-8, 9-16, 17-24, 25-32, Aux/USB) for *both* banks. Plus, the behaviour would then have to be different on the full-size model.


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## DuckJordan

Or a single two button combo that cycles through, so three buttons total for the two faders banks


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## covenantseth

Hey everyone! My turn for a quick word on the board

Our church just purchased the X32 board Saturday and used it this yesterday for worship. . . We upgraded from the Studiolive 24. So having used both the x32 and the Studiolive 24 I can say that the X32 smokes
the Studiolive 24.

I did not know how the board was going to sound but I was blown away by what Behringer did with this board. This is a redeeming piece of equipment for them.

The sound of the board as a whole is much better. The sound of the preamps in the X32 is incredible. I could not believe the immediate difference in the sound between the 2 boards. The X32 felt much warmer and smoother than the Studiolive as well as easy on the ears. The Studiolive felt more more harsh and cold.

Our drummer ran monitors himself from the app without bothering the sound guy. We plugged the system right into the network and fired it all right up.

It took a little time to setup because of what we use it for. We have mixes for Livestreaming, CCTV, foyer feeds, ect. However after getting the initial setup done, the board was really fun to work with.

The compressor feels very transparent.
The knobs and buttons feel pretty good.
The channel strip labeling is REALLY nice and convenient.
The user interface and workflow does not feel overly complicated.
The network setup took about 30 seconds
Updating the firmware is as simple at rebooting the mixer with a thumb drive plugged in that has the new firmware on it

I currently work with churches consulting on A/V and this is the first piece of Behringer gear that I would recommend. We will see how it holds up the next few years but I am already very happy with it.

I also called Behringer today and spoke with Zach I believe. I had no wait in line for tech support and he spoke very good english He was able to answer all my questions and was very helpful.

I have worked in video and audio post production, engineering and ran a recording studio , done live audio/video production and worked in studios with big 20ft long audio boards and am a musician myself; That being said this is an incredible sounding board. It's not a $100,000 board, but it is legitimate. I understand the frustration of the past with Behringer, however this board is groundbreaking. 

All I can say is, If you haven't actually heard the board or used it in a live setting, you have little right to much of an opinion Thanks for reading!


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## ratthepoodle

wiscolighting said:


> As long as you can put up with the endless mockery... if it works for you than awesome!



Haha, I'll never trust Behringer's stuff, (In my opinion) they have a bad rep


----------



## JoeSanborn

DuckJordan said:


> Or a single two button combo that cycles through, so three buttons total for the two faders banks



Dear Covenantseth,

Welcome to the X32 family and thanks for putting your trust in our products. We engineered the X32 to be the very best live/recording mixer possible and your comments are welcome feedback from a real-life user. It's not only the deep feature set, motorized faders and studio-quality FX that set the X32 apart, but the pristine response of the MIDAS mic pres as well. I am also pleased to hear that you have been well served by our CARE group as we have put a lot of effort and expense into delivering world-class support for the X32 and all of our products. Please do not hesitate to share your experiences with the X32 here and to us directly at BEHRINGER if we can be of further service or support.

Best regards,
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## bishopthomas

DuckJordan said:


> Or a single two button combo that cycles through, so three buttons total for the two faders banks



The ability to split the console (inputs/master section) is one significant reason why I like it. I do a lot of monitor mixing and being able to quickly access mix masters is crucial. Although, I do wish the right side could become inputs if desired. Oh well, can't have it all, especially for this price.


----------



## eagl340

I own the X32 and am very impressed with the console. I do have a question. When I link 2 input channels as a stereo pair, the console automatically pans each channel all the way left and right for me, which is great, now when I unlink the channels, the console Does Not reset the pan back to Center, it leave the first channel paned left and the second panned right. Is there a setting I'm Missing, or can this be updated in a future upgrade?


----------



## museav

eagl340 said:


> I own the X32 and am very impressed with the console. I do have a question. When I link 2 input channels as a stereo pair, the console automatically pans each channel all the way left and right for me, which is great, now when I unlink the channels, the console Does Not reset the pan back to Center, it leave the first channel paned left and the second panned right. Is there a setting I'm Missing, or can this be updated in a future upgrade?


Since you are typically linking stereo pairs, if you unlink them then it seems to make sense to leave them as left and right rather than assuming they would be center panned.


----------



## eagl340

museav said:


> Since you are typically linking stereo pairs, if you unlink them then it seems to make sense to leave them as left and right rather than assuming they would be center panned.



But if you are unlinking them, one would think that you no longer want them to be treated as a stero pair and would want them to go back to individual channels. Thus, if the console is smart enough to auto pan L&R when you link 2 channels, it should also un-pan when you unlink them. In my opinion.


----------



## museav

eagl340 said:


> But if you are unlinking them, one would think that you no longer want them to be treated as a stero pair and would want them to go back to individual channels. Thus, if the console is smart enough to auto pan L&R when you link 2 channels, it should also un-pan when you unlink them. In my opinion.


I think the logic is that linking two channels indicates that they are a stereo pair. I can see where someone might link a pair and then unlink them to adjust the relative level of the two channels but I don't see how often someone would be linking and unlinking a channel pair while also bouncing between stereo and mono and I would guess that may be Behringer's logic behind how it currently works.


----------



## chausman

museav said:


> I think the logic is that linking two channels indicates that they are a stereo pair. I can see where someone might link a pair and then unlink them to adjust the relative level of the two channels but I don't see how often someone would be linking and unlinking a channel pair while also bouncing between stereo and mono and I would guess that may be Behringer's logic behind how it currently works.



Say you had a CD player (for example) on a stereo pair, so you linked them together. It automatically panned them left and right for you. Later you decide you don't want that CD player there, and you need to make room for your big 16+ member jazz choir, so you unlink the pair so you can fit more vocalists mics. In this case, it would be nice to have them automatically return to being panned center. I personally think Brads scenario is more likely to occur than mine, however it is an option they may wish to add in at a later date, where a user could choose whether they want it to pan automatically when unlinked. But to pan to channels back to center can't be too difficult.


----------



## bishopthomas

I agree that unlinking a stereo pair should return the channels to center. I also feel that linking a pair does not necessarily mean they should be hard panned. I almost never hard pan stereo channels. Either way, the situation that you are describing would be rare enough that I really don't think it's an issue. Besides, how hard is it to turn two knobs?


----------



## TimmyP1955

simoneves said:


> I guess I need to read up on what DCAs actually do. What you said implies that (when assigned, in this case) they are an *additional gain* stage in the path, so that the fader still has a relative effect (and therefore needs to be parked at 0). By "it changes the sends" as well, do you mean that the DCA gain is always "pre-aux", even if the aux is set to "pre-fader"? (ie. the order is DCA, pre-fader aux send, fader, post-fader aux send)? That would be fine, as I don't ever use pre-fader aux sends from channels (or, at least, not ones that I'd want to have DCAs attached to).



Nope. A bus that is configured as a group would be an additional gain stage. A DCA (or VCA on an analog console) is merely a remote control for whatever fader or faders the operator cares to assign to the DCA. A DCA can control one channel, every channel, or any number in between. Or it can control one or more buses (aux or FX sends). Or it can control a combination of channels and buses. If desired, a channel or bus can be assigned to more than one DCA (for instance one DCA for all the drum channels, and another DCA for all the drum channels and all the other channels of the band). Whatever makes the task of mixing easier. (Dave Rat has a video or two on YouTube regarding advanced DCA uses.)


----------



## simoneves

TimmyP1955 said:


> Nope. A bus that is configured as a group would be an additional gain stage. A DCA (or VCA on an analog console) is merely a remote control for whatever fader or faders the operator cares to assign to the DCA. A DCA can control one channel, every channel, or any number in between. Or it can control one or more buses (aux or FX sends). Or it can control a combination of channels and buses. If desired, a channel or bus can be assigned to more than one DCA (for instance one DCA for all the drum channels, and another DCA for all the drum channels and all the other channels of the band). Whatever makes the task of mixing easier. (Dave Rat has a video or two on YouTube regarding advanced DCA uses.)



Got it. Makes perfect sense. Thanks!


----------



## bishopthomas

Hey, Joe, or other Behringer peeps around here:

I've been holding out for the new products before buying an X32 because I want to ensure the most flexible system for my needs, and I have a couple of questions. Mainly, can the X32 console interface with the Rack device? I am thinking that I'd like to have an X32 Rack to use as a small compact rig. I have a few bands as clients that can be mixed in 16 channels but because of the type of gig (lots of benefits, corporate type settings) I can't have a FOH position, so I typically use the iPad with the mixer on the side of the stage. I've run into a few situations where having a 32 channel console on stage takes up too much space, even if it's not manned. So situation one is simple enough: Rack, iPad, collect money

Here's where it gets more complicated. I like to be as modular as possible so besides this basic setup I would want the Rack to serve a multitude of functions. Is it possible for a full size X32 to derive its inputs from the Rack and bypass the processing? I'd like to be able to have a Rack and S16 in a rack together to do 32 channels via iPad, but then it would be great to be able to patch an X32 right into it. I was actually hoping for an X32 surface in this new lineup. I'm going to be using either a Rack/S16/iPad or an X32/stagebox with digital snake, so personally I will probably never use the local I/O of the X32.

While I'm asking here... What about interfacing the other products with internal processing? Say I were to buy a Producer and S16 as well as an X32. Could I use the Producer/S16 combo on stage as a monitor console then run Cat5 to an X32 at FOH? Any other weird uses and combinations I've forgotten?  Thanks!


----------



## simoneves

I'm wondering if we're any closer to knowing availability of the new stuff in the X32 range, specifically the Compact?

I'm in the process of getting funding to get a new console in time for a theatre production opening early May, and although part of me says I should just stretch to the full-sized X32 for future-proofing (and to get 16 real channel faders - see my earlier questions in this thread), I can also think of equally useful things to spend that extra $500 on.


----------



## Spresley

bishopthomas said:


> Hey, Joe, or other Behringer peeps around here:
> 
> Is it possible for a full size X32 to derive its inputs from the Rack and bypass the processing? I'd like to be able to have a Rack and S16 in a rack together to do 32 channels via iPad, but then it would be great to be able to patch an X32 right into it. I was actually hoping for an X32 surface in this new lineup. I'm going to be using either a Rack/S16/iPad or an X32/stagebox with digital snake, so personally I will probably never use the local I/O of the X32.



I think what you are asking in a nut shell, is can an X32rack act as a S16 snake head - yes
Can you cat 5 from an X32rack, and s16 to an X32 and have the control at the X32 yes...

Can the X32 rack, or producer be a monitor console on stage, and then cat 5 to the X32 out front.... yes...

All of the products "talk" to eachother via the AES50 network, so basically you are just "pointing" the X32 to where you want the input sources to be coming from.


----------



## bishopthomas

That's what I thought, just wanted to confirm before I list my Studiolive for sale and start spending money. Thanks!


----------



## JoeSanborn

bishopthomas said:


> Hey, Joe, or other Behringer peeps around here:
> 
> I've been holding out for the new products before buying an X32 because I want to ensure the most flexible system for my needs, and I have a couple of questions. Mainly, can the X32 console interface with the Rack device? I am thinking that I'd like to have an X32 Rack to use as a small compact rig. I have a few bands as clients that can be mixed in 16 channels but because of the type of gig (lots of benefits, corporate type settings) I can't have a FOH position, so I typically use the iPad with the mixer on the side of the stage. I've run into a few situations where having a 32 channel console on stage takes up too much space, even if it's not manned. So situation one is simple enough: Rack, iPad, collect money
> 
> Here's where it gets more complicated. I like to be as modular as possible so besides this basic setup I would want the Rack to serve a multitude of functions. Is it possible for a full size X32 to derive its inputs from the Rack and bypass the processing? I'd like to be able to have a Rack and S16 in a rack together to do 32 channels via iPad, but then it would be great to be able to patch an X32 right into it. I was actually hoping for an X32 surface in this new lineup. I'm going to be using either a Rack/S16/iPad or an X32/stagebox with digital snake, so personally I will probably never use the local I/O of the X32.
> 
> While I'm asking here... What about interfacing the other products with internal processing? Say I were to buy a Producer and S16 as well as an X32. Could I use the Producer/S16 combo on stage as a monitor console then run Cat5 to an X32 at FOH? Any other weird uses and combinations I've forgotten?  Thanks!



Hi,

The X32 RACK can connect to the X32 via Ethernet (AES50) to create a digital split, for use as a FOH / Monitor console, as you describe. 
With the current implementation, the X32's control surface would NOT be able to control the X32 RACK. For smaller gigs or in a pinch, the X32 RACK can also be completely controlled using the encoders and screen on the front panel. Another option is to connect your PC, Mac, or Linux computer directly to the X32 RACK via Ethernet and use XControl for a hard-wired solution. XControl also will work over a wireless network.

You can use the X32 Rack to split and send mic signals to your X32 via AES50, (in place of an S16, as you describe). The only thing to consider here is that the X32, (currently), has no access to mic preamp control on the X32 Rack. With the ability to connect up to 10 devices to the X32 Rack via a Wired/Wireless Network, (as long as you have an iPad or computer at FOH), this may or may not be an issue for you. Another advantage to this kind of setup is in the unlikely event that anything should go wrong with your X32, you would have a fully functioning 32-channel backup X32 with the combination of the S16 and X32 RACK ready to go. 

Each X32 and S16 has 2 AES50 Ethernet connections. Because AES50 is a bi-directional 48x48 channel system, you can split and share audio between consoles. There is a page in the ROUTING menu on the X32 that determines what that console is sending down its' 48 AES50 outputs, (there is a separate page for each of the 2 ports).
So in your example, you could bring signal into the X32 PRODUCER using a combination of Local Mic Preamps & S16 Mic Preamps. From there you could route all 32 of these signals out of the AES50 B port to an X32, X32 COMPACT, X32 PRODUCER, or X32 CORE. The signal being sent would be a digital split, taking place just after A/D conversion before any processing takes place. This is great when employing a second console for Monitor position or broadcast.

Best regards,
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## JoeSanborn

Hi Guys,

We have started a new Tech Talk Series on the BEHRINGER forum. We will be covering any hot topics we are getting questions about.

The S16 Digital Snake has been shipping for the past few months and we have noticed an increase in the number of setup questions. The first Tech Talk covers this topic.

http://forum.behringer.com/showthread.php?853-BEHRINGER-Tech-Talk-01-S16-and-X32

Keep an eye on the X32 Resources area for more additions to the BEHRINGER Tech Talk Series. 
Also feel free to let us know of other topics you would like to see in the future.

Best Regards,
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER


----------



## Samsilvasound

*x32 and the s16s(sounds like a weird band name)*

So my boss when and got this Behringer X32 and two e snakes. I'm setting it up, got the ethernet cable run(200 feet) and the board sees them, i have them set up in stand alonemode. heres the issue. I can't control them, i've plugged my computer into one of the local channels and it will not come out of the speakers, I've also plugged directly into the snake, and the board has no control over the channel. HELP. tech started today, thanks to my boss i'm running this one with much concern, and could use some immediate help here. you can call if from the us, 7243665516. thanks


----------



## Samsilvasound

*Re: x32 and the s16s(sounds like a weird band name)*

s16 e snakes


----------



## chausman

*Re: x32 and the s16s(sounds like a weird band name)*

Have you made sure your patch is correct in settings, so the console is actually communicating with the S16e?


----------



## Samsilvasound

*Re: x32 and the s16s(sounds like a weird band name)*

as far as i know, but once again, this board was kind of a surprise on me, and def a noob when it comes to this guy. help? how to set up? kind of cutting close.


----------



## chausman

*Re: x32 and the s16s(sounds like a weird band name)*


Samsilvasound said:


> as far as i know, but once again, this board was kind of a surprise on me, and def a noob when it comes to this guy. help? how to set up? kind of cutting close.



Page 30 of the manual shows the basics of connecting to the stage boxes.


----------



## DaveySimps

*Re: x32 and the s16s(sounds like a weird band name)*

Private Message member JoeSanborn. He is from Behringer, and posted earlier in this thread. They have made it clear that they are here to help our members and stand behind in support of their products.

I suggest that after your show is over, your boss set up some time for training on the new board for all potential end users. This should be an integral part of the integration of any new board, no matter how experienced the user is.

When you get an opportunity, please stop by the New Member Board and introduce yourself. We hope that you stay and enjoy your time here.

~Dave


----------



## dmx

*Re: x32 and the s16s(sounds like a weird band name)*

Does anyone know what the maximum number of scenes is for the X32? I thought I read/heard 100 someplace but cannot find it now. Also, what is a fair price for this console in your market? Thanks!


Edit: I found the brochure lists 100 scenes internal. Is there a limit to the # that can be stored on the USB drive?


----------



## Samsilvasound

*Re: x32 and the s16s(sounds like a weird band name)*

thanks
appreciate it


----------



## FHammond

*Re: x32 and the s16s(sounds like a weird band name)*


Samsilvasound said:


> So my boss when and got this Behringer X32 and two e snakes. I'm setting it up, got the ethernet cable run(200 feet) and the board sees them, i have them set up in stand alonemode. heres the issue. I can't control them, i've plugged my computer into one of the local channels and it will not come out of the speakers, I've also plugged directly into the snake, and the board has no control over the channel. HELP. tech started today, thanks to my boss i'm running this one with much concern, and could use some immediate help here. you can call if from the us, 7243665516. thanks



Hi Samsilvasound,

Sorry to hear you are having difficulty configuring your X32 and S16s. I shall PM you now to discuss this matter further.

Kind Regards,
Fiona Hammond
CARE EMEA
MUSIC Group
BEHRINGER


----------



## DarkAndy

Joe, do you have any plans for an x32 without the preamps and DACs. I am looking at an X32 with 2 S16s, for my use I will never plug anything into the console itself so it seems I am paying twice for the head end which I won't ever use. Either way the X32 with the S16s is still the package I am likely to purchase. Many thanks, Andy.


----------



## bishopthomas

I am hoping for the same thing. I don't think it will happen, but it would be great to have a surface only X32. Give me an 8x8 IO bank and a Cat5 connection and I'll buy it today.


----------



## museav

bishopthomas said:


> I am hoping for the same thing. I don't think it will happen, but it would be great to have a surface only X32. Give me an 8x8 IO bank and a Cat5 connection and I'll buy it today.


It couldn't be surface only, it would have to be worksurface and processing engine. The GLD80 and SD9 probably come closest to being something like that with remote I/O boxes and limited local I/O but those were both designed that way from the start.


----------



## Koopdaddy

*Re: x32 and the s16s(sounds like a weird band name)*


dmx said:


> Does anyone know what the maximum number of scenes is for the X32? I thought I read/heard 100 someplace but cannot find it now. Also, what is a fair price for this console in your market? Thanks!
> 
> 
> Edit: I found the brochure lists 100 scenes internal. Is there a limit to the # that can be stored on the USB drive?



100 scenes per show file. So if you need more than 100 you would have to create a second show file to include any scenes beyond 100.

USB drive will hold as many show files as it has space for.

Hope that helps.
Jared


----------



## chausman

*Re: x32 and the s16s(sounds like a weird band name)*


Koopdaddy said:


> 100 scenes per show file. So if you need more than 100 you would have to create a second show file to include any scenes beyond 100.
> 
> USB drive will hold as many show files as it has space for.
> 
> Hope that helps.
> Jared



What would be an average show file size out of curiosity?


----------



## museav

*Re: x32 and the s16s(sounds like a weird band name)*


Koopdaddy said:


> 100 scenes per show file. So if you need more than 100 you would have to create a second show file to include any scenes beyond 100.
> 
> USB drive will hold as many show files as it has space for.


I believe that XControl 0.7, which is now three versions back, introduced a dual show mode that allowed accessing 200 scenes. And some enterprising folks had an issue with the original scene limits and management so you might want to check out X32 for theatrical work. - Page 4 and Scene Manager - Public Beta Release V 0.1.5 - Page 2 for a related discussion and solution in process to allow for unlimited scenes.


----------



## Koopdaddy

*Re: x32 and the s16s(sounds like a weird band name)*


chausman said:


> What would be an average show file size out of curiosity?



I created a test show with 100 scenes and it came out to just under 6MB for a show file with 100 scenes.


----------



## Koopdaddy

*Re: x32 and the s16s(sounds like a weird band name)*


museav said:


> I believe that XControl 0.7, which is now three versions back, introduced a dual show mode that allowed accessing 200 scenes. And some enterprising folks had an issue with the original scene limits and management so you might want to check out X32 for theatrical work. - Page 4 and Scene Manager - Public Beta Release V 0.1.5 - Page 2 for a related discussion and solution in process to allow for unlimited scenes.




Cool. I dont do theater and we rarely go above 10 scenes right now for our use so I had not read that.

Thanks


----------



## DarkAndy

*Re: x32 and the s16s(sounds like a weird band name)*

Hi Guys, hopefully someone out there who has an X32 can help me as I can't find a supplier local to me who has one I can try. The pictures show something on the bottom right of the console which looks like an ipod dock but the manual which I have downloaded does not mention this at all. I am hoping that the console can play background music either by docking an ipod or by plugging a usb stick into the usb port as this will get rid of the last piece of outboard gear in one of our racks and would make purchasing one more attractive. Can anyone tell me if either of these is possible. Cheers, Andy.


----------



## Koopdaddy

*Re: x32 and the s16s(sounds like a weird band name)*


DarkAndy said:


> Hi Guys, hopefully someone out there who has an X32 can help me as I can't find a supplier local to me who has one I can try. The pictures show something on the bottom right of the console which looks like an ipod dock but the manual which I have downloaded does not mention this at all. I am hoping that the console can play background music either by docking an ipod or by plugging a usb stick into the usb port as this will get rid of the last piece of outboard gear in one of our racks and would make purchasing one more attractive. Can anyone tell me if either of these is possible. Cheers, Andy.



As you can see in the lower right there is a "dock" for an iPod type device. There is not a connection port so you still need to run a cable to an input on the back Of the mixer.


----------



## Footer

*Re: x32 and the s16s(sounds like a weird band name)*


DarkAndy said:


> Hi Guys, hopefully someone out there who has an X32 can help me as I can't find a supplier local to me who has one I can try. The pictures show something on the bottom right of the console which looks like an ipod dock but the manual which I have downloaded does not mention this at all. I am hoping that the console can play background music either by docking an ipod or by plugging a usb stick into the usb port as this will get rid of the last piece of outboard gear in one of our racks and would make purchasing one more attractive. Can anyone tell me if either of these is possible. Cheers, Andy.



Its not a dock, its just a piece of rubber about the size of a phone. The USB port on top can play back mp3 files from a USB stick.

Sent from my Nexus 7 using Tapatalk HD


----------



## DarkAndy

*Re: x32 and the s16s(sounds like a weird band name)*


Footer said:


> Its not a dock, its just a piece of rubber about the size of a phone. The USB port on top can play back mp3 files from a USB stick.
> 
> Sent from my Nexus 7 using Tapatalk HD



Hi Kyle,

many thanks, that solves my problem.

Cheers,

Andy.


----------



## Footer

*Re: x32 and the s16s(sounds like a weird band name)*


DarkAndy said:


> Hi Kyle,
> 
> many thanks, that solves my problem.
> 
> Cheers,
> 
> Andy.



That USB port can also do a 2 track recording of any input or output.


----------



## bishopthomas

*Re: x32 and the s16s(sounds like a weird band name)*

I'm not sure if the console can read an iPhone as a disk image but would be interested to find out. You can also connect a computer to the Firewire port and use the console as an interface for playing back tracks that way. Although, I believe that you set the routing in 8 channel increments so if you only need L/R from your computer then you'll be eating up 6 channels that will not be used.


----------



## THORNSZ

*Looking for a Professional Sound Dude in Houston*

So we're about to purchase this Behringer X32 in my church in a few weeks and now we're looking for a Professional reliable Sound dude who can train people, setup and mix the whole thing. We're looking for a sound man who can be with us every Saturday/Sunday or on Occasional events. More likely and on call Sound Tech.  

Faith International Fellowship
Location: 72525 Jones Rd., Houston TX.

Interested? kindly fill up the FF:
*Name:
Contact No.:
Email: 
Recent or past Establishment/facility you work with: 
Rate: *


Thanks!


----------



## bishopthomas

*Re: Looking for a Professional Sound Dude in Houston*

Maybe you'll have better luck posting this in the appropriate (Classifieds) section rather in a multi-page thread about a specific product. Also try the Marketplace at Pro Sound Web.


----------



## Spresley

*Re: Looking for a Professional Sound Dude in Houston*


bishopthomas said:


> Maybe you'll have better luck posting this in the appropriate (Classifieds) section rather in a multi-page thread about a specific product. Also try the Marketplace at Pro Sound Web.




You should also post here in the marketplace as well...
Sound Forums Network - The Front Page


----------



## TimmyP1955

*Re: Looking for a Professional Sound Dude in Houston*


THORNSZ said:


> So we're about to purchase this Behringer X32 in my church in a few weeks and now we're looking for a Professional reliable Sound dude who can train people, setup and mix the whole thing. We're looking for a sound man who can be with us every Saturday/Sunday or on Occasional events. More likely and on call Sound Tech.
> 
> Faith International Fellowship
> Location: 72525 Jones Rd., Houston TX.
> 
> Interested? kindly fill up the FF:
> *Name:
> Contact No.:
> Email:
> Recent or past Establishment/facility you work with:
> Rate: *
> 
> 
> Thanks!



You should get it from a dealer who can provide on-site training. As many as Indianapolis has, Houston should have a bunch.


----------



## museav

*Re: Looking for a Professional Sound Dude in Houston*


THORNSZ said:


> So we're about to purchase this Behringer X32 in my church in a few weeks and now we're looking for a Professional reliable Sound dude who can train people, setup and mix the whole thing. We're looking for a sound man who can be with us every Saturday/Sunday or on Occasional events. More likely and on call Sound Tech.


I agree with others regarding where to post but before you post elsewhere you might want to think about what you want and can afford. It sounds like you want someone to not only help you configure the mixer and train you on it but also to operate it. You apparently want them present every Saturday and Sunday and for "occasional" events. You also seem to want them to be "on call" and be available at any time. And all that for some unspecified period of time and unidentified compensation.

Unless you contract with a larger company that has multiple personnel they may send as they see fit then if you want someone available to do whatever you need and to do it whenever you want it then it sounds like you are looking for a full time employee. If you don't want that then there may have to be some compromises on their availability for "occasional events" and being on call.


----------



## derekleffew

*Re: Looking for a Professional Sound Dude in Houston*

To no one in particular:
If a post appears to be incongruous, before criticizing the OP for posting where he/she has, check the post title. If it doesn't match the thread title, very likely the post was moved from another location by a moderator, "in order to avoid multiple threads on the same/similar topic."


----------



## Starstruck

*Re: x32 and the s16s(sounds like a weird band name)*


[B]museav[/B] said:


> I believe that XControl 0.7, which is now three versions back, introduced a dual show mode that allowed accessing 200 scenes. And some enterprising folks had an issue with the original scene limits and management so you might want to check out X32 for theatrical work. - Page 4 and Scene Manager - Public Beta Release V 0.1.5 - Page 2 for a related discussion and solution in process to allow for unlimited scenes.







Koopdaddy said:


> Cool. I dont do theater and we rarely go above 10 scenes right now for our use so I had not read that.
> 
> Thanks



I have now released version 0.1.8 which uploads an unlimited no of scenes. You can find more details on the soundforums.net site or the X32 User Net site 

Im also open to requests for additional features if there is anything that you would like to see, drop me a line.

Kev Hunter


----------



## JohnD

*Re: x32 and the s16s(sounds like a weird band name)*

The post my TimmyP1955 reminded me that it is important WHO you buy it from, if you don't buy it from an authorized dealer, no warranty.


----------



## museav

*Re: x32 and the s16s(sounds like a weird band name)*


JohnD said:


> The post my TimmyP1955 reminded me that it is important WHO you buy it from, if you don't buy it from an authorized dealer, no warranty.


Which is true for most products. It's also not just a potential warranty issue, I recently encountered a situation where there was a product that was not performing as expected and I got the manufacturer to agree to take the units (there were 8 on the Project) back and issue full credit but it turned out that the Contractor was not an authorized dealer and had purchased them through a third party who would not take them back.


----------



## Footer

So, tonight we have in the first group touring with an x32 w/the stage box. We have UK with Eddie Johnson, John Wetton, Alex Machacek, and Virgil Donati in our smaller room

Sent from my Nexus 7 using Tapatalk HD


----------



## ManowarKill

Did a 2 week tour mixing FOH and 6 stereo InEar mixes with one of these a few months ago. Couldnt fault it .


----------



## JoeSanborn

Hi Guys,
We have some X32 Webinars coming up for July.

*Webinar Schedule July 2013*

*7/9/2013 Tues 12PM PST 
X32 COMPACT - X32 Series* 
In this Webinar, we will take you through the 4 latest additions to the X32 family. We will be focusing specifically on the newly released X32 COMPACT. Other products covered will include the X32 PRODUCER, X32 RACK, and X32 CORE. The overview will discuss operation and realworld applications for these exciting new X32 products. 
Presented by:
Joe Sanborn - Manager, Product Support
John DiNicola - Senior Specialist, Product Support 
https://www4.gotomeeting.com/register/749388799

*7/16/2013 Tues 12PM PST 
Setting up a ProZone System - House of Worship Series*
In this Webinar, we will cover how the X32, S16 and P16 monitoring system connects together to create a digitally networked system in your House of Worship. 
Presented by:
Evan Hooton - Specialist, Product Support
https://www4.gotomeeting.com/register/870633975

*7/23/2013 Tues 12PM PST 
Setting up Mix Busses, Matrix, Subgroups, Mute Groups and DCA - House of Worship Series*
In this Webinar, we will talk about how to setup Mix Busses, Matrices, Subgroups, Mute Groups and DCA groups. We will then discuss ways to implement these mixing techniques into your House of Worship. 
Presented by:
Evan Hooton - Specialist, Product Support
https://www4.gotomeeting.com/register/475600127

*7/25/2013 Thurs 12PM PST 
X32 Scene & Preset Management - X32 Series* 
In this Webinar, we will cover in-depth the scene management features of the X32. Topics such as recall "safes" and importing / exporting scenes will be discussed. We will also cover the Preset Libraries and how they can be used in addition to scenes for recalling certain parameters.
Presented by:
Joe Sanborn - Manager, Product Support
John DiNicola - Senior Specialist, Product Support 
https://www4.gotomeeting.com/register/274369119


We hope you can make it!

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


----------



## bishopthomas

I just got off tour yesterday where we had an X32 doing monitor duty. I was hired to do lighting but I ended up getting thrown on monitor setup duty, so I personally used this console every day for (I believe) 26 shows. We purchased it from Guitar Center on day 3 or so because the band changed the setup at the last minute and the 16 channel MixWiz monitor console just wasn't cutting it (plus it was being finicky and main outputs dying). So we got the X32 in the Gator X-Tour case, or whatever it's called. Kind of weird having a nose cone on a case that small, but whatever... It did the job. The tour started in the Northeast, went across the Midwest, to California, then down and back to the Northeast via the Southern states. The console traveled in a trailer behind a bus, along with a plethora of other large and heavy cases. We had three trailer blowouts and a broken frame on the trailer, just for reference of the wear and tear of the road. The X32 is sitting in a storage unit safe and sound, looking and acting like the first day we purchased it.

I've got to say, this console really saved the day on this tour and was a huge step up from the MixWiz Monitor that we were previously using. The band is 4 IEM's and 5 wedge mixes (6 if the drum sub is a separate mix). Total input count is 31, so picking what went into the MixWiz was a major compromise. The singer liked the bottom snare mic, drummer wanted his toms in his mix, a guy added a mandolin... These were all issues at the beginning of this tour, as they have been for previous tours that the MixWiz has been on.

With the purchase of the X32 none of these compromises needed to be made. All 31 channels plus a talkback were there for the picking. No crazy cross patching, no telling a musician that they couldn't have the mix they wanted. Trumpet player wants to slam his mix, no problem; throw a limiter across the bus. Ringing toms in the drum box, throw some gates on and problem solved.

The band has been doing live multitracking for years. When I first started with them (as FOH) I was patching an HD24 into direct outs, or whatever I could find. More recently they were using the third output of the splitter and a series of preamps and interfaces and a MacBook Pro. Now it's a Firewire cable into the same laptop, and Reaper grabs the tracks. Apparently it worked well, the singer did some rough mixes on headphones in the back lounge.

Anyway, that's about it. Without this console's presence in the market my life would have been MUCH more difficult for the month I just spent out there in club land. It was a wonderful investment that they made, and it held up perfectly during thousands of miles of bouncing around in a trailer. There were times where water was thrown and landed on it, condensation dripped from the ceiling, it sat right next to slamming subwoofers... It did the job, sounded decent, made my life easier, and most importantly worked night after night without issues. Sorry to the naysayers but you've just been proven wrong.


----------



## DuckJordan

Glad to hear it, I've decided its what I need next for the business when we have funds available.


----------



## Footer

bishopthomas said:


> I just got off tour yesterday where we had an X32 doing monitor duty. I was hired to do lighting but I ended up getting thrown on monitor setup duty, so I personally used this console every day for (I believe) 26 shows. We purchased it from Guitar Center on day 3 or so because the band changed the setup at the last minute and the 16 channel MixWiz monitor console just wasn't cutting it (plus it was being finicky and main outputs dying). So we got the X32 in the Gator X-Tour case, or whatever it's called. Kind of weird having a nose cone on a case that small, but whatever... It did the job. The tour started in the Northeast, went across the Midwest, to California, then down and back to the Northeast via the Southern states. The console traveled in a trailer behind a bus, along with a plethora of other large and heavy cases. We had three trailer blowouts and a broken frame on the trailer, just for reference of the wear and tear of the road. The X32 is sitting in a storage unit safe and sound, looking and acting like the first day we purchased it.
> 
> I've got to say, this console really saved the day on this tour and was a huge step up from the MixWiz Monitor that we were previously using. The band is 4 IEM's and 5 wedge mixes (6 if the drum sub is a separate mix). Total input count is 31, so picking what went into the MixWiz was a major compromise. The singer liked the bottom snare mic, drummer wanted his toms in his mix, a guy added a mandolin... These were all issues at the beginning of this tour, as they have been for previous tours that the MixWiz has been on.
> 
> With the purchase of the X32 none of these compromises needed to be made. All 31 channels plus a talkback were there for the picking. No crazy cross patching, no telling a musician that they couldn't have the mix they wanted. Trumpet player wants to slam his mix, no problem; throw a limiter across the bus. Ringing toms in the drum box, throw some gates on and problem solved.
> 
> The band has been doing live multitracking for years. When I first started with them (as FOH) I was patching an HD24 into direct outs, or whatever I could find. More recently they were using the third output of the splitter and a series of preamps and interfaces and a MacBook Pro. Now it's a Firewire cable into the same laptop, and Reaper grabs the tracks. Apparently it worked well, the singer did some rough mixes on headphones in the back lounge.
> 
> Anyway, that's about it. Without this console's presence in the market my life would have been MUCH more difficult for the month I just spent out there in club land. It was a wonderful investment that they made, and it held up perfectly during thousands of miles of bouncing around in a trailer. There were times where water was thrown and landed on it, condensation dripped from the ceiling, it sat right next to slamming subwoofers... It did the job, sounded decent, made my life easier, and most importantly worked night after night without issues. Sorry to the naysayers but you've just been proven wrong.



Ours is closing in on a year. Tomorrow morning I'm using it to mix a 4 piece band outside for our noontime series. It is then going to go upstairs to do a gig for the governor because our Heritage has developed some kind of rolling click through the whole system. It will then go back to mixing monitors for a gig next week. It really surprises me how easy it is to mix monitors on. Besides having to dig a bit to get the the graphs it is a very quick monitor console. For a road console it would be more the enough. 

For what it is, it is hard to beat it. Glad it held up on the road. That gator case is a bit weird but so far it has worked rather well.


----------



## FMEng

Footer said:


> Ours is closing in on a year. Tomorrow morning I'm using it to mix a 4 piece band outside for our noontime series.



How does the screen and scribble strips do in sunlight? I do one or two events a year outside and I don't have the luxury of a tent or shade.


----------



## Footer

FMEng said:


> How does the screen and scribble strips do in sunlight? I do one or two events a year outside and I don't have the luxury of a tent or shade.



The events are called "Made in Shade of the Egg"... so, we are slightly in the shade of the bowl of the building. That being said, scribble strips are fine along with the screen on the console. The scribble strips actually have a good amount of contrast. The only thing that could be brighter is the LED's on the buttons. You can tell what is muted, soloed, etc, but it could be brighter. Once or twice I forgot that I was in sends on fader because the button was not as prominent as it is when it is in a dark environment (though I still want the ability to make that button flash when it is pressed).


----------



## bishopthomas

Kyle, I completely agree. The screen and scribble strips are surprisingly easy to see in the day time. And the "regular" buttons are too dim.


----------



## JoeSanborn

Dear Guys,

Firmware 1.15 is now live on the X32 product page:
Behringer: DIGITAL MIXER X32

*1.15 improvements:*
- support for latest X32-Edit
- 'select follows solo' function only selects a channel when solo is activated, not when deactivated
- icon and name now copied when activating a channel link
*new features:*
- additional aux routing sources (2, 4, or 6 channels)
- direct routing of aux inputs to aes ports and/or card
- push & hold the encoder during power-on to initialize the X32CORE
- X32CORE enters 'safe to power off' mode (i.e. all settings saved) when in setup menu (push & hold the USB button)

*X32-Mix 2.1*
Also a new major update to the iPad X32-Mix 2.1 available on the Apple app store.

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


----------



## Footer

JoeSanborn said:


> *X32-Mix 2.1*
> Also a new major update to the iPad X32-Mix 2.1 available on the Apple app store.



Nice update. Any ETA on the android app?


----------



## techietim

*Question about Behringer X32 and S16 Digital Snake*

Hi,

I'm new to the world of digital mixing and having had a quick look at the Behringer X32 mixing console have a couple of questions regarding the S16 digital snake.

You can see on the back of the X32 console that there are two inputs on the AES50, A and B.



There is the same on the S16 digital snake

Do both A and B have to be connected both ends for it to work or could you have 2 snakes.
One outputting A and going into A on the console
and one outputting B and going into B on the console?

Thanks


----------



## themuzicman

*Re: Question about Behringer X32 and S16 Digital Snake*

Each AES50 port on the console can handle 96 channels of I/O each (48 in, 48 out), for total of 129 channels of audio between both AES50 ports. You can have one S-16 on Stage Left, and one S-16 on Stage Right, or one on stage and one in the orchestra pit, for example. 

You can also do other things with it -- such as run FOH and Monitor X32's at once. Connect the AES50 A port on the first S16 to the AES50 A port on the X32 Monitor console. Connect the AES50 B port on the first S16 unit to the AES50 A Port on the second S16. Connect the AES50 A port on the FOH X32 to the AES50 B port of the monitor X32. When you connect two consoles to stageboxes via AES50 one of them will have master control of the gain so make sure you know which one is doing that! 

A lot of consoles with two ports allow you to have redundant feeds -- while the X32 manual has no mention of this, it'd be interesting if that was a possibility.


----------



## techietim

*Re: Question about Behringer X32 and S16 Digital Snake*


themuzicman said:


> Each AES50 port on the console can handle 96 channels of I/O each (48 in, 48 out), for total of 129 channels of audio between both AES50 ports. You can have one S-16 on Stage Left, and one S-16 on Stage Right, or one on stage and one in the orchestra pit, for example.
> 
> You can also do other things with it -- such as run FOH and Monitor X32's at once. Connect the AES50 A port on the first S16 to the AES50 A port on the X32 Monitor console. Connect the AES50 B port on the first S16 unit to the AES50 A Port on the second S16. Connect the AES50 A port on the FOH X32 to the AES50 B port of the monitor X32. When you connect two consoles to stageboxes via AES50 one of them will have master control of the gain so make sure you know which one is doing that!
> 
> A lot of consoles with two ports allow you to have redundant feeds -- while the X32 manual has no mention of this, it'd be interesting if that was a possibility.



Thanks - that really helps!

What benefits are there of going from an analogue snake to digital snake if the analogue is already in place? Is there any?


----------



## themuzicman

*Re: Question about Behringer X32 and S16 Digital Snake*

Just keep the analog snakes you have. Unless you're really dying to clean up FOH or you move your console a lot and want to reduce your weight load and reduce wear and tear on your stuff.


----------



## JeffLampert

Hi Everyone, this is my first post. I'm glad to be part of this community.

I just opened a brand new Behringer X32, my first digital mixer. I'm very much looking forward to using it. Virtually everyone says it's a fantastic piece of equipment.

I tested out the mic inputs. While inputs 9-32 show signal strength, inputs 1-8 show no signal.  I checked the routing and the default blocks of eight appear correct. Also, checked the configuration for the individual channels and that appears correct as well.

Any help from you is appreciated. Thank you. .. Jeff


----------



## jonnyboyb

Good morning everyone, I work with a church in need of a new sound console and one of the guitar players is very excited about the X32 so I'm doing a little research. My initial question concerns input channels and how they work. Currently we use about 40 channels on a sunday--32 at a time (the others we use throughout---lavs on different pastors/etc). Would that even be possible on the X32? I see it says a max of 96 inputs---can those inputs be accessed at will thru scenes? So that if we open with music/worship and i'm using 32 channels, that gets done and we move into a drama....could i push the scene button, those original 32 go away and 5 different inputs are then routed to the faders? Any help would be greatly appreciated!


----------



## TimmyP1955

JeffLampert said:


> Hi Everyone, this is my first post. I'm glad to be part of this community.
> 
> I just opened a brand new Behringer X32, my first digital mixer. I'm very much looking forward to using it. Virtually everyone says it's a fantastic piece of equipment.
> 
> I tested out the mic inputs. While inputs 9-32 show signal strength, inputs 1-8 show no signal. I checked the routing and the default blocks of eight appear correct. Also, checked the configuration for the individual channels and that appears correct as well.
> 
> Any help from you is appreciated. Thank you. .. Jeff



If you are positive that the input routing is correct, I'd say that a ribbon cable is not properly seated. If you bought it locally, take it back for a swap. If you mail-ordered it, contact the seller.


----------



## TimmyP1955

Don't forget that in addition to the 32 mic inputs, there are six 'aux' TRS inputs, for a total of 38.


----------



## museav

jonnyboyb said:


> Good morning everyone, I work with a church in need of a new sound console and one of the guitar players is very excited about the X32 so I'm doing a little research. My initial question concerns input channels and how they work. Currently we use about 40 channels on a sunday--32 at a time (the others we use throughout---lavs on different pastors/etc). Would that even be possible on the X32? I see it says a max of 96 inputs---can those inputs be accessed at will thru scenes? So that if we open with music/worship and i'm using 32 channels, that gets done and we move into a drama....could i push the scene button, those original 32 go away and 5 different inputs are then routed to the faders? Any help would be greatly appreciated!


Input routing and output assignments can be part of scenes on the X32, although they can also be safed from scenes. Input to channel assignments can also be part of scenes. But it may be worthwhile to make sure the concept of input routing is understood.

The way I look at it is that consoles like the X32 have two components to configuring inputs. One component is routing the physical inputs to console inputs. The X32 has 32 primary and 4 aux inputs that can have physical inputs routed to them. However, it can have up to 168 actual physical inputs that can be routed by the user to 32 primary and 4 aux inputs (I believe the Aux 5-8 inputs are always assigned as the local Aux 5-8 inputs). That routing can be part of scenes or safed from them. What you cannot do is exceed the actual 40 input capability of the console, you may have more physical inputs but only 40 may be in use at any time.

One related limitation of the X32 is that you are are limited to routing defined 'groups' of physical inputs, for example inputs 1-8 could be routed as local inputs 1-8 on the mixer, local inputs 9-16 on the mixer, stage box A inputs 1-8, etc. but only in those groups of 8 and not on an individual basis. So if you wanted to use physical inputs 1 and 2 on a stage box as inputs then you cannot route just the two channels, you have to route channels 1-8 on the stage box to 8 inputs to the mixer. This can become a factor when you try to do significant input routing changes on the fly as you always have to work within the 40 total inputs and then input groups possible. As one example, you may have a 32 channel stage box where you want to use 12 of the stage box inputs for one scene and the other 20 inputs for a second scene, however you would actually have to deal with routing them as 16 channels for the first situation and 24 inputs for the second, thus potentially 'throwing away' 4 inputs in each case and leaving you with 36 rather than 40 usable inputs. So you cmay have to do a little planning regarding what physical inputs are used in what combinations. 

The other component to configuring inputs is then assigning the mixer inputs to channels. The 40 routed inputs can be assigned to channels on an individual basis, so in the example above the two stage box inputs could be assigned to any two channels. And all the related channel assignments can be saved and recalled via scenes.

Output routing for the X32 is somewhat similar to input routing in that any mix bus can be routed to any physical output, however there are again some limitations, at least in relation to the card and AES50 outputs.

Hope that helps.


----------



## RobGoldberg

Hi folks. Brand new to the forum and brand new to digital mixing. I just bought an X32. I don't even have it yet (coming tomorrow). But I have been reading a lot and watching many youtube videos in an effort to bring myself up the learning curve a little before getting the mixer. I have a few questions that have come up that I am hoping you all can answer for me:

1. Do I need a fast router for supporting maybe 2 iPads? Or would an N150 router be sufficient?

2. Since I don't have the mixer yet I am using the X32 Edit application on my PC to play around and to try to put together a basic initial configuration for my band. I have defined my channels. Then I defined several stereo mix buses. I have done all of this by following a very good video on YouTube ( Behringer X32 - Board Setup Case Study - Jerry - YouTube ). However, the video comes to a spot (at 16:20) where you are going to assign channels to your mix buses and my bus send portion of the screen doesn't look like the screen in the video. I can only assume that the software has changed since the video was originally produced. But that leaves me with not knowing how to do that particular part of the setup. I am hoping someone can show me how its done using the screen that is now presented rather than the one presented in the original video.

3. If you have a single bus send for subs but you have 2 subs, is the assumption that you are going to cable the two subs to each other using an output jack on one?

4. I think I understand the difference for the most part between a mix bus and a DCA. But my question is why would you want to use a DCA fader to control volume for a group rather than just using the mix bus fader?

Sorry if this is real newbie stuff for most of you but I'm a newbie at all this digital stuff. Coming from fairly basic analog mixers, this is a quantum leap for me 

Thanks all ............. looking forward to getting more experienced with the mixer ................. Rob


----------



## JoeSanborn

Dear Rob,

1 - The router should be fine.

2 - I believe you are looking at the Channel Bus Send page and Drew is talking about selecting the BUS Select and then clicking on the Sends tab which shows the Matrix Mixes which are feed by the Buses/SubGroups.

3 - Yes.

4 - Once you use DCAs you will wonder how you lived with out them! The DCA is just "controlling" the level of a channel or a number of channels. The benefit is you can assign one DCA to a whole group of channels, say 10 Mics on a drums kit on X32 Channels 1 - 10. This one DCA is like your hand grabbing the 10 channels and bringing them up and down together. If you get into SubGrouping your drums you will have to waste 2 buses to maintain your stereo position of all the drums, the DCA just controls level of all channels assigned to the DCA.

Sometimes people use a combination of subgroups (via mix buses) and DCAs. For example: maybe you have all background vocals on a subgroup in order to apply group EQ / compression. At the same time, you also can have DCA groups for the other instruments. Assigning that mix bus with your Background Vocal group to a DCA allows you to keep it on the same page of 8 faders as the rest of your DCAs. It also allows you to add the Background Vocal Subgroup and the Lead Vocals to the same DCA, allowing you to control their volumes together.

You may also want to check out this webinar we did on Matrix Mixes:
X32 Live! Webinar: Matrix Mixes on the X32 - YouTube

Hope this helps.

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


----------



## RobGoldberg

JoeSanborn said:


> Dear Rob,
> 
> 1 - The router should be fine.
> 
> 2 - I believe you are looking at the Channel Bus Send page and Drew is talking about selecting the BUS Select and then clicking on the Sends tab which shows the Matrix Mixes which are feed by the Buses/SubGroups.
> 
> 3 - Yes.
> 
> 4 - Once you use DCAs you will wonder how you lived with out them! The DCA is just "controlling" the level of a channel or a number of channels. The benefit is you can assign one DCA to a whole group of channels, say 10 Mics on a drums kit on X32 Channels 1 - 10. This one DCA is like your hand grabbing the 10 channels and bringing them up and down together. If you get into SubGrouping your drums you will have to waste 2 buses to maintain your stereo position of all the drums, the DCA just controls level of all channels assigned to the DCA.
> 
> Sometimes people use a combination of subgroups (via mix buses) and DCAs. For example: maybe you have all background vocals on a subgroup in order to apply group EQ / compression. At the same time, you also can have DCA groups for the other instruments. Assigning that mix bus with your Background Vocal group to a DCA allows you to keep it on the same page of 8 faders as the rest of your DCAs. It also allows you to add the Background Vocal Subgroup and the Lead Vocals to the same DCA, allowing you to control their volumes together.
> 
> You may also want to check out this webinar we did on Matrix Mixes:
> X32 Live! Webinar: Matrix Mixes on the X32 - YouTube
> 
> Hope this helps.
> 
> Best Regards,
> Joe Sanborn
> Manager, Product Support
> MUSIC Group
> BEHRINGER





Joe, thanks for the response. Apparently I am a little dense on the technology at this stage. Still not sure what's the different between moving a DCA fader up and moving a mix bus fader up that has the same channels allocated to it? Is there any difference? Or are you just saying the DCA allows me to group channels without using mix busses when I don't need group compressor, eq, etc for them?

Also still a little confused about Drew's youtube video and your response. I followed his directions exactly as I watched the video and didn't get the same bus send screen as him. How should I use X32 Edit to assign channels to stereo mix busses? I have attached a picture of what I see when I pull up that screen. He has little boxes to check as to which mix buses to use and I have these graphical bars that I don't know what to do with.


----------



## RobGoldberg

goldberg96 said:


> Joe, thanks for the response. Apparently I am a little dense on the technology at this stage. Still not sure what's the different between moving a DCA fader up and moving a mix bus fader up that has the same channels allocated to it? Is there any difference? Or are you just saying the DCA allows me to group channels without using mix busses when I don't need group compressor, eq, etc for them?
> 
> Also still a little confused about Drew's youtube video and your response. I followed his directions exactly as I watched the video and didn't get the same bus send screen as him. How should I use X32 Edit to assign channels to stereo mix busses? I have attached a picture of what I see when I pull up that screen. He has little boxes to check as to which mix buses to use and I have these graphical bars that I don't know what to do with.



This is what Drew's screen looks like when he gets to the same place on the video:


----------



## JoeSanborn

Dear Rob,

No problem, hopefully we can get you up to speed on this stuff, it can be confusing.

*Buses:*
If you are only using your Buses to control levels of groups of channels, why waste any of your 16 Buses for this function?
You will need your Buses for creating monitor mixes and feeding FX, etc.

A Bus allows you to route channel AUDIO to a bus. You can either have a Mono bus or use two Buses for routing Stereo panned sources. Example: If you have a set of 10 drum channels you might want to Pan your Tom Toms so they go around the Stereo Pan, or possible Stereo Room mics or Stereo Over Head mics on the the drum kit. You would need to use a Stereo Pair of Buses, one panned hard Left and one panned hard Right. As the audio routed to Buses is actually sending the audio signal to the bus, you can put EQ and Compression on the Bus for an overall EQ on the L and R Drum Bus in our example.

*DCA:*
The DCA does NOT PASS AUDIO, it is a mechanism for controlling channels level.
One of the benefits of using a DCA over a Bus is we only need to use one DCA if we are only controlling the level of a group of channels. 
An advantage of using a Bus and Subgroup is that you can process the audio that is hitting the Bus with *EQ and Compression* as well as use the SubGroup to feed a Matrix Mix. Since DCAs are only controlling level we can also use DCAs to control a Mix Bus Master, if needed.

*Matrix Mixes:*
Matrix Mixes should be looked at as Mixes of MIXES. So let's say you need to send a mix to a video guy. No problem, you can tap your main L/R mix bus and send him a Matrix mix that *has it's own level via a Matrix Mix*. You can get more advanced and create a Drum SubGroup, an all Instruments SubGroup, and an All Vocals SubGroup. Now you will have a little more control over the mix feeding your Matrix Mixes. Have you heard mixes fed to a video guy off the Main Mix Bus, (lots of Kick and lead vocals in a small venue, as this is what is generally needed in the house)? By creating your video mix from a mix of sub groups you can dial in a perfect Matrix Mix to feed the video guy. Another use for Matrix Mixes is to feed an overflow room with a set of powered speakers, or feed the Foyer. 

Buses Webinar:
X32 Live! Webinar: Mix Buses - YouTube

Matrix Mixes Webinar:
X32 Live! Webinar: Matrix Mixes on the X32 - YouTube

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


----------



## RobGoldberg

JoeSanborn said:


> Dear Rob,
> 
> No problem, hopefully we can get you up to speed on this stuff, it can be confusing.
> 
> *Buses:*
> If you are only using your Buses to control levels of groups of channels, why waste any of your 16 Buses for this function?
> You will need your Buses for creating monitor mixes and feeding FX, etc.
> 
> A Bus allows you to route channel AUDIO to a bus. You can either have a Mono bus or use two Buses for routing Stereo panned sources. Example: If you have a set of 10 drum channels you might want to Pan your Tom Toms so they go around the Stereo Pan, or possible Stereo Room mics or Stereo Over Head mics on the the drum kit. You would need to use a Stereo Pair of Buses, one panned hard Left and one panned hard Right. As the audio routed to Buses is actually sending the audio signal to the bus, you can put EQ and Compression on the Bus for an overall EQ on the L and R Drum Bus in our example.
> 
> *DCA:*
> The DCA does NOT PASS AUDIO, it is a mechanism for controlling channels level.
> One of the benefits of using a DCA over a Bus is we only need to use one DCA if we are only controlling the level of a group of channels.
> An advantage of using a Bus and Subgroup is that you can process the audio that is hitting the Bus with *EQ and Compression* as well as use the SubGroup to feed a Matrix Mix. Since DCAs are only controlling level we can also use DCAs to control a Mix Bus Master, if needed.
> 
> *Matrix Mixes:*
> Matrix Mixes should be looked at as Mixes of MIXES. So let's say you need to send a mix to a video guy. No problem, you can tap your main L/R mix bus and send him a Matrix mix that *has it's own level via a Matrix Mix*. You can get more advanced and create a Drum SubGroup, an all Instruments SubGroup, and an All Vocals SubGroup. Now you will have a little more control over the mix feeding your Matrix Mixes. Have you heard mixes fed to a video guy off the Main Mix Bus, (lots of Kick and lead vocals in a small venue, as this is what is generally needed in the house)? By creating your video mix from a mix of sub groups you can dial in a perfect Matrix Mix to feed the video guy. Another use for Matrix Mixes is to feed an overflow room with a set of powered speakers, or feed the Foyer.
> 
> Buses Webinar:
> X32 Live! Webinar: Mix Buses - YouTube
> 
> Matrix Mixes Webinar:
> X32 Live! Webinar: Matrix Mixes on the X32 - YouTube
> 
> Best Regards,
> Joe Sanborn
> Manager, Product Support
> MUSIC Group
> BEHRINGER



Joe, thanks so much for your willingness to help me learn. I can see being a member of this forum is going to be a wonderful thing. That said, I still haven't heard why the two images I attached to posts 207 and 208 are different when I followed Drew's instructions to the letter. I feel like I'm missing something if I can't understand why there's that difference.

I definitely understand now though why you use mix buses and DCA's and Matrixes. I think for a while I will stay away from matrixes but mix buses and DCA's will be great.

Can you explain the difference between those two images I attached?

Thanks .................. Rob


----------



## RobGoldberg

New Question: Can a channel be in two DCA's at the same time? Like if I have a lead singer and I want to have her by herself in a DCA in case I need to bring her up or down, can I also have her in another DCA that has all the vocalists assigned to it?


----------



## JoeSanborn

> This is what Drew's screen looks like when he gets to the same place on the video



To save space see post below.

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


----------



## RobGoldberg

JoeSanborn said:


> Dear Rob,
> 
> Watch the video again from 3:58 on.
> You are missing where he is creating Stereo Sub Groups.
> At 4:18 he discusses his Stereo Sub Groups
> 
> At 4:38 he goes over Linking Sub Groups.
> I think he forgot to tell you to click on the "Bus Master" button all the way on the left of X32-Edit. I put big arrows in the pics I uploaded.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Ok, Picture in your mind that a DCA fader is like a "virtual hand" that is grabbing a bunch of faders and moving the faders assigned to that DCA up and and down, perfectly in proportion to where your channel faders are set. You still need to decide where those channels are going to, such as the Mix Bus.
> 
> I know you are trying to follow Drew's video, but keep in mind he is getting into Matrix Mixes as well. I highly suggest you watch the two Webinars I sent you above.
> 
> I hope this helps.
> 
> Best Regards,
> Joe Sanborn
> Manager, Product Support
> MUSIC Group
> BEHRINGER



Joe, I will definitely watch the webinars tomorrow. However, I set up the stereo mix groups exactly as he did. I followed every step he gave. Let me see what I think after watching the webinars. 

Did you happen to see my questions about DCA's? Can a single channel belong to more than one DCA?


----------



## RobGoldberg

Answered my own question about the DCA's (figure if you can assign a channel to more than one then its obviously supported).

Question: I want to send uncompressed vocals to my monitor mixes but compressed vocals to my FOH speakers. What's the best strategy for doing that?

I'm so excited, my X32 is on the truck and should be delivered in the next couple of hours


----------



## JoeSanborn

RobGoldberg said:


> Answered my own question about the DCA's (figure if you can assign a channel to more than one then its obviously supported).
> 
> Question: I want to send uncompressed vocals to my monitor mixes but compressed vocals to my FOH speakers. What's the best strategy for doing that?
> 
> I'm so excited, my X32 is on the truck and should be delivered in the next couple of hours



Dear Rob,

You can set your tap point for each Bus send to be Pre or Post EQ, and on each channel you can set if your EQ is pre or post Compressor.
So for your application set your Monitor Bus Send to Pre EQ and you will be sending to the monitor Pre Compressor (as long as your channel is set to Pre EQ).
Obviously you will be post Compressor sending to your Mains.

In regards to DCAs:
In the picture below, I have each group of channels setup for a typical rock show.
DCA1 = ALL Drums
DCA2 = ALL Bass
DCA3 = ALL Guitars
DCA4 = ALL Keys (if I had no Keys I would put the lead guitar channels here as you might want to ride the guitar solo up and down)
DCA5 = Lead Vocals (You usually need quick level adjustments on the Lead Singer during a show)
DCA6 = ALL Instruments
DCA7 = ALL Vocals
DCA8 = ALL FX Return Channels



Hope this helps.

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


----------



## RobGoldberg

Joe, as usual, thanks for being willing to teach a bit of a newbie. I'm really a professional keyboard player so the sound stuff is still kind of new. I followed Drew's video to the letter again this time everything worked exactly as in the video. Don't know what I did wrong the first time but all is well now, including the use of Matrixes and doing all the crossover work from the board instead of in the speakers.

Here's another newbie question that I couldn't tell from Drew's video: Should the DCA's I'm using start at 0db? Drew never turns those particular faders up. I know he never sets instrument levels in the bus mixes either but I know enough to know how to handle that. I am guessing the DCA faders should start at 0db but I'd rather not guess on things that are kind of important.

Bless you Joe, you are rapidly becoming my X32 savior 

Rob


----------



## RobGoldberg

OK, I am going to summarize my questions since there are so many posts. By the way my X32 arrived today. A little bigger than I imagined it coming from a Allen & Heath MixWizard 3 but I'm not disappointed. As a keyboard player in addition to doing sound, I already take up about 1/3 of the stage when we play, so now it will be 1/3 LOL.

OK here are the two questions I have before I start loading configs into the machine:

1. This one I asked above but I'll repeat it: Should the DCA faders be at 0db as the starting point?

2. As I mentioned before, I followed Drew Brashiers X32 Case Study video which worked great as a learning aid. His theory is to route everything (except of course monitor feeds) to the LR Main and then route from there to the Matrix mixes. My question is this: For subgroups, should the LR button be lit if I am doing it the way I described? If I look at a group mix the matrix it is supposed to route to shows a setting but I don't know how it would get there without pressing the LR button. Can you please help me understand whether the LR button should be pressed to route the subgroup to the LR Mix so that it can then be routed to the Matrix mix?

I am sure I will have other questions but these are the two I want to resolve before loading my first configuration into the machine.

Thanks ........... I promise I will move up the learning curve as quickly as possible. I know there are many professional sound people in the forum and I understand that my question are very elementary.

P.S. My fader knobs don't look like little Behringer ears. They look just like regular fader knobs.

Rob


----------



## JoeSanborn

Dear Rob,

Congrats on the new console arriving!


> OK, I am going to summarize my questions since there are so many posts. By the way my X32 arrived today. A little bigger than I imagined it coming from a Allen & Heath MixWizard 3 but I'm not disappointed. As a keyboard player in addition to doing sound, I already take up about 1/3 of the stage when we play, so now it will be 1/3 LOL.




> OK here are the two questions I have before I start loading configs into the machine:




> 1. This one I asked above but I'll repeat it: Should the DCA faders be at 0db as the starting point?



To me this depends on the level of the individual channels. All DCA fader will do is add or subtract from that. So when DCAs are set at 0dB, then they aren't changing the level of the channels at all, making it a good place to start. Just remember that as you add level to the DCA, you are pushing the channel faders up above 0dB, so just be careful not to run out of headroom. For example if a channel is set at +5 dB, and you add 5dB from the DCA, it will be at +10 dB. 


> 2. As I mentioned before, I followed Drew Brashiers X32 Case Study video which worked great as a learning aid. His theory is to route everything (except of course monitor feeds) to the LR Main and then route from there to the Matrix mixes. My question is this: For subgroups, should the LR button be lit if I am doing it the way I described? If I look at a group mix the matrix it is supposed to route to shows a setting but I don't know how it would get there without pressing the LR button. Can you please help me understand whether the LR button should be pressed to route the subgroup to the LR Mix so that it can then be routed to the Matrix mix?



This is a matter of preference. If you want your subgroups to be part of the main mix, then.... yes. One example of this would be routing your Main LR to Matrix mixes solely for using the crossover, then you probably want the Subgroups to go to LR (engage the LR button). Another way to do it is to build Matrix mixes from the subgroups, allowing you to have a different mix for each matrix. This is very useful for when you are feeding a Video Mix for example. While in a small venue the Main LR may only need mostly vocals and kick, the video guy will need more of the other instruments such as the guitars coming through amps on stage. 

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


----------



## RobGoldberg

Joe, thank you so much. The fact that you monitor this forum and are willing to answer newbie questions from someone like myself already makes me feel that I made the right decision even though I haven't even used the board yet.

My board is a factory refurbished one. Sweetwater gave me a great deal on it. I had some trouble updating the firmware from 1.08 to 1.15 because for some reason it didn't like my USB drive (32GB formatted FAT32). At any rate I tried a SD card in a USB adapter and it worked great so now I'm at 1.15 level.

My board wobbles from top left to bottom right. I have tried different surfaces to make sure its not my table, etc. I have even unscrewed the rubber feet and moved them around to see if one particular rubber foot was the problem. That didn't help. I am not so concerned about the wobble, I can fix that with a couple of washers (although the amount of fill needed to solidify is pretty substantial (like 1/4") but I am concerned as to why the board itself is out of alignment somehow causing this issue.

Any thoughts?


----------



## JoeSanborn

Dear Rob,

No problem.

I am not sure, given that the console is a B-Stock unit, if this has anything to do with the wobble/level.
Shipping can be pretty rough sometimes, even though we double box and use custom foam inserts.

I can say it will not have any effect on operation though.

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


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## RobGoldberg

I have a 4 pin mixer light that I have been using with my Allen & Heath MixWizard 3. When I plugged into the lamp outlet on the X32, it will not work. Anyone know if I should expect that light to work? If not, what light should I get?

Thanks ........... Rob

NEVER MIND: I found the setup screen where you activate the light


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## RobGoldberg

JoeSanborn said:


> Dear Rob,
> 
> No problem.
> 
> I am not sure, given that the console is a B-Stock unit, if this has anything to do with the wobble/level.
> Shipping can be pretty rough sometimes, even though we double box and use custom foam inserts.
> 
> I can say it will not have any effect on operation though.
> 
> Best Regards,
> Joe Sanborn
> Manager, Product Support
> MUSIC Group
> BEHRINGER




I fixed it perfectly with some black rubber washers the exact size of the X32 rubber feet. You can't even tell the washers are there.


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## RobGoldberg

Can the X32 be directly connected to a laptop using a CAT5 cable? Or do you have to have them both on a common network?


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## JoeSanborn

> Can the X32 be directly connected to a laptop using a CAT5 cable? Or do you have to have them both on a common network?



Dear Rob,

You can connect the X32 directly to a computer using CAT5. Unless I need wireless I usually connect direct like this. If you use a wireless router you can also connect your computer with CAT5 to the an open port on the router. Just do not connect to the Yellow uplink jack. What is cool is you can use combinations of iPads and wired/unwired computers all simultaneously.

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


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## RobGoldberg

Thanks Joe. Now I have a real issue. Twice tonight while I was playing around with the board, I lost several sections of the channel strip. The preamp and gate sections would just go dark and their buttons would not do anything until I rebooted the mixer. This is a serious concern considering I've had the mixer for 2 days. What am I supposed to do about this? It will cost me a fortune to start shipping this thing around.


_*I THINK THIS WAS MY ISSUE. THOSE SECTIONS BLACK OUT WHEN A SUBGROUP IS SELECTED*_.

Ugh, I hate learning curves :-(


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## RobGoldberg

Question for the team: I know DCA's can control individual channels or groups of channels and they can also control group busses. I have 5 vocal channels and a group bus set up for them. Are there any pros or cons to whether I set up the vocal DCA by selecting individual channels or whether I select the vocal group bus? I don't have any group dynamics, eq, etc. That is all done at the individual channel level at this time.

Thoughts?


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## NickVon

RobGoldberg said:


> Question for the team: I know DCA's can control individual channels or groups of channels and they can also control group busses. I have 5 vocal channels and a group bus set up for them. Are there any pros or cons to whether I set up the vocal DCA by selecting individual channels or whether I select the vocal group bus? I don't have any group dynamics, eq, etc. That is all done at the individual channel level at this time.
> 
> Thoughts?



If you already have a BUS mix with vocals in it mixed as you like it. Just use your master bus fader for volume adjustment and it frees up a DCA. that said if you have plent of DCA for whatever your mix entails sometimes it nice just to have the DCA layer up and not have to switch back and forth.


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## RobGoldberg

JoeSanborn said:


> Dear Rob,
> 
> You can set your tap point for each Bus send to be Pre or Post EQ, and on each channel you can set if your EQ is pre or post Compressor.
> So for your application set your Monitor Bus Send to Pre EQ and you will be sending to the monitor Pre Compressor (as long as your channel is set to Pre EQ).
> Obviously you will be post Compressor sending to your Mains.
> 
> In regards to DCAs:
> In the picture below, I have each group of channels setup for a typical rock show.
> DCA1 = ALL Drums
> DCA2 = ALL Bass
> DCA3 = ALL Guitars
> DCA4 = ALL Keys (if I had no Keys I would put the lead guitar channels here as you might want to ride the guitar solo up and down)
> DCA5 = Lead Vocals (You usually need quick level adjustments on the Lead Singer during a show)
> DCA6 = ALL Instruments
> DCA7 = ALL Vocals
> DCA8 = ALL FX Return Channels
> 
> 
> 
> 
> Hope this helps.
> 
> Best Regards,
> Joe Sanborn
> Manager, Product Support
> MUSIC Group
> BEHRINGER




I need some clarification here. Still confused (sorry). Can I have a monitor send (output bus) that includes the various channels eq's but not their compressors?

On each channel, do I also need to actually click the Insert button to light it? Do I need to do that on the Bus?


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## JoeSanborn

> I need some clarification here. Still confused (sorry). Can I have a monitor send (output bus) that includes the various channels eq's but not their compressors?
> 
> On each channel, do I also need to actually click the Insert button to light it? Do I need to do that on the Bus?



Dear Rob,

Yes this can be done, there are two steps. 
1. You will need to setup the mix bus to be "Post EQ" (by default the first 8 mix buses are set this way to begin with so you can skip to step 2 if you are using those). You can do this by selecting a mix bus and viewing its "config" page in the channel strip. Here you will see the option labeled "All Channel Sends Pre Configuration" where you can choose "Post EQ". 
2. On whichever channels you are feeding the mix bus you will need to check the home screen to be sure that the EQ is placed before the Dynamics in the signal chain. The 4th rotary encoder will allow you to flip the order of EQ / Dynamics if necessary. 


> On each channel, do I also need to actually click the Insert button to light it? Do I need to do that on the Bus?



Yes you do need to click the insert button to light it in order for the insert to be active, on both channels and buses. 

Hope this helps.

Best Regards,
Joe Sanborn
Manager, Product Support
MUSIC Group
BEHRINGER


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## RobGoldberg

I just want to take a minute to say that between the educated members of this forum, along with the great vendor reps who watch this forum and respond, AND the tech support people in Las Vegas (Jeff, Chase), this is absolutely the most amazing support for a product I have ever gotten in my 42 years of being a professional musician. To be honest, I have only been configuring my X32/S16 up until now. I don't even get to take it on a gig until next weekend. But between the actual console, the X32Edit app, and the XiControl for the iPad, I am just in awe at how powerful a setup I have been so lucky to get. My heartfelt thanks to everyone who helps support the product and this forum!!!!!!!

Rob


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## RobGoldberg

Well I thought I had my configuration all together and was finally ready to start testing. After all, so far I haven't even plugged in an input or output to the board or S16. I have spent all of my time creating an initial configuration for my band.

So I plugged a mic into Ch 1 on the S16 and a pair of headphones into the X32. I also pulled up the meters screen (in/out) so I could see all meters at one time.

I set the input gain for the mic and starting talking. My monitor busses all had signal which was good.

Now here's the thing: Using as an example, vocals, I route 5 vocal channels (1-5) to a stereo mix bus (7-8), I route the stereo mix bus (7-8) to LR, and the I route the LR to my matrixes (1-3).

The issue is this: I see the meters moving for the channel, I see the meters moving for the monitor busses (1-6), but there is no meter movement on the vocal group bus (7-8), LR, or Matrix meters. I have checked the vocal group bus to make sure channels are allocated and that their faders are up (0db). I just can't figure out what I've got wrong.

I tried calling tech support but no one answered. I am guessing early Labor Day weekend exodus 

I hate waiting until Tuesday to find out what I've got wrong so I'm hoping someone on this forum can help me. If you don't want to type a bunch or want to ask me questions, just send me a message and I'll give you my phone number and we can talk on the phone. I can't believe my issue won't be simple to fix but I'm stumped right at the moment. Don't really want to continue with testing everything when I can't get the first channel I tested to route correctly all the way through.

Please help me ............ thanks ............... Rob


SOLVED: Someone in the SoundForums.Net forum helped me out. I learned that with subgroups, if you press Sends on Faders and move the faders up, it does absolutely nothing. The subgroups rely on the fader positions of the real channel faders.

However, that leads me to another question: What if you wanted to have a channel participate in two subgroups. How would you set the fader for that subchannel?


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## RobGoldberg

I am seeing something that looks like it may be a problem. I am hoping not but need to ask you all.
I am using the default bus assignments for effects. Presently I am using Effect 1 and 2. The first effect uses Bus 13 and I only have vocal channels using that bus (for vocal reverb). The second effect uses Bus 14 and I use that as an instrument reverb. I only have two drum channels set to use it. However, whenever I run something through the board such as music from my phone into the AUX channels or Tracktion 4 files, I always see a small amount of activity on Bus 14 and if I solo that bus I hear (faintly) some music coming from it. I have checked all of my faders to make sure nothing is up just enough to make this happen. I seem to have all faders down all the way except for the two I want on that bus. Yet still I will play something that is only coming in on two input channels not set to send to that bus and still I will see a small amount of activity on that bus. My Effect 1 is Plate Reverb and my Effect 2 is Vintage Reverb.

Any possible explanation for this besides something is wrong with my X32? I really don't want anything to be wrong with it. I know, who does, it's just that its brand new and am having enough issues getting up to speed with it without it having issues of its own. I want all the issues to be mine, not the board's :-(


One other question: How do I get effects on a mix bus (i.e. add reverb to monitor send)?


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## JohnD

I was catching up on the x32 at soundforums.net and noticed that there seem to be some problems with the Behringer webservers. There was some info on alternate ways to contact them so I'll post them here:

MUSIC Group Care – Service and Technical Support
Temporary Email: [email protected] or [email protected] 
Here are contact phone numbers too:
USA and Canada
MUSIC Group Services NV
+1-702-800-8290

Europe
Music Group Research UK Limited
+(44) 1562 732290








|


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## OneEng

RobGoldberg said:


> I am seeing something that looks like it may be a problem. I am hoping not but need to ask you all.
> I am using the default bus assignments for effects. Presently I am using Effect 1 and 2. The first effect uses Bus 13 and I only have vocal channels using that bus (for vocal reverb). The second effect uses Bus 14 and I use that as an instrument reverb. I only have two drum channels set to use it. However, whenever I run something through the board such as music from my phone into the AUX channels or Tracktion 4 files, I always see a small amount of activity on Bus 14 and if I solo that bus I hear (faintly) some music coming from it. I have checked all of my faders to make sure nothing is up just enough to make this happen. I seem to have all faders down all the way except for the two I want on that bus. Yet still I will play something that is only coming in on two input channels not set to send to that bus and still I will see a small amount of activity on that bus. My Effect 1 is Plate Reverb and my Effect 2 is Vintage Reverb.
> 
> Any possible explanation for this besides something is wrong with my X32? I really don't want anything to be wrong with it. I know, who does, it's just that its brand new and am having enough issues getting up to speed with it without it having issues of its own. I want all the issues to be mine, not the board's :-(
> 
> 
> One other question: How do I get effects on a mix bus (i.e. add reverb to monitor send)?



Behringer X32 - Putting FX into Monitors - NRCC - YouTube

Alternately, you could go to the FX page, and on the right side, select one of the efx engines to have reverb. Then on the left of the effect, select the bus you have your monitor on and put it on the insert. You can have the insert be tapped off to be post fader by selecting the bus and using the home page to configure the tap point for the insert.

Hope this helps.


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## RobGoldberg

Hi all. I have an X32 question. I followed a tutorial video a while back on setting up the X32 for a live show. It was a great way for me to learn about how to really get started setting my board up for real world live gigging. The video showed me how to route the LR feed to 3 Matrix sends, two, linked for R and L and one for Sub. They all got the same mix but I set up low pass and high pass filtering to control what frequencies go to each speaker instead of just letting my QSC KW tops and bottoms decide on the crossover frequency.

The question is this: Sometimes I play in odd shaped rooms where the distance from each speaker to my audience is not the same. With the setup as I have it now, Matrix 1 and Matrix 2 are linked as L and R mains and are sent the same fader level at all times. Is there a way that I can still use matrix sends for L and R but not have them linked, allowing me to have different fader levels for the L and R sides of my PA? I tried unlinking the two matrix sends but then there was no panning control that would allow me to send left to one and right to the other. Unless I missed it.

Any help to do this? Thanks ............. Rob


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## JHWelch

Later this month, I'm going to be going to a high school to sound design a production of Les Miserables. I know they have a Behringer x32, which I have used a little bit, but have not done anything too substantial.

I was thinking that I would use the board's built in scene function to mute and unmute throughout the course of the show so that it is only a few button clicks and more reliable. I have used mute scenes before on an old Crest Audio X-Eight, but on the x32 is does all settings and not just mute state.

I was wondering if anyone had used an x32 for show control before, and if this would be a relatively easy thing to do. Also if there was any way to use the scenes to only adjust mute state, instead of also moving the faders and changing patch and all that, because that would ruin the manual mix that would be going on during the show.


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## Footer

JHWelch said:


> Later this month, I'm going to be going to a high school to sound design a production of Les Miserables. I know they have a Behringer x32, which I have used a little bit, but have not done anything too substantial.
> 
> I was thinking that I would use the board's built in scene function to mute and unmute throughout the course of the show so that it is only a few button clicks and more reliable. I have used mute scenes before on an old Crest Audio X-Eight, but on the x32 is does all settings and not just mute state.
> 
> I was wondering if anyone had used an x32 for show control before, and if this would be a relatively easy thing to do. Also if there was any way to use the scenes to only adjust mute state, instead of also moving the faders and changing patch and all that, because that would ruin the manual mix that would be going on during the show.



The console has a pretty powerful "scene safes" menu. If you just want it to do ONLY mutes, turn on all safes but mute. Grab the off-line program, you can play with it there.


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## Footer

So, this was a first. Rider I received today: 


> The following digital consoles are preferred for the show: Yamaha (CL5, M7CL, PM5D, LS9-32), Soundcraft (Vi6, Vi4),
> Avid/Digidesign (D-Show, Profile, SC-48)
> 
> No Behringer equipment is accepted unless it's a X32 console.


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## ssellers

Aman121 said:


> I admit to being a big behringer hater (and I have the expierences to back it up), but this console does look interesting. The Mackie sr24.4 in our main space at school has long passed its sell by date, and we are in the market for a smaller format digital console. We have been considering a few Yamaha boards and a presonus studio live, maybe I'll throw this on the table as well. The features listed make it look mighty impressive for the price.....


 
Agreed with theprice... but if youre looking for ease of control and as a learning tool stick with Yamaha! Wouldnt trade my M7 for the world but if budget is an issue check the LS9!


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## Footer

ssellers said:


> Agreed with theprice... but if youre looking for ease of control and as a learning tool stick with Yamaha! Wouldnt trade my M7 for the world but if budget is an issue check the LS9!


M7 yes... LS9... no. Any console that bases its entire UI around that wheel should be thrown in a river.


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## dumaisaudio

Are the DCA's programmable by scene? I haven't seen this mentioned anywhere, and the manual isn't nearly as dense as the LS9 manual. I'm looking to rent an X32 to try out on a run of Shrek that we're doing soon. Since there are only 16 faders at a time on the side, I'd like mainly mix by writing scenes and controling mutes and what the DCA's are controlling with scenes so I can just mix with those for the most part. Is all that possible?

Is there a global scene edit?


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## simoneves

The DCA assignments are storable in a scene, yes.

I haven't used Scenes for an actual show yet, as I was scared off right from the start by the 100-scene limit (which wouldn't have been enough for just one act of the show I needed it for) and I ended up writing some custom code in Python to act as an OSC bridge between QLab and the mixer. I was then able to automate everything in the show (vocal on/off, fx on/off, sound effects playback) in QLab using OSC cues.

I'm soon to be doing another show where the mixer will be backstage and I'll be remoting it over Cat5 from a laptop with X32-Edit and a BCF2000 control surface to give me real faders mapped to the DCAs. This show only has six actors on mic, though, so I won't need to do any reassignment. Still trying to decide if I'm just going to push faders, or automate the mutes (as the show also only has, like, two sound effects, so even QLab would be overkill).


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## simoneves

Check out http://x32user.net for the OSC hacker community...


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