****Note**** This review is for the BX5a and not the newer model the BX5 D2
The M-Audio BX5a's have graced my speaker stands for over 4 years now! Back in college I decided that it was time to move on from headphones and a TV surround system. I did have a budget but I wasn't going to cheap out on this purchase. Studio monitors are arguably the most important part of your setup. If you go with something too cheap, chances are you are going to hear it. A lot of cheap models "sound" alright, but when you dig into it they are just boosted in certain frequencies like bass. When looking for a pair of monitors you want to try and find a pair that has a flat EQ. The Bx5a's are active monitors so you won't have to worry about buying and amplifier. In my opinion the M-Audio BX5a's are the way to go.
-2 way near-field studio reference monitors
-5" Kevlar curved cone LF driver with high temperature voice coil and damped
-rubber surround. Magnetically shielded.
-1" magnetically shielded natural silk dome HF driver
-56Hz - 22kHz frequency response
-3kHz crossover frequency
-70W total power
-LF Amplifier Power 40W
-HF Amplifier 30W
-S/N Ratio 100dB typical A-weighted
-1 XLR balanced input
-1 TRS balanced/unbalanced input
-Input Sensitivity 85mV pink noise input produces 90dBA output SPL at one meter with
-Polarity: positive signal at + input produce outward LF cone displacement
-20kΩ balanced, 10kΩ unbalanced input impedance
-Sub frequency port on back
-Volume knobs on back
-RF interference, output current limiting, over temperature, turn-on/off
-Blue LED on front of monitors
-115V ~50/60Hz, 230V~50/60Hz or 100V~50/60Hz
-Vinyl laminated high acoustic efficiency MDF cabinet
-Magnetically shielded internally
-Limited warrantyRead more on Audiofanzine
The Behringer Ultravoice XM8500 dynamic microphone is the perfect addition to anyones gear arsenal. I will admit, you aren't going to use this mic for vocals in the studio. Don't let that discourage you from buying one, this is a handy mic to have around. Ya I'd mic up a guitar amp with one of these, I've done it in the past and it sounded just fine, but it's not going to capture much vibrance in the high end. Works great live where an SM58 may pick up lots of noise. It's a great talkback mic for the studio, great DJ mic (no on/off switch though). At the end of the day you can find it on the internet for $20. Go out for dinner - vs - have a mic forever. And for $20 you might as well get 2 (true story, happened to me).
-Wide frequency response
-Common noise bearing frequencies reduced for minimal feedback on stage
-50Hz - 15 kHz response
-Builtin shock mount system
-High balanced output
-Low IMP 250Ω
-Builtin round wind/pop screen filter
-Hard shell carrying case
-3 year warranty
-Made by Behringer GermanyRead more on Audiofanzine
Let me start by saying that this unit has been more than just a simple 2-channel tube microphone preamp. It is a tone monster! With selectable impedance, 3 gain stages, 2 choices of High and Normal Plate Voltage and a really useful and transparent Low Cut Filter, this unit will perform with any kind of source and provide you with a kaleidoscope of sounds. On top of that, you have the option of running the 2 channels with only one set of knobs through its Stereo mode, for Room micing applications or even running stems through it! It also processes your Mid-Side micing setups for that really wide stereo capture. And it just sounds better than doing it ITB. There is somehow more coherence between the center and the side channel, and you can really push the side more for that HUGE drum sound.
The construction is top notch, and as a testament it has stepped knobs. I’ve owned this unit for almost 5 years now, I’ve travelled with, and it just feels like the first day.
Other features include Phase Invert and +48v switch, a 2 set of High-Z Instrument inputs, as well as your standard XLR inputs and outputs, and a set of balanced TRS outputs. Oh and a word of caution, there's a tiny little button on the back to switch between Pro (+4 dBv) and Consumer level (-10 dBu). It tripped me off the first time because I had it disengaged and was getting minimal signal level coming into my interface. So, to most users, just leave it pressed.
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If you are looking for a mid range sounding mic for a great price, the MXL V250 is the mic you are looking for. The V250 averages $60-$80 online, but don't get too excited Canadians, you will be hit at the border and the price will go up. Even if you had to pay around $150 for this mic, it wouldn't be a bad decision. This a great sounding studio mic that is good for the professional who needs a reliable/great sounding mic that isn't going to cost a lot.
-Pressure gradient condenser microphone
-30Hz to 20kHz response
-80dB signal to noise ratio
-130dB max SPL for .5% THD
-17.1mm diaphragm diameter
-19.9mm capsule diameter
-6 micron diaphragm gauge
-3.0mA current consumption
-Clip, cleaning cloth, MXL sticker and manual includedRead more on Audiofanzine
I purchased this second-hand as an upgrade to my monitoring chain from my Mackie Big Knob. Buying it used, along with the money I got from the salie of the big knob, made this a fantastic purchase.
One thing that I truly loved and became accustomed to on the Big Knob was the 'dim knob' feature. With it, my workflow drastically improved. After long hours, I can help avoid fatigue by monitoring with my PMCs while using the dim knob feature in order to hear bass perfectly, even at low volumes. This key feature of the big knob was a must-have for me, and drastically narrowed my options for a higher end monitoring controller. SPL was one of the few controllers that made the cut and, ultimately, sold me.
Another feature I was aware of yet had little experience with until making this purchase was the Latency Free Cue Mix feature for tracking musicians. It's an extremely easy-to-use future that blends the musicians' track and the track mix with one knob, making it easy to accentuate the ideal blend for your tastes.
The build quality is truly top, with a robust and druable feel to the knobs. They truly addressed every possible feature. Everything is labled upside-down on the back so you can easily read it while peering over the top :). It comes complete with talk back, talkback remote switch, slave output, and headphone out.
One potential negative (or positive, depending on how you look at it), is the fact that the MTC doesn't use speaker trims. This is a negative because you have to use the trims on your monitors in order to properly set levels (which can get tricky). The positive spin to having to do this is that it helps the SPL dispense with additional circuitry in order to keep everything to a minimal sound path, maintaining a higher sound quality. Once it's all set up, the sound quality is fantastic.
The only other negative I could complain about is perhaps some scratchiness to a few of the switches and one knob. As mine came used, I don't know if this is a typical issue or unique to my specific unit. Regardless, I'm very impressed with the overall quality and ergonomics of the MTC. While I enjoyed the Big Knob, this was an upgrade that truly left me with no regrets. Highly recommend.Read more on Audiofanzine
I did a lot of research, reading countless reviews and watching many video tutorials before choosing the Zoom H6 as my portable recorder of choice. Within the price-range and portability, it seemed the Zoom H6 couldn't be rivalled in terms of features. So what happened when I finally got it? Well at first, I was quite shocked at its size! Honestly, I was expecting something 50-60% bigger and was pleasantly surprised at how small and light it was.
As I dove into using it right away, I found all of the features that sold me on it were easily accessible and equally useful. My primary use for the H6 will be for on-site sound recording for film. For my approach to sound design, having 4 independent, low-noise preamps with individual gain knobs on the outside of the device was a key feature. I like to set up the X/Y microphone as a general stereo distance mic centred on my subject. Then I can use preamps 1 and 2 to drive two shotgun mics forming a closer x/y field to my subject. Then I like to use mic preamps 3 and 4 to power two condenser mics further and to the sides of my subject, to capture the performance space. Being able to do all of this simultaneously while monitoring all of my levels on simple display screen without any thumbing through menus is a huge advantage to the H6.
As a musician, I was most excited to dive into the M/S microphone for recording acoustic demos. I travel often with my Martin LXK2 acoustic and have found the Zoom H6 to be a competent companion for recording demos on the go. The M/S mic is perfect for capturing a raw sound that I can upload into Pro Tools later and adjust the stereo image to taste. Below I walk through an acoustic demo with the H6.
Placing the M/S mic aligned between the direction of my voice and the guitar's 12th fret, I found I could vary the amount of vocal sound versus ambient guitar sound by adjust the side microphone's volume. This was really nice when monitoring my performance, because with the sides turned up I better heard my foot tapping to stay in time and also got the added resonance of the room to help my singing. What I discovered when I exported this file to my computer, was that I got a .wav file with the 'Mid' information on the left and the 'side' information on the right. This seemed pretty intuitive, so I loaded up a Pro Tools session with 2 mono tracks. On track one I put the left channel and track 2 I put the right channel. However, I left them both panned center, meaning my 'mid' and 'side' mics were now overlapping and by lowering the volume of one or the other I could adjust the stereo image and how prominent my vocal was in the mix. It's almost like multi-tracking but with one mic! See how it works in these examples
Mono (the side channel is muted and we hear only the 'Mid' mic): http://en.audiofanzine.com/pocket-recorder-multitrack/zoom/h6/medias/audio/a.play,m.473957.html
Mid 0 / Side -15 (I've brought up the sides just a bit to add some 'room' back into my take):http://en.audiofanzine.com/pocket-recorder-multitrack/zoom/h6/medias/audio/a.play,m.473958.html
Mid/Side at Unity (both with faders up): http://en.audiofanzine.com/pocket-recorder-multitrack/zoom/h6/medias/audio/a.play,m.473959.html
Mid -6/Side 0 (Here I've brought the Mid channel down just a hair so the vocal sits a little further back in the mix: http://en.audiofanzine.com/pocket-recorder-multitrack/zoom/h6/medias/audio/a.play,m.473960.html
PT Mix (I found I could play with the levels of each track and then add plugins and effects to achieve a fun, unique low-fi demo sound): http://en.audiofanzine.com/pocket-recorder-multitrack/zoom/h6/medias/audio/a.play,m.473961.html
There's many reviews and technical tutorials that go in depth with the professional applications for the H6 and I suggest checking them out! But if you're also a musician looking for a good multi-track recorder, then thrown the rule book out the window and play with the variety of different mic inserts and features. All in all, the H6 is an incredibly powerful, yet intuitive recording tool that after a little initial learning curve can be an audiophiles perfect travel buddy!
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It's first and foremost a vocal mic, but it is very good on acoustic guitars and alto! Careful: Don't use it upside down (the capsule could unscrew!)
The original tube does the job, it's neutral and clean.
But it really becomes amazing with a Telefunken 12ax7!
Rugged.Read more on Audiofanzine
The Behringer XENYX 802 is a great portable unit for that engineer on the go. I personally use it for headphone mixes almost every time I'm at the studio. I've even seen people use it with their TV, surround sound and game systems! This small analogue mixer is well worth the MSRP of $100.
The unit is not rackable but it will easily fit on any flat surface. At about 9"X7" the Behringer XENYX 802 will save you lots of valuable desktop space.
The unit is analogue only, this means no digital out's or built in effects. The 802 has XLR, TRS/TS & RCA connection jacks.
-8 inputs (2 XLR, 6 TRS)
-2 main outputs (TRS)
-2 control room outputs (TS)
-1 FX send (TS)
-2 aux returns (TRS)
-1 stereo headphone out (TRS)
-2 RCA inputs
-2 RCA outputs
-2 XENYX preamps
-3 EQ (low 80Hz, mid 2.5kHz, high 12kHz)(+15/-15dB) on 4 channels (channel 3&4 are stereo)
-1 FX fader knob on 4 channels
-Inputs 1&2 also ave TRS/TS line inputs
-CD/Tape To Control button
-CD/Tape To Mix button
-1 main mix knob
-1 phones/control room knob
-1 aux return knob
-1 phantom power button
-Includes power adapter
-Mic gain for channels 1&2 range from +10dB - +60dB
-Line input for channels 1&2 range from -10dB - +40dB
-22dBu maximum output
-3 LED meter (-20, 0, 6, CLIP)
-Power & +48V LEDs
-Metal design with plastic side pieces
-1.9" X 7.4" X 8.7"
-3.5lbsRead more on Audiofanzine
MXL has made a serious condenser tube mic at an even more serious price. The MSRP is $399 however many sites offer it in the $200-$300 range. Like most other tube mics this 12AT7 dual-triode tube is powered by a dedicated power supply. The gold grill with black body makes any recording space look even more sleek. Weighing in at 1lb, don't worry about the V69 weighing down your mic stand.
When you open the sturdy aluminum case for the first time you will be ecstatic to find a high quality shock mount along with your power supply, cables and of course, MXL V69 microphone. Your worst nightmare comes true, the case slips out of your hands and tumbles down the stairs. After handling the case, I don't see how anything inside will be damaged. Ya it's a bit bulky, but I'll take bulky over broken any day.
-12AT7 dual-triode tube
-Dedicated power supply
-Mogami cable & wiring
-Frequency response of 20Hz - 18kHz
-22 mV/Pa Sensitivity
-Impedance - 200 ohms
-Capsule Size - 32mm/1.26 in
-Durable aluminium case
-Black with gold grill
-47mm x 218mm (1.85" x 8.58")
-Weight of 500gRead more on Audiofanzine
I wanted a Reel To Reel for years. And i wanted a machine which i am capable of servicing and there shouldn`t be that big hassle when i need parts.
After digging into the matter i came to Akai. This Brand has a lot of Fans and quite a lot of them are still around in good condition.
When i had the opportunity to get an Akai GX 630 D for a resonable price from an Ebay-seller with good reputation and nice contact by phone i hit it.
When it got delivered i had some serious heartbeat but all turned out great, the machine was as good as promised... Even better! It came to me completely untouched, the electronic trim pods were still sealed, everything factory preserved and in best working condition.
The GX`s secret is the record/play heads wich are provided with a thin layer of glass. This glass layer makes the heads nearly never wear off. The Tape has no abrasive impact to the heads and Akai gave lifelong warrantry.
The mechanic is well designed, too - all is strong, logic and well built, no flaws for me to see.
With its three motor design the unit gets along with just one peese belt- for the counter.
The engine logic controls are safe made, You may press rewind(ffwd) and right after that hit the play button and the Akai stops the wind, waits for three seconds and engages play. Same when hitting wind straight from play: the engine switches in high speed with not a second delay.
Try hitting play without pressing the stop button first on a Revox A77 and You`ll do this exactly one time because the machine does as told: without hitting the brakes it goes from wind to play. Imagine...
To the acoustic quality of the Akai GX 630 D i can make it short: with new tape used You hardly hear a difference between source and tape. I tried many tapes now and when recording on used ones i recommend Maxell, had the best results with.
New tapes i order at Musikhaus Thomann (I am German, natively), they provide the best to get.
I love sitting down, have a spliff and listen and watch the reels spin while watching my aquarium is pure relaxation.
The Akai GX 630 D is worth the dime and a great machine to start the reel to reel hobby with.
Last advice: use the original Akai NAB-adaptors! Only they have the pattern on the back that fits the reel-tables. For meeting the difference in width between PVC and metal- reels Akai put a pattern on the reel tables and the adaptors to wind the tape exactly in the middle of the reel. Shown on 2nd pic.
Other aftermarket adaptors don`t fit that exacly, causing the tape to shuffle along the inner side of the reel.Read more on Audiofanzine
What motivated my choice was the frequency response curve. I wanted them mainly to mix, so I wanted some quality nearfield monitors that were as flat as possible, and I got them.
I use them with my Tascam M3500 mixer and a Universal Audio ApolloRead more on Audiofanzine
Two channels: Gate, VCA compressor, over easy/hard knee, peak limiter.Read more on Audiofanzine
I've been using it for 3 years for home studio.
I didn't have the chance to test other models, but I'm very pleased with this one, and I don't have the need to get something better, for the time being.
What I like most is that it has four headphone outs that can be fed one source or the other, just like the main output.
I also use the Mono button, which allows me to verify if there are any phase problems.
The Mute and Dim functions are also useful when you are no working alone.
My only reserve would be the VU-meter, although, given the price, I can't really complain. It's useful to have a quick overview of the output level at the end of the chain, but it's not very precise.
Bottom line, it's a very good unit, which I recommend.
Its value for money is very good. If it were to break, I'd get the same one, no doubt about that.Read more on Audiofanzine
Just OK, Novel idea at the time.Read more on Audiofanzine
The Rode NT1-A is a large diaphragm cardioid condenser microphone. It runs on phantom power, so make sure your interface or mixer/preamp provides phantom power. When it comes to setting up, it’s a breeze. Just make sure you mute the channel when you plug in so you don’t damage the mic. Mute before disconnecting when you’re done for the same reason.
Rode itself as a brand is highly respected in the music industry for making quality products that don’t break the bank, and the NT1-A (along with the NT1) has a reputation as being one of the quietest microphones in the market.
I picked mine up second hand on Ebay and collected it from the seller, who worked at MTV in London, and had been using it for voice over work. I used it mostly for acoustic guitar and vocal.
The mic came in a sturdy metal case, complete with a shock mount and a dust cover.
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The Perception 220 is a fixed cardioid, large diaphragm FET condenser mic. It's frequency response ranges from 20-20,000Hz and is fairly flat. In theory, it could be a perfect vox microphone in a studio setting because of how flat the response is.
Here is a picture of the graphed response:
It is also a nice overhead.
I've only used it as a single overhead, but a matching pair would sound delicious because of where the peak sits on the high frequencies(somewhere between 10 and 11k).
It's got a high pass filter or bass rolloff switch that will bring down the lows starting at about 300Hz.
It also has a pad switch that brings it down -20dB which has lead to me experiment with it in live situations. It works great as a live overhead, room mic, and Bass Cab mic.
It comes with a shock mount and a decent plastic carrying case. It is on sale for 150$ new. When I purchased it a few years back, I think it was closer to 200$. 150$ for this microphone is a steal.
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VERY high maximum SPL (or, if you will, little sensitivity, rated at 2mV/Pa +-3dB), dynamic and cardioid shaped (don't be fooled by it's condenser-ish disguise, the mic's front is it's topmost end!). This mic is a staple on most studio locker's around the world. You can throw them on unnecessarily loud rock amps and they will hands-down handle it, put them on toms and you'll get a classic sound with good rejection from the rest of the drums, just remember, this ain't no jazzy and delicate mic.
It has a not so obvious bass roll-off switch intended to reduce the proximity effect, labeled from "M" (which I presume is for "music", or flat response) to "S", which I suppose means "Speech", or full roll-off starting @ 500Hz.
It is also very well built, mine was bought used and has no dents or obvious scratches at all.Read more on Audiofanzine
The Adam A7 was the second little brother (only surpassed by a 5 inch smaller one) in the adam monitor family. It has a bass exhaust port in the front, a (you guessed it) 7-inch speaker cone and the ART tweeter that is the trademark of Adam Monitors. Basically, this design "squeezes" air rather than pushing it like a regular cone would do, meaning faster transient response and a more detailed –and somewhat prominent– high end.
You'll also find the power button and volume knob on the front of the speaker, which makes them ideal for small on-the-desk studio setups. On the back lies the female XLR line input, an RCA unbalanced input (which makes me think they were also designed for the weekend audiophile) and 3 EQ mini knobs that go +-6dB at 6KHz, 150Hz and +-4dB for the overall tweeter level, which should be enough to tweak the speakers slightly to adjust to your room.
Also, Adam monitors are made in germany and yes, they're very well built and designed!Read more on Audiofanzine
The Multivox MX-312 is a vintage, solidstate tape echo unit. It also has a spring reverb unit in it. It has connections for various audio levels at both input and output. It is a vintage device, so there is not PC connectivity.Read more on Audiofanzine
The SM48 is a dynamic microphone with a cardioid polar pattern and a frequency response ranging from 70 to 15,000 Hz. Supposedly, it is best suited for backing vocals or spoken word. The frequency response(in comparison with other microphones) does tend to support the claim.
I have found myself in many situations in which a more specific response like the one that this microphone provides, is actually much more desired. If you are in a particular room that is more susceptible to bad low end background noise, for example.
Being a home studio owner, and one that has gone from nothing but a handheld tape recorder to a fully functional, almost completely analog studio(I still prefer burning CD's! Sorry!), I have found uses for microphones that range all over the spectrum. This one in particular for the times in which I am stuck in a less than desirable room.
Even before any real knowledge of audio or sound waves or frequencies had been gained, I found myself with this microphone being my personal first pick for live settings. Again, something about where the frequency range sits, really tends to fit my ears. Read more on Audiofanzine
The 1202 VLZ Pro is a compact analog desktop mixer with an impressive variety of inputs and outputs to suit your needs.
On the main panel you get:
-4 XLR mic channels accompanied each by an optional 1/4 inch line in
-4 1/4 inch stereo line ins
-2 aux sends with 2 stereo aux returns
-Stereo RCA Tape input and output
-1/4 inch Stereo Main output
In total there are 12 possible channels to send in to the mixer, 8 of which you would get by doubling up on line in's 5-12 stereo inputs.
Each channel has 2 knobs for controlling Aux effects sends, 3 EQ knobs, a Pan knob, mute and solo switches, and Gain knob. The EQ is 3-Band, with Hi, Mid, and Low control. Additionally, the 4 Mic channels have a knob for controlling the Trim level.
On the right side of the unit is your master controls, which include an Aux master, Aux select, EFX Select, Aux return level knobs, Control room source select switches, Submix gain control, Main Mix Gain control,and stereo graphic lights for monitoring your levels.
On the back of the unit you find:
-Phantom Power switch
- Main Stereo XLR outputs
-Mic output attenuation switch
-Stereo 1/4 inch Control Room output
-Stereo 1/4 inch Alternate Output
-4 Channel Insert 1/4 inch sends and returns.
There is no support for automation, and the knobs are all standard, NO motorized knobs or sync ports here so everything you do to your sound at this stage happens on the Mixer itself.
The mixer is all a nicely weighted metal construction, and the knobs and buttons are all plastic.
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The Mackie Onyx 1620 has a total of 16 inputs. Eight of them can be used as either Bal/Unbal line ins or XLR3 microphone inputs. The remaining eight inputs are solely Hi-Z line ins. The inputs run through Onyx microphone preamps(one of the best mic pre's on the market is built into this board!). From there, it is equipped with Perkins E.Q., which is phenomenal. Not only do you have your typical E.Q. controls(high,high mid, low mid, low), but both mid E.Q. sections on each track have an additional frequency control knob. This knob controls the center frequency for the E.Q. filter. Think of it as a frequency selector. Once the desired frequency is found, you can then adjust the volume of said frequency in the usual way.
It is equipped with Aux sends and returns that can be used for bussing premixes or effects to or from or through whatever-wherever. Analog tape ouputs, main line outs, main XLR outs, control room line outs, and an optional Firewire card.
The Firewire card turns this kick ass analog mixer into a bad ass digital interface. So... What else could you need?... A lamp? just in case it gets dark?
It has one.Read more on Audiofanzine
This is everything and more you would ever expect from Neumann. A great condenser recording mic with a broad and clear frequency response. Perfect for recording studio vocals and professional broadcasting. Every studio needs a good vocal mic and this one definitely sets the bar high. 100% recommended.
It is a very sensitive mic so I would definitely recommend buying the shock mount accessory which let's the TLM do it's job without interruptions. Read more on Audiofanzine
I ordered them based on the reviews and, especially, the brand's reputation, but also due to their small price!
I use them as classic monitors with a small hercules sub that I will change shortly.Read more on Audiofanzine
The Cloudlifter CL-1 is a single channel, in-line microphone pre-amplifier that delivers a transparent gain boost of 20db via 48V phantom power. It is manufactured by Cloud microphones, who are renowned for their boutique quality passive and active ribbon microphones. They designed the Cloudlifter series with powering high-end, passive ribbon microphones in mind, which require a considerable amount of gain compared to comparable studio condenser mics. However, they have been proven to be a secret weapon when combined with low-output, high-end dynamic microphones, such as the Shure SM7b and the Electro-Voice RE-20.
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I was looking for small monitor speakers that were faithful enough and a good value for money. Pretty standard features:
2-way (5" + 1") near-field active speakers
Power: 41W + 41W
Class D amplifiers
Max. SPL: 108 dB (C-weighted)
Frequency response: 43 Hz - 24 kHz
Thomann volume control
EQ: LF (+2 dB / -2 dB), HF (+2 dB / -2 dB)
Input: XLR and 1/4" jack
Dimensions: 11.7" x 7.3" x 9.9". (298 x 185 x 251 mm)
Weight: 10.1 lbs. (4.6 kg)Read more on Audiofanzine
Nice tool, conceived for professionals.
I have only good things to say about it.
Except that I found yesterday someone who had the S16 and a X32 compact...
And I noticed that my problem wasn't isolated:
Male XLR connectors can get stuck in the console!
It's shocking: I had never had that with any other console.
The solution? I got a metal saw blade and, since it's a bit curved, I was able to saw off the male XLR until the input was free. Then think about leaving a mini connector so that nothing ever gets stuck again, and don't forget to cut the peg. And that's it. I don't even want to imagine if Behringer has to recall its 40000 consoles for such a stupid problem.Read more on Audiofanzine
Is it rack mountable?
No, as far as i know.
How many channels, groups, aux sends and returns ...?
20 mono channels + 2 stereo
What kind of connections (RCA, phone, XLR...) does it have?
XLR, 1/4" JACK, 2 RCA
Does it have a built-in effects section? ...For analog console:
LEXICON effects processorRead more on Audiofanzine
rca jack xlr phantom power 9Read more on Audiofanzine
This review refers to the Twinq version 1. I wrote due to the demand of an Audiofanzine member, but he must know that I had version 2.
Solid-state stereo channel strip, AD converters, optical compressor, great EQ.
There's not much to add.
Insert possibility on the rear.Read more on Audiofanzine