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What Behringer gear does not suck ?!
Old 20th April 2007
  #241
Gear Maniac
 

OK, I'll fess up to owning a bunch of B-Gear, although it's not all that great. In order of usefullness and declining suckatude:

1. Their Distro amp - I use this to send two sends to four stage monitor mixes, works great and it actually REDUCED the noise and hum I was getting from a kluge of Y-Cords, etc.

2. V-Amp Pro - Probably not the greatest piece but have you heard most guitar player's rigs? Like another poster said it's better than the original Pod rack, but not as good as the later Pod rack.

I take the output of mine and run it through a Calrec Mic Pre/EQ and it adds a lot to the sound.

If a guitar player comes over with a better rig I'll gladly use it, but this provides me an "escape clause", and you'd be suprised how many guys use it because they show up with really ****ty rigs (stuff like old Digitech or ART guitar preamps through ****ty power amps and the like)

3. Headphone Amp - Mine is the older four channel verison - it's worked better than the last four cans amps I have tried - it could be better but it's better than most

4. FCB-1010 - actually pretty well made with a decent manual - I bought this back when a guitar player was using my cheese guitar rig with my V-Amp Pro

5. Truth 2031's - These are SERIOUSLY Cheap now - might be ok for playback in the studio for the band. I use them in my B-Room, and wonder why they are not as loud as my 60 WPC Adcom GFA-535L through an ancient pair of JBL 2408's and don't sound as good. Like I said, useful for the band to hear if they ****ed up a take or not but you wouldn't want to mix a record on them...

6. DI boxes - I own two of the single channel ones and a stereo one - they totally, totally, totally suck. I'll use my Countryman or Radial DI's, BUT which ones do you want to take out live? OK I'll confess I still take the Radial out, but you know what I mean - if it's a real scuzzy gig I take the Behr stuff

7. Composers - in an earlier, stupider life I actually thought these were good....well they were better than my 3630's fuuck

People that think these are a clone of the Drawmer DL-241 are smoking crack. I have two I am not using, then two that I am - one in my bass rig (which is bi-amped) and one in my B-Room (before you all start giving me ****, I only have three pieces of Behr gear in my B-room (the Composer and the two 2031's), so NO B-Room does not mean Behringer room heh

I'm hoping to replace the B-Room and bass rig Composers with DL-241's ASAP.

FWIW I have three of the older MDX-2100's (one I bought on Ebay for $35, the other two new when I was a dumbass) and the other is an MDX-2200. With Composers the earlier they are the better they sound - the newer ones may have more control and more blinky lights but the MDX-2200 weighs about 1/3 what the 2100's weigh, I don't know what they left out but the 2200 might be just knobs on a box of air....

Analogeezer

p.s. The thing with Behringer gear, it's like the old joke about motorized scooters and fat chicks, they can be great fun until your friends see you on one heh
Old 20th April 2007
  #242
Here for the gear
 
kidklash's Avatar
 

Quote:
Originally Posted by Howie View Post
Well, after using the above, i shall be objective.

Awful. Noisy. Dreadful EQ, Wobbly pots and faders. And i'm not afraid to admit to owning more that a few bits of Behringer kit, which I love.

i'm afraid that your "talent" must be...um....errrr.........NEXT!
Thanks for the reply Howie. Different strokes as they say. I too have used an MX9000, and didn't find it awful or noisey. I thought the EQ was more musical than the typical Mackies, and didn't find any wobbly pots. The MX9000 that I used was new, and hadn't been ravaged by newbies or rough handling. The only thing that took me a while to get comfortable with was how easily the faders moved. I really dug the flexibility and routing options too. Hell, stateside, they're only selling for around $750, and I've seen a lot of them in ADAT-based project studios, where they're still mixing "outside the box".

Anyway, cheers!

As a side note, I can't believe my first post here was about Behringer gear!
Old 23rd April 2007
  #243
Gear Nut
 

uli -......the poor man s crusader

powerplay pro and ecm8000.... truly wargear...........the power play survived one flooding it was swimming it s way out of the studio when i found it.....i opened it up and dried it.....put it back together ..and IT WORKED it was unbelievable, i still have it and it serves me as a loyal warrior......i ve also tried the ada8000 and i find it decent........at least for 250...i think that s a give away.. .
Old 23rd April 2007
  #244
Lives for gear
 

Actually the DI box I mentioned earlier as being outstanding for bass is the Ultra DI100 pictured here:

eBay: Behringer DI100 Active Direct Box NEW DI-100 (item 110116172987 end time Apr-24-07 14:21:58 PDT)

I never tried the little modeler.
Old 23rd April 2007
  #245
Lives for gear
first time in my life, used a di800 (the 8 di in one rack unit) and it was actually not bad. however it was brought in by a band cuz they use it all the time, and I replaced it's functionality on everything except keyboards (which were 4 of the channels) with countryman's I own. Still sounded better than the di800, but it was pretty good you know, plenty good enough for the keys and handled even the bass pretty well, but it didn't love the piezo pickups on teh guitars too much they used.

then I took out 3 of the countryman's and taught these guys how good 2 acoustic guitars and a mandolin can sound when using mics properly. never went back. but still, I'd use the di800 any time if I didn't have top of the line countryman di boxes here already.

I should add... much quieter than the di120 I bought years ago and used once or twice.

Don
Old 23rd April 2007
  #246
Gear Nut
 

Quote:
Originally Posted by microstudio View Post
I do not own anything Behringer but I do own this CD, the page will load and start playing tracks from the CD... The whole CD was recorded using the ADA8000.

Bob Lentini of RML Labs.. the man who made SAWStudio recorded this CD live on his PC using SAWStudio and the ADA8000 units...I think he had 4 of them hooked up for 48 track input.

He got a feed off splitters in the mic lines and went directly in to the ADA8000 using the pres & Cov then into SAWStudio.

The whole CD was Mixed & Masterd in SAWStudio using Sony MDR-V6 headphones.

I am telling you that the CD sounds great and anyone out there who thinks that the ADA8000 can't get great results needs to listen to this CD... it will blow their mind.... let alone mixing and mastering it in headphones...

This changes everything.
Great example! I also own that unit and being very satisfied with the price/performance ratio, I try to stay away from it everytime possible (and I can hear a huge difference compared to my FMR RNP->RME A/D).
What's bugging me is that I can't seem to clock it to my Multiface using ADAT sync (I&O cables connected, ADA800 in slave mode). Possibly broken? Have to get a WC cable for this.. Is there really such a huge difference in clocking the unit externally?

I recently bought a new MiniAmp800 headphone amp for 40€, and it behaves like it is supposed to. No problems so far..
Old 23rd April 2007
  #247
Lives for gear
 
bunnerabb's Avatar
I put my B2031 powereds on my DVD player. They sit next to the TeeVee and since they're shielded, they don't gauss out the CRT.

I have a couple of the compressors in the rack for my FOH gig because the company wont spend money and I need comps and there's not a whole lot of nuance involved in mixing a show for a 88 dBA noise floor of hooting drunks, and they... compress.

I have an old MX8000 that's surprisingly unsucky for summing but I wouldn't use the mic pres to track a dog fart if I didn't have to. Although... all I had for CaPE II on Mixerman's site to track my vocals with was that desk and a cheap-o, $99.00 LDC and it came out pretty OK.

That's just laying around for the odd live thing I do for an old client, now, because he has no FOH desk.

And...

Since I'm going completely ITB, this year on a G4 and M-Powered PT (Which is about all I need since I basically have a writing suite, not a commercial room) all of the Behringer is being relegated to the FOH rig at work or the bin.

It is what it is and, all in all, it's something you can work with for as long as you have to.

There's worse.
Old 24th April 2007
  #248
Gear Head
 

Quote:
Originally Posted by RobJB06 View Post
No Behringer gear will ever be OK in my book. I hate the company, they rip off other peoples designs and pass them on as their own. No imagination of their own...
Some of their patchbays look OK, but i wouldnt buy gear from them on principle. tutt

dfegad Behringer can suck my ass!
But how do you really feel?

heh
Old 30th April 2007
  #249
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dougb415's Avatar
My wife and I have a small studio in our house, and we needed to replace a little Alesis Multi-Mix mixer that had died. We were up in Nashville and stopped in at the local GC. They had a Behringer Xenyx 1202FX mixer for $110. This thing blows away that Alesis mixer. Sounds nice, good effects, definitely fits our requirements.
Old 1st May 2007
  #250
Lives for gear
 

Quote:
Originally Posted by dkelley View Post
first time in my life, used a di800 (the 8 di in one rack unit) and it was actually not bad. (snip) plenty good enough for the keys and handled even the bass pretty well, but it didn't love the piezo pickups on teh guitars too much they used.

Don
piezos need to see a very high input impeedence which no beh DI can provide but for almost anything else the DI800 is certainly good enough. its amazing how much more headroom and gain (meaning lower noise) the DI800 can get from mains power over phantom.

Quote:
Originally Posted by robby View Post
ADA8000 doesn't suck if you clock it externally
& use it only for line-level I/O.

Do not under any circumstances use the mic pre's...
the problem is your cant not use the pres without modding the unit. i got so sick of the sound of the pres in the ADA8000 i sold my, not being able to bypass them for line level stuff realy bugged me and just sucked the life out of any sound. it went to a good home and clocked from a FF800 it still does the job for drum mics. when i need more i/o again i will get an RME now they are getting cheep on the used market. they realy do blow the ADA away.

im finding the XM8500 are ok on toms for live work when not much available and have to sacrifice a mic to the hits of a bad drummer, but they suck on anything else.
Old 2nd May 2007
  #251
Lives for gear
 
gurubuzz's Avatar
 

Exclamation

About a year ago I read somewhere that
Steev Toth, Alice Cooper's engineer for many years,
used 1953 pres and compressor on Alice's voice ?
exclusively at live shows

http://www.behringer.com/01_news/pr_detail.cfm?prid=66〈=ENG&fromPop=YES

He is a behringer endorsee and a respected engineer.

I have a Mic 100 great as a Bass di substitute with a fender pb.
Old 2nd May 2007
  #252
Lives for gear
 
Chris Parsons's Avatar
 

1) older composer compressors - I would put this up against a DBX166 any day.
2) active DI - i've never had any problems with it, and it sounds great.
3) DCX2496 crossover - I use it in my live rack, I like it better than the DBX drive rack stuff
Old 3rd May 2007
  #253
Gear Maniac
 
untitledtopher's Avatar
 

i'm going to add the fca202 to this list, if anyone hasn't said it yet. nice and simple 2 channel firewire interface, i've never had a problem with it and its the only piece of b gear i've had that didn't seem cheaply made. oh yeah and its what 80 bucks?
Old 3rd May 2007
  #254
Quote:
Originally Posted by untitledtopher View Post
i'm going to add the fca202 to this list, if anyone hasn't said it yet. nice and simple 2 channel firewire interface, i've never had a problem with it and its the only piece of b gear i've had that didn't seem cheaply made. oh yeah and its what 80 bucks?
do you have anything so-called "better" to compare to?
I'm curious how does it sound.
Old 5th May 2007
  #255
Gear Nut
 

Behringer to me, from experience, is barely above Radio Shack quality, but if that's all you can afford, look at some good brand used stuff.

It's no wonder some people can't figure out how to record anything that sounds decent when they're using this stuff. I'm not trying to be snobby or anything, but it's a whole lot easier to record something that sounds decent with good gear than bad gear.

It's not that the people recording don't know what they want, it's just that the technology of what they're using will prevent it.

But I think the absolute worse crap I ever saw that was passed off as pseudo pro was an Alesis mini mixer that came out maybe in 1990. This is the one with the sliders and pots being nothing more than knobs pressed down onto a mother board where the elements were simply carbon deposits on the board. The action was the worse I ever felt. The sound was hideous. I mean REALLY bad. It was a total piece of junk. I hope no gearslut actually bought one of these. Honestly, I think the Sunn keyboard mixers were better!

I'm used to some pretty high end stuff these days, but sometimes it's fun to mess around with simple things. And sometimes it's not so fun. dfegad

I saw a nice British made Soundcraft 42 position mixing desk in a music store on consignment about five years ago for around $1200. It was in nearly perfect condition. This would blow away anything in the Mackie/Behringer world of mixers. You just have to look. And even if you need to replace some modules, you're still ahead of the game. Sometimes the fixes are simple. I saw a Crown Macrotech 2400 power amp that didn't work. The store owner told me later the guy who bought it found out a user plug in resistor in a crossover module had fallen out. So the guy let a $2000 power amp go for $250 or so.
Old 5th May 2007
  #256
Gear Maniac
 
untitledtopher's Avatar
 

i can compare the fca202 to my firepod and i've also used motu hardware in the past. personally i don't think it sounds bad, its quiet. i'll see if i can't run a signal through it and my presonus and maybe i can get some sound samples up for comparision. i only really use it for taking a recording of soundboard mixes at shows, and it works well for that, but as i said i'll get some samples up in a few days. i'm curious too as i've never really directly compared it, it jsut does what i need it to do.
Old 5th May 2007
  #257
Lives for gear
I don't see how a crappy product from 15 years ago shows any relevance to a topic about certain behringer gear being good. And the quality of behringer gear bears no resemblance at all to old radio shack gear. The quality of components is completely different. To me behringer offers many items that are inexpensive and sound as good/work as well as competing products from mackie, alesis, kurzweil, apex, alto, art, tascam and the like. The performance/feature set is sometimes 15% less, sometimes 15% more than the items they copy, but the price is consistently 50% to 75% less expensive than the competition, and the quality isn't really much worse at all than those other inexpensive competitors. So for me, low end wise, behringer is right close to the top, at the top in a few areas.

What this has to do with a famously crappy alesis product when everyone else was also creating crappy designs like that too and behringer didn't even exist yet, and what this has to do with radio shack who famously built crappy stereo mixers and analog delays using project amateur quality opamps and basically everything else that you could buy as parts off the radio shack shelves of the day.... well I just don't see the relevance.

If you don't know enough about Behringer gear to have used their v-verb, bcf2000, measurement mics, high end (by their standards) boards, crossovers, feedback eliminators, rack DIs, adat a/d interfaces, and so on and so forth, then why did you post here? IF you have used specific devices and found them to suck, that's must more useful information :-), and something that we'd like to konw about probably. Other than the obvious famously bad gear they (and every other company) have released.

Cheers,
Don

Quote:
Originally Posted by DigitalMahem View Post
Behringer to me, from experience, is barely above Radio Shack quality, but if that's all you can afford, look at some good brand used stuff.

It's no wonder some people can't figure out how to record anything that sounds decent when they're using this stuff. I'm not trying to be snobby or anything, but it's a whole lot easier to record something that sounds decent with good gear than bad gear.

It's not that the people recording don't know what they want, it's just that the technology of what they're using will prevent it.

But I think the absolute worse crap I ever saw that was passed off as pseudo pro was an Alesis mini mixer that came out maybe in 1990. This is the one with the sliders and pots being nothing more than knobs pressed down onto a mother board where the elements were simply carbon deposits on the board. The action was the worse I ever felt. The sound was hideous. I mean REALLY bad. It was a total piece of junk. I hope no gearslut actually bought one of these. Honestly, I think the Sunn keyboard mixers were better!

I'm used to some pretty high end stuff these days, but sometimes it's fun to mess around with simple things. And sometimes it's not so fun. dfegad

I saw a nice British made Soundcraft 42 position mixing desk in a music store on consignment about five years ago for around $1200. It was in nearly perfect condition. This would blow away anything in the Mackie/Behringer world of mixers. You just have to look. And even if you need to replace some modules, you're still ahead of the game. Sometimes the fixes are simple. I saw a Crown Macrotech 2400 power amp that didn't work. The store owner told me later the guy who bought it found out a user plug in resistor in a crossover module had fallen out. So the guy let a $2000 power amp go for $250 or so.
Old 7th May 2007
  #258
Gear Head
 
cold c's Avatar
 

Quote:
Originally Posted by jeronimo View Post
do you have anything so-called "better" to compare to?
I'm curious how does it sound.

I don't know if you are interested in benchmarks, but Driver Heaven reviewed the fca202 here and they have Rightmark benchmarks for 16bit/44.1 , 24bit/48khz , 24bit/96khz and all together.

That performance looks like the sound quality would be beaten by most current mid to high end consumer gaming cards (and my 7 year old audio interface provides better results). The reviewer does mention he managed to get a best of 8ms ASIO latency, other websites mention 12ms. A quick search reveals mixed reports about stability, difficult to know if those issues have been resolved.
Old 7th May 2007
  #259
Gear Addict
 
Raygun's Avatar
 

Don't know if this has been mentioned earlier - this is becoming a pretty long thread - but I think the FCB1010 is a great product. It's a midi controller that I use to control Ableton Live onstage, as well as an Echoplex. Works perfect.

So far I haven't been able to find another product that even compares to it. I'm a little afraid that the build quality will be a let down in a relatively short time though.. if someone has an idea of a similar product from a different (better) company, I'd be most thankful to learn about it!
Old 7th June 2007
  #260
feedback destroyer FBQ2496

How about their feedbackdestroyers? There seem te be no others with a 24it 96khz spec.
Old 7th June 2007
  #261
Lives for gear
 
Albert's Avatar
 

I have bought Behringer gear once in a while over the years, and I finally asked my dealer to talk me out of it the next time I called with an order for a Behringer piece. My words were "friends don't let friends use Behringer".

As far as the FCA202, that was the final straw for me. Just flat out did not work with my laptop, but did work fine with my desktop. Other firewire interfaces I've used have worked great with that same laptop but the FCA202 was typical Behringer: maybe it works maybe it doesn't. Or half works. Or if you listen carefully you can hear all the garbage it adds.

The only Behringer unit I've kept more than a few weeks is the DEQ2496, but I don't run signal through it. The 2496 makes a very affordable RTA and metering unit, it is one of the best things they make in my opinion. That said, mine was not working 100% new out of the box, but all I need is the metering so I kept it.

With Behringer you really have to cherry pick the good items from their catalog.
Old 7th June 2007
  #262
Gear Nut
 
brendandwyer's Avatar
Quote:
Originally Posted by Duffster View Post
The Behringer CT100 Cable Tester. It is the only piece of behringer gear that I have owned that actually works well, and hasn't broken.
agreed cable tester is used a lot. i have a headphone amp and i'm about to "retire" it to the "trashcan"
Old 7th June 2007
  #263
Lives for gear
 
DSD_Mastering's Avatar
What Behringer gear does not suck ?

Their vacuum cleaners!!

Regards,
Bruce
Old 7th June 2007
  #264
Lives for gear
 
jbuehler's Avatar
 

I can't believe people are saying the ADA8000 is GREAT as long as:

1. You clock it to a 2,000 dollar clock (Big Ben)
2. Mod it to bypass all pres.

WTF is wrong with you people! Just buy better! And the ADA8000 is NOT as good as the Presonus or Focusrite boxes for 2 or 3 times the price! Well maybe with the setup mentioned above but that is a freaking rediculous way to go. If I had a 2,000 clock I had better have much MUCH nicer converters and preamps that need no mods..................I think people talking like this do a diservice to newbies...
Old 7th June 2007
  #265
Lives for gear
 
cjogo's Avatar
Went through lots of gear in 30 years of recording....and use only a Behringer & Alesis product ~ for all our mastering >>> DEQ2496 & MasterLink...for all of clients.
Old 7th June 2007
  #266
Gear Maniac
 

Quote:
Originally Posted by jbuehler View Post
I can't believe people are saying the ADA8000 is GREAT as long as:

1. You clock it to a 2,000 dollar clock (Big Ben)
2. Mod it to bypass all pres.

WTF is wrong with you people! Just buy better! And the ADA8000 is NOT as good as the Presonus or Focusrite boxes for 2 or 3 times the price! Well maybe with the setup mentioned above but that is a freaking rediculous way to go. If I had a 2,000 clock I had better have much MUCH nicer converters and preamps that need no mods..................I think people talking like this do a diservice to newbies...
Rosetta 200 and an ADA8000 clocked to it seems a good setup. Use Rosetta for mono/stereo recordings and main monitoring. Use ADA8000 for all the other needs.

I don't own the Rosetta yet but I think I'm going to do that with an RME (spif for rosetta, adat for ADA8000)
Old 7th June 2007
  #267
Here for the gear
 

What's funny to me is.....as much Behringer bashing that goes on in this forum, its ironic that when I look through the studio pic threads, I pretty consistently see at least one Behringer item in the racks at alot of these studios. Interesting!
Old 7th June 2007
  #268
Here for the gear
 

Quote:
Originally Posted by cjogo View Post
Went through lots of gear in 30 years of recording....and use only a Behringer & Alesis product ~ for all our mastering >>> DEQ2496 & MasterLink...for all of clients.
I saw the pics on your page. Your studio has nice character.
Old 7th June 2007
  #269
Lives for gear
 
cjogo's Avatar
Quote:
Originally Posted by Kendrick View Post
I saw the pics on your page. Your studio has nice character.
thanks --easy to manage--quick productions...clock to a SEk'd 2496
Old 8th June 2007
  #270
Gear Head
 

Behringer, the company EVERYONE hates to love and loves to hate.

I think I want to weigh in on this one in a serious way; so if anyone is interested in reading the OTHER SIDE of the Behringer debate, I invite you to shelve your prejudices for a few minutes and see if anything I say here makes any sense.

I get a big kick out of the vortex of sanctimonious passionate condemnation that seems to appear at the very mention of the brand name "Behringer". Folks, it is what it is... a discount brand that thrives on ripping off some very fine designs of other manufacturers, reconstituting them in the cheeziest possible way, and occasionally paying some rather modest patent infringement penalties (which costs them WAY less than what they'd have to shell out for licensing their gear in a legitimate way). But guess what... some of their stuff works pretty well and sounds pretty damn good - especially at its market price. Don't expect it to hold up to serious 24/7 pro use ... it won't. Don't bother trying to repair most of it when it breaks (cheaper to buy a replacement especially if it's an eBay re-tread). But for all the condemnation, it AMAZES me how many Behringer pieces I have seen peeking back at me in the company of some very pricey gear in some pretty high end places...


I've been in and out of recording and productiion for over thirty years. At my studio, I have a few really nice pieces, a bunch of solid middle of the road gear... and some very classic vintage stuff ... along with a generous mic collection that is far more extensive than what I need given the size of my 700 sq ft space. But I have found at least five Behringer pieces that have ranged from selectively useful to absolutely indispensible. Most of my Behringer pieces are bought at either heavily discounted volume prices or second hand so they cost me next to nothing and I don't feel like I'm supporting Behringers ethically challenged business practices.

I've done well enough so I can afford to own some good stuff... but that doesn't mean that I'm going to rag all over something that's inexpensive and does a great job! Listening to some people go on about it is like listening to a bunch of ugly dudes hanging out at a family wedding protesting that they would never pay for sex. We all know perfectly well that these same guys were having very different conversations at the bachelor party the night before.

My favorite Behringer pieces are:

1) ECM 8000 microphone
2) Ultrafex T-1950
3) Edison spatializer
4) Powerplay Pro XL headphone amp
5) Vintager GM 110 guitar amp
6) B-2 Pro dual diaphragm condenser mic.

ECM 8000:
The ECM 8000 "measurement" microphone is a very sensitive micro-diaphragm omni condenser. While may not compare to a $2k+ B and K measuring instrument, it is possibly the nicest sounding inexpensive mic I have ever heard. I have a pair. I've used these as instrument mics, room mics, spaced mics for recording orchestras in concert, etc etc. Do I like my matched pair of Earthworks TC 30k's better? For most things, sure. But s'cuse me if I don't put them up to record an outdoor concert on a damp or intermittantly rainy day. I'm just not in the habit of flushing $1200± down the toilet on a regular basis for a gig that probably pays half that at best. The ECM 8000 is an amazing secret weapon and at around $80.00 a pop, everyone ought to have a pair in their cabinet for monsoon events and headbangers. The exact same mic is badged and sold as a DBX and a NADY. If you want to be even more shamefully cheap, you can find the NADY version on ebay NEW for as low as $39.00 each. I've had my pair for four years and never had any problem with them. WOW on accoustic bass!

The Ultrafex and the Edison:
A while ago an old friend of mine who worked for many years with Maurice White and toured with EW&F brought me his recently completed solo CD. I'd heard rough cuts along the way and I knew this was a class act piece of work with some great tunes and kick ass players so I was psyched to hear it. When I listened to his final "mastered" version, I was shocked at how the life and vitality and depth of field had just been sucked right out of it. My buddy was seriously bummed out by this time and completely out of funds. I persuaded him to let me spend a day or two aggressively tweaking his project at no charge since I had just finished my control room and thought this would give me a good opportunity to evaluate the room and test drive some gear. It was not pretty. I broke rules... lots of them; but in the end I managed to restore the sparkle and presence into something that otherwise might just as well have been pronounced D.O.A. There were two pieces of gear which proved absolutely indispensible in this process; the Ultrafex T-1950 and the Edison. I used these in conjunction with adding minute quantities of three different reverbs - two early reflections and one medium trailing verb. The edison is primarily a spacializer whereas the Ultrafex is mostly a tunable dual band exciter with a spacializer circuit and a tube warmer, both of which have simple dial in controls. Different songs required different degrees of effects and different routing; but in the end the CD went from a dead thing to a slick lush classic LA type R&B/POP cd. Not a bad save, but without the Behringer pieces, it would never have happend.

Powerplay Pro XL headphone amp:
Someone thought carefully about this one. This little guy has four separate stereo channels. While the main input feeds and daisey chain outs are on the back of the unit (servo-balanced and unbalanced), each channel has a separate stereo main input and stereo aux input on the front panel. Each channel has selectable left/right mute, low/high eq, and - if you utilize the aux input as well as the stereo feed, there is a balance knob to allow you to mix the main stereo and aux inputs to your taste. While I wouldn't recommend this unit for mixing or mastering applications, as a tracking tool it's remarkably flexible, fairly good sounding, and gives musicians enough individual options to address their needs without going completely overboard with twelve separate mixable channels and all that stuff that causes players to waste OHHHHHHH so much time while they fiddle and twiddle to get their very own special mix. I use the front panel outputs on this unit to feed small "more me" type headphone boxes set up on a stand in front of each player. L/R mute means no more excessive headphone bleed because a player/singer only uses one can. Even better, no more interruptions while someone says, "can I have more (or less) track?" or "can I hear more (or less) of myself?" Now all this can be had NEW for $99.00. I've had mine for a year and a half, no problems.

Vintager GM 110 amp.
I bought this little recording amp brand new on ebay for $39.00 from someone who somehow ended up with two and only needed one. It's got a decent modeler in it although you clearly are NOT going to get it to sound like a stack of marshalls. It's real strength is as a small recording amp - think Roland Cube - with fast and easy effects. I purchased it so that session players I hired from NYC wouldn't have to lug their own amps up to my place (a 2 hour schlepp by train or car) if they didn't want to. The first session I used it on featured a well known veteran jazz guitarist who brought his vintage L-5 and took one look at my amp and said,"Oh man! You should have told me ... if I'd known this was all you had I'd have brought my own amp"(and charged me an extra hundred and complained non-stop about having to lug it up there for the rest of time). Fifteen minutes later he was swearing up and down that the first thing he was going to do when he got back to the city was pick up one of these "neat little amps". Nuff said.

B-2 Pro dual large diaphragm multi pattern condenser mic:
I'd describe this mic as a "poor man's KSM 44". Like the KSM 32 and 44, and like most other Chinese mics, the Behringer B-2 Pro is a bit brittle and sibilant on the top end; but less so than many. I'm sure someone else has figured out how to make a multi-pattern large diapragm condenser microphone for close to the same price point by now; but this one actually sounds fairly decent all things considered. It has a far greater reach than a budget Russian mic like the Oktava 219 or even the 319. The patterns actually work and behave as they should on the B-2, and there is a low end shelf and a 10db pad with solid no nonsense toggle switches. If only switching patterns on a vintage U-87 were as easy! The brass casing is quite solid, and there is sufficient internal damping so that the whole thing does not ring or clunk as much as so many other inexpensive big mics do. The shock mount is quite functional and included along with a nice aluminum carrying case and a foam wind screen. I wish they had retained the more attractive mesh screen shape found on the original B-2 model (reminiscent of a Bayer or a BPM) but all things considered, it's a pretty incredible package. At $139.00 plus shipping, this is a real testimony to the unbeatable combination of the Behringer "rip and gyp" design philosophy when coupled with the awesome capabilities of Chinese manufacturing - unfettered by protective child labor laws and prohibitions against forcing political prisoners to work for food and water. (Note: For any of you lurking out there who happen to be humorless politically correct morons ... the previous sentence is IRONY. NO, I DO NOT APPROVE OF BEHRINGER'S UNETHICAL DESIGN CONDUCT OR VARIOUS FORMS OF EXPLOITATIVE LABOR PRACTICES... OK?)

Now where was I, Oh right, the B-2 pro... this is the mic you pack in a sack and toss in your kit as an emergency spare. Being caught using one won't embarrass you nearly as much as not having a spare mic when you need it. This is the mic you give to the thrash band singer who did a few too many Jaegermeister jello shots before the session and is clearly going to toss his cookies right into your prized whatever ... (lets see... Puking Punker: do you give him your C-12 or your B-2 pro?... Hmmmmmm tough call). Above all, this is the mic you use on Bubba the Metal Head... the four hundred pound drummer who's legally blind, rhythmically challenged, and has an uncanny ability to bring the full power of his unwashed mass down on the mic instead of the drum head more often then not.

Now here's the great thing about this mic. If by some lucky chance Thrashboy manages to keep his cookies and actually nails a good vocal and Bubba miraculously gets through the better part of a take without pulverizing a mic, the B-2 Pro will give you a pretty damn good recording - vocals. instruments, overheads, toms, snare, whatever.

Conclusion:

So here are 6 Behringer products I've had really good experiences with. Yes, there have been some turkeys too. I've never tried a set of Behringer headphones that were deserving of anything other than being promptly consigned to a landfill. I understand that the Eurodesk 9000 is pretty-much worthless except as a stage prop. If it works at all, that should be taken as a temporary situation at best. Apparently not even Behringer has much luck repairing the 9000 series mixers when they fail.
And in the middle ground is something like the REV 2496 which has some very lush complex sounding reverbs but one of the most user unfriendly architectures I've ever been exposed to; so much so that I keep mine set at a couple of consistant favorites and I NEVER change those settings. It's just not worth the headache.

But as long as I've been a member here, and in fact for some time before I joined, it seems like everyone's favorite thing to do is rag on Behringer. What can I say. They're a financially successful company even if their business model is Trump-like.
More important, they have a niche. Teen age rockers and people who are just beginning to figure out what being a true gearslut is all about can learn a lot from using Behringer products. So give it a rest folks. Find another company to rag on.
I don't work for Behringer, endorse them, or own stock in them. But I have found some of their products to be quite useful and - god knows - very affordable. Maybe it's time to find a new whipping boy. Why doesn't somebody pick on Peavey for a change?

Hope some of you have enjoyed my rant.
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