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What Behringer gear does not suck ?!
Old 9th November 2019
  #1171
Quote:
Originally Posted by Anghello View Post
Before hating on any of Behringer product you should realize why they are hated so much.

First of all they are the first company who started hardly cooporate with China to build their products there. So in time, when in Germany were still making microphines by hand Uli Behringer formed a factory for manufacturing thousands of units for bargain.

Of course it changed the market and a lot of companys just had to close their business because they simply as good as cheap chinese no name. So to defend their business they had to hate or sue Behringer as company as a bad company for whatever reason.

IT DOES NOTHING WITH THE SOUND

In the end of the day what we should thank Behringer for is ability to give beginners pretty decent equipment for bargain money. Yes, I said decent. Not because of the color, not because of the looks or name.. but what it does.

I've met a dozen of "high-end" equipment that had to go away from my studio and there are 3 units from Behringer still there for over a 10 years.

SRC 2496 (to be honest, this is the 4th or 5th unit.. because all others died) - the great machine for simple source selection and signal distribution.

Other 2 are discontinued for a decade.

You can hate music, not the gear.

You will love the music, and gear used.

I'm so glad mind of gearheads changed a lot during beeing here. So glad our community still dvolving.
The Xenyx pres in their mixers are also kind of noisy. The MIDAS ones are really nice for the price though, and genuinely better interfaces cost twice as much as nicer Behringer stuff. The Clarett 8Pre is something like $800 bucks on Amazon, the UMC1820 is $265 right now. The Scarlett 18i8 3rd Gen costs $400 on Amazon right now, so you have to spend a lot more to get something legitimately better quality (I don't consider the Scarlett line to be any better than the MIDAS pre Behringer gear, as far as I can tell, the performance is about equal) , and for just a bit more than a Scarlett 18i8 you could add an ADA8200 to the UMC1820.
Old 3 weeks ago
  #1172
Here for the gear
 

Behringer TO800 Pedal vs UAD TS Overdrive Plugin - Shootout

Did a shootout between the Behringer TO800 pedal ($25)
and the UAD TS Overdrive Plugin ($150?)

Used exact same settings w/ equal volume...

IMO the Behringer has slightly more dimension and body.
While the UAD was certainly impressive, it didn't breathe like the pedal did... it felt slightly thinner / digital.

UAD is awesome and I have most of their plugins, but the the Behringer wins... and so did my wallet

I attached the files - lmk what u think

Disclaimer: I don't own any other Behringer products, so I can't speak to any others - this pedal surprised me so I wanted to share.
Attached Files
File Type: aif BEHRINGER TO800 OVERDRIVE Pedal.aif (2.15 MB, 10 views) File Type: aif UAD TS OVERDRIVE Plugin.aif (2.15 MB, 10 views)
Old 3 weeks ago
  #1173
tuf
Gear Head
 
tuf's Avatar
 

This thread started 15 years ago, and Behringer no longer actually sucks
Old 3 weeks ago
  #1174
Gear Addict
 

Quote:
Originally Posted by Billster View Post
But does Behringer also offer one or even two units that do not live up to the expectation since they actually do sound good ? Hmmm, nothing comes to my mind...

Can you guys think of anything ?
I've heard some amazing things about the X-32 mixers.

As for stuff I actually have experience with:

FCB1010 -- with the Eureka! PROM is an amazingly versatile foot controller.
BCR2000 -- indispensible.
B2030A (Truth) monitors -- sound awesome, will fail driving at moderately high levels.
ADA8000 -- complete, utter crap.

The BCF2000 would have made this list about a year ago, but I've been through two of them and they're a failure. One just stopped working altogether, and another has a very weird issue where it powers on but the faders just jiggle. One thing to note is all the BCx2000 controllers suffer from a fatal design flaw in the power switch, which is recessed into the unit and Behringer makes this flimsy plastic arm to connect it to the rear panel power button, and that arm is impossible to source. Since it is so flimsy, eventually they just break and you have to disassemble the unit to manually depress the switch and power it by plugging and unplugging.

The ADA8000 ADAT preamps aren't worth the effort it takes to throw them in the trash. I replaced them with a pair of Presonus Digimax FS and Oh. My. God...

The B2030A monitors really did sound nice, but I don't know if I drove them too hard or what, but I had to replace the amplifier board in one, and it looks like both drivers in the other need to be replaced. A pair of Mackie HR824s and JBL 305s under a Mackie Big Knob are in their place now, and I much prefer that combination.
Old 3 weeks ago
  #1175
Deepmind 12 and Model D - both work great.
Old 3 weeks ago
  #1176
Lives for gear
Tannoy Gold 5 doesn't suck.
Old 3 weeks ago
  #1177
Here for the gear
 

C-2 SDCs: I keep a pair around in case I run out of other SDCs for live recordings. They certainly don't suck. I've liked them best on upright piano.

FCB1010 footswitch: Built like a tank, and never failed me. I used it in my guitar rig, for DAW control, to control synth parameters/patch selection, and to run visuals during church services while I played guitar or bass

X-Touch control surface: I couldn't live without it. I use it during most of my workday with Reaper for audio, Adobe Premiere Pro for video, and Adobe Lightroom for photographs. It saves me hundreds of hours a year.

Ultracurve Pro DEQ2496: I drag it around for the FFT analyzer and its auto-EQ. It gives me a quick start when I have to tune a new room.
Old 2 weeks ago
  #1178
Lives for gear
 
ponzi's Avatar
I was selling some old music gear for a friend, and I had a behringer powered mixer and two pa speakers complete with stands. Well, a dude came in and paid my asking price which surprised me. He said that in his experience, he had had very good experience with behringer stuff and bad experience with mackie. Selling gear is a hassle, but I almost always have an enjoyable and informative experience with everyone I sell stuff to.

My own experience is limited, but I recall when I played in a church band, their mackie 48-8 bus, or whatever it was, had a number of non-functional channels complete with scotch tape. And the worship group I played in had our own mackie mixer as a 'front of hall' (1404 maybe) that broke, and against my advice, they bought another mackie. This is gear that never even left the building in use. So, maybe the reputations are not quite in line with the reality even on the copycat products.
Old 1 week ago
  #1179
Here for the gear
Anyone any experience with their Ultralinks MS8000 microphone splitter? I seem to be unable to find alternative models (I need a splitter for at least 6 mics).
But even for those adhering to the theory that everything of Behringer where sound goes through is no good, in this case, it kind of literally goes through, there seem to be so little done with the signal that I don’t see how they could screw it up...

Last edited by NerdyFiddler; 1 week ago at 06:42 AM.. Reason: Autocorrect remove half a word...
Old 1 week ago
  #1180
Here for the gear
 

ADA 8200 is kind of "life saver". Nothing special, but usable.
Old 1 week ago
  #1181
Here for the gear
Quote:
Originally Posted by dhughes View Post
ADA8000 or whatever it is called. Clock it with a Big Ben and it is brilliant.

Had one for a year now and it still works. Sometimes I forget to turn it off and it runs for days but it is still hanging in there.
My issue with the ADA8000 is I purchased one every year back in 2005-2007 ( that's right, 3 of them broke on me ). There is a known issue with the power supply, it just won't turn on eventually. Behringer has acknowledged this issue more-or-less by making the ADA8200, which features a more robust power supply. I've owned 2 ADA8200's for several years (had one for 6 years and a 2nd one for 3 years) now with absolutely no issues.
Old 1 week ago
  #1182
Lives for gear
The moon model D looks pretty amazing no?????
Old 1 week ago
  #1183
Gear Head
 

Behringer stuff I still have and don't thing is bad for the money (Comparing the Behringer Model D to the real thing isn't a comparison, its more than 10x more) below. I'd buy a Wing if my Topaz dies and I want a digital mixer I think.

Behringer Model D clone - great sound and fun
Behring Neutron - Good sound and many possibilities. I'm not great at programing it though.
Behringer Sh101 clone. I don't love it and think its very limited, BUT a friend who has a real 101 says the same of his Roland. An occasional use synth
Behringer Powerplay Headphone amp- Not the most reliable, but after all the one I have is like 15+ years old and was cheap then. Still works well but one headphone input, probably the one I use most, shorts on one channel. Not a problem for price I paid years ago

This I didn't like
Behring Mixer, great like 12 channels or so. Noisy as hell. Hiss city
Behringer Patch bays. Cheap, and again, didn't spend $2000 for a TT style, but I think they should at least work. With patch bays IMHO there's no middle ground. Cheap crap or expensive stuff.
Old 1 week ago
  #1184
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by tuf View Post
This thread started 15 years ago, and Behringer no longer actually sucks
If they continue to hit a price point by making units with no internal surge/spike protection, (like, say, a 10¢ fuse), those units will work fine and then suddenly die. Which sucks.
Old 1 week ago
  #1185
Lives for gear
Wouldn't an external protector cover 99% of all such happenings, which are quite rare anyway?
Old 1 week ago
  #1186
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by bill5 View Post
Wouldn't an external protector cover 99% of all such happenings, which are quite rare anyway?
Yes, external protectors like a real-deal APC do work. Cheap ones, like the ones in a Dollar Store power strip, might work. As for the rarity of such events, where I am (LA) they're not rare at all.

I base the post on having donated my time to both a community college audio program and a small local showcase venue, and going through gigantic stacks of gear that had been donated to them. Literal piles of low- to mid-tier stuff that was either semi-working or apparently dead. Unlike most everything else, every Behringer unit had no internal fuse, and no obvious reason for being stone dead. I have to believe there's a connection.
Old 1 week ago
  #1187
Lives for gear
Quote:
Originally Posted by Brent Hahn View Post
Yes, external protectors like a real-deal APC do work. Cheap ones, like the ones in a Dollar Store power strip, might work. As for the rarity of such events, where I am (LA) they're not rare at all.
Really? Interesting, first I'd heard of that. About how often does that occur?

If I understand you overall then, most don't just "suddenly die" (inexplicably) but do so because of a power surge or spike?

Quote:
I base the post on having donated my time to both a community college audio program and a small local showcase venue, and going through gigantic stacks of gear that had been donated to them. Literal piles of low- to mid-tier stuff that was either semi-working or apparently dead. Unlike most everything else, every Behringer unit had no internal fuse, and no obvious reason for being stone dead. I have to believe there's a connection.
Sounds like a lot of their older stuff, which (as I hear) often was indeed poorly made. Do you know if the internal fuse thing is still the case?
Old 1 week ago
  #1188
Lives for gear
 
Uli Behringer's Avatar
 

Quote:
Originally Posted by Brent Hahn View Post
If they continue to hit a price point by making units with no internal surge/spike protection, (like, say, a 10¢ fuse), those units will work fine and then suddenly die. Which sucks.
Hi Brent,

Thank you for your comment. Allow me to correct your statements.

1. Our equipment today is predominantly equipped with switch mode power supplies. They feature fuses, inrush and over-voltage protection in line with standard design rules and safety requirements. Our equipment is all safety certified based on UL, TUV and other local regulatory bodies.

2. Can you please provide measurements around your statement that our mixers are “noisy as hell”. We’re happy to engage around facts.

3. While failures do happen like with all electronics, we pride ourselves for our produce to have a very low failure rate. Please don’t take our word for it but contact our largest retailers such as Thomann, Sweetwater and Guitar Center. This is the exact reason that our brands offer between 3 and 10 years of warranty programs.

Thanks

Uli
Old 1 week ago
  #1189
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by Uli Behringer View Post
Hi Brent,

Thank you for your comment. Allow me to correct your statements.

1. Our equipment today is predominantly equipped with switch mode power supplies. They feature fuses, inrush and over-voltage protection in line with standard design rules and safety requirements. Our equipment is all safety certified based on UL, TUV and other local regulatory bodies.

2. Can you please provide measurements around your statement that our mixers are “noisy as hell”. We’re happy to engage around facts.

Thanks

Uli
Hi, Uli.

1. Glad to hear you've got more protection in your newer products.

2. Someone else said that.

3. My comment was based on my experiences as stated in my previous post. Older gear, mostly. Again, it's good that you've taken steps to address the issue.
Old 6 days ago
  #1190
Lives for gear
Quote:
Originally Posted by Uli Behringer View Post
Hi Brent,

Thank you for your comment. Allow me to correct your statements.

1. Our equipment today is predominantly equipped with switch mode power supplies. They feature fuses, inrush and over-voltage protection in line with standard design rules and safety requirements. Our equipment is all safety certified based on UL, TUV and other local regulatory bodies.

2. Can you please provide measurements around your statement that our mixers are “noisy as hell”. We’re happy to engage around facts.

3. While failures do happen like with all electronics, we pride ourselves for our produce to have a very low failure rate. Please don’t take our word for it but contact our largest retailers such as Thomann, Sweetwater and Guitar Center. This is the exact reason that our brands offer between 3 and 10 years of warranty programs.

Thanks

Uli
Thanks for correcting and spelling out what some of us were already saying and knew: Behringer makes quality stuff.
Old 5 days ago
  #1191
The older B2 Pro made by 797 Audio is nice. But I'm not the biggest fan of the new ones.
Old 5 days ago
  #1192
Lives for gear
 

Quote:
Originally Posted by Dohreetoh View Post
The older B2 Pro made by 797 Audio is nice. But I'm not the biggest fan of the new ones.
Yup, pretty good as is (was?), especially for the price.
And a good platform for modding.

The capsule o.a.t. was a noticeably less harsh than other Chinese ones of the day.
Bright-ish, yes (K67-style; not tamed all the way).

Oh, and IIR, Guosheng Zhuang had his microphone roots at 797 Audio.

The B2 Pro also has links with the Rode NT2 and hence, indirectly, with Jim Williams, if I'm not mistaken.

The first ones had a detachable head. Let's call those mark I or type I.
Type II is a "one-piece" body, but otherwise not too different, I'd say. Feels just a little cheaper maybe.
I don't know if there was or is a type III. I haven't examined any of the recent ones.
Old 4 days ago
  #1193
Quote:
Originally Posted by legato View Post
Yup, pretty good as is (was?), especially for the price.
And a good platform for modding.

The capsule o.a.t. was a noticeably less harsh than other Chinese ones of the day.
Bright-ish, yes (K67-style; not tamed all the way).

Oh, and IIR, Guosheng Zhuang had his microphone roots at 797 Audio.

The B2 Pro also has links with the Rode NT2 and hence, indirectly, with Jim Williams, if I'm not mistaken.

The first ones had a detachable head. Let's call those mark I or type I.
Type II is a "one-piece" body, but otherwise not too different, I'd say. Feels just a little cheaper maybe.
I don't know if there was or is a type III. I haven't examined any of the recent ones.
The one piece body ones also use a lot of surface mount components. Unless they made another new version. I don't have any real issues with surface mount stuff as long as the mic functions properly and the sound isn't negatively affected. It's not entirely surface mount though, the input capacitors are through hole.

One of the things that bugs me about the new ones is that there's hot glue on the XLR connector wires and on the DC converter board. And it's been like this on the newer ones I've owned. My guess is it's so you can't fix the sideways/rotated XLR connector or increase the capsule polarization.

Maybe this is a new third type that's come out within the last couple years though, all of the B2 Pros I've owned have been from around this time.
Old 2 days ago
  #1194
I will say I don't find the better Behringer mics (including both B2 Pro versions and the B5) to sound much worse than things like the TLM103 (that big boost reminds me of Chinese mic capsules like the 797 one in the older B2 Pros and Studio Projects mics). I actually just bought the B2 Pros as donor bodies for some DIY builds, but I think you could make some seriously good recordings with them. It might help that I'm not a brand snob (though I have my preferences, and occasionally a pretty harsh opinion on certain mics).

I really like the foam windscreens and shock mounts the B2 Pros come with too. I think a big dense wind screen is a nice accessory for brighter mics (I like the way they cut the high end a bit without taking away too much detail).

As far as my actual preference for cheap gear goes, I love Oktava. Or at least I love the sound of their capsules.
Old 1 day ago
  #1195
Lives for gear
Opinions about the Behringer C-series and B-series mics seem to be all over the place. One of these days I may buy one just out of curiosity.
Old 1 day ago
  #1196
Quote:
Originally Posted by bill5 View Post
Opinions about the Behringer C-series and B-series mics seem to be all over the place. One of these days I may buy one just out of curiosity.
The big dense wind screen Behringer includes with the B2 Pro really cuts out some of those "metallic" air frequencies.

Anyway, I'll compare the B2 Pro to my AT4050, and the 4050 to my working MK-220 in a shootout soon.

You'd probably get similar performance out of the Studio Projects mics using the same capsule. Unfortunately both Behringer and SP seem to have cut ties with 797 Audio.

I really like the B5 SDCs too, I'm gonna buy a couple of those soon. Somebody on here compared them to the KM184 on female vocals and acoustic guitar and I really preferred the B5.
I'd pick the NT5 if Rode didn't charge a ridiculous amount for the omni capsules. But $75 USD or so for the B5 with its cardioid and omni caps is a great deal.

But the B2 Pro is well worth the cash, it comes with a seriously nice case too.

You can always put in a K47 style capsule (or CK-12, or an Oktava capsule if you can get the right capsule mount) if you find them too bright.

I genuinely believe people would think more highly of the mic if it had the Neumann name and cost like $400 USD rather than the current $150ish with the Behringer name. I don't think it's that much brighter than some of the cheaper TLMs. It is a bit brighter (and it is audible, but it's more of an airy high end boost, and it's certainly not the same as the +10~ dB boost in the MXL 2001), but I think that's also because it's a more subtle sloped boost with +5 dB in the highs rather than the +3 or +4 dB high shelf boost on the TLM103.

I wouldn't use the C series Behringer mics though. Very different beasts. They're pretty noisy, I'm pretty sure they're small diaphragm electret capsules in a large diaphragm body. I'd say there's a reason the B series mics cost 2-3x as much. The C series small diaphragm mics I don't think sound as good as the B5 either. I'd rather pay $150 for a pair of B5s than $60 for a matched pair of C2s, and get not only a quieter and better sounding mic, but a more versatile set.
Old 1 day ago
  #1197
Lives for gear
 

I agree with Dohreetoh: B2 Pro is an underrated microphone.

But again, I haven't tried any from the last decade or so.

And my favorite is the one with the detachable head ("Mark I").
Old 1 day ago
  #1198
Gear Maniac
 

I was really happy with my B-1 microphone - until the cartridge went faulty on it, whereby plosives caused it to crackle like mad. Behringer said they don't provide such components for replacement, which is really poor customer service.

The shock mount that came with it was total garbage, more fragile than a pharaoh's corpse at a chimpanzee's tea party. The elastic soon became fatigued, causing the whole assembly to keep collapsing. Very odd priorities considering the microphone itself is supplied in a very tough carrying case.
Old 19 hours ago
  #1199
Lives for gear
Quote:
Originally Posted by Dohreetoh View Post
I wouldn't use the C series Behringer mics though. Very different beasts. They're pretty noisy,
See this is what I mean...last I saw this topic, someone was saying just the opposite I don't imply either of you are right or wrong, mics are so subjective
Old 9 hours ago
  #1200
Lives for gear
 

Quote:
Originally Posted by Ianpb View Post
I was really happy with my B-1 microphone - until the cartridge went faulty on it, whereby plosives caused it to crackle like mad. Behringer said they don't provide such components for replacement, which is really poor customer service.
In theory this could happen to any microphone (capsule) and it can be accelerated by humid conditions in general and/or dirt, saliva remains etc. etc. Not saying this was the case with yours mind.

You say you were really happy with that microphone. Perhaps you could have the capsule replaced with a 30 dollar Chinese capsule, give or take. Maybe you know someone in the UK who is handy with a soldering iron?
Or did it end in the bin?

Or try your luck on another one, used? Shoudln't cost you much.

Personally, I would go for the B2 Pro instead.
Or a 3U Audio, but that's another thread.


Quote:
The shock mount that came with it was total garbage, more fragile than a pharaoh's corpse at a chimpanzee's tea party. The elastic soon became fatigued, causing the whole assembly to keep collapsing. Very odd priorities considering the microphone itself is supplied in a very tough carrying case.
Simple "rubber" bands, no matter what they are used for, will always deteriorate fast. It's wise to have a couple spares at hand. Those used to be readily available and cheap. Don't know what the status is now.
The elastic string in a Neumann shock mount lastst longer. But those mounts alone can cost more than a Chinese microphone, mount included.
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