Another Reason to Avoid Behringer Gear?

  • Thread starter Thread starter sdelsolray
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I think a thread should be made where people post recordings and don't tell anything about the equipment they used. People can vote for which recordings sound the best and then the details can be revealed. Or has this been done before?
 
EDAN said:
So you're the type who thinks a good product becomes bad simply from sitting? it magically loses it's mojo over time? Records today certainly sound no better then they did in 97.
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Analog is a mature format, digital isn't. Digital now is an order of magnatude better than it was 10 years ago. No, I wouldn't use a 16 bit mastering processor in this day and age, not because it does anything different than it ever did, but because I have better options now.

EDAN said:
Yeah, he's only produced multi million selling albums, why would anyone take his advice when they can take yours :rolleyes:
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Find me another multi-platinum selling producer that agrees with him. It really just sounds like a flippant remark.
 
ericlingus said:
I think a thread should be made where people post recordings and don't tell anything about the equipment they used. People can vote for which recordings sound the best and then the details can be revealed. Or has this been done before?
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and the problem with this is that people could simply lie.
 
It really is OK with me if you need to justify not spending money. PLease, feel free to be more than happy with your Behringer purchases. The good news is that since you can't hear the difference, there really isn't a reason to buy anything nicer. My bet is that if you can't tell the difference between all three of your drumsets that it is really because the two nicer ones have just been tuned that badly.

I never said that you could not accomplish anything good or "pro" with some Behringer equipment. In the right hands, with the right performers, going for the right sound the Behringer may not be much of a liability. However, for professionals, there really is no situation where Behringer equipment really falls into the "asset" category. I really don't care if David Bowie's producer thinks that a compressor is just a compressor. I don't care if he thinks that the Behringer is what he needs. The truth is that good work can still be acomplished despite the fact that there is some Behringer stuff in line somewhere. The fact also is that 99% or more of the time a better sound could have been had with less effort if better equipment was used.

You might not want to use Primus as one of your examples. I know some of the people that have worked with Primus and I personally have worked with Les Claypool several times. He too is a bit of a gearslut. I am sure they love their original stuff for what it was. Make no mistake though. They don't think the recording quality of it was up to par or the rest of their albums would have been like that as well.

In the end I guess the whole of the recording industry must be wrong because Edan an a small handful of people endorse Behringer products. The rest of us must be silly. That must be why people save up to get one nice U47 when they could have easily had 50 or more sp-B1's for that same money. Or spending upwards of $300,000 on an SSL when they could have had 300 or so Behringer mixers. Maybe I should go trade my distressor in for 15 Behringer composers? I mean that don't sound any different right? My ears tell me they do, but David Bowie's producer thinks they sound the same, so I must be wrong.
 
xstatic said:
It really is OK with me if you need to justify not spending money. PLease, feel free to be more than happy with your Behringer purchases. The good news is that since you can't hear the difference, there really isn't a reason to buy anything nicer. My bet is that if you can't tell the difference between all three of your drumsets that it is really because the two nicer ones have just been tuned that badly.

I never said that you could not accomplish anything good or "pro" with some Behringer equipment. In the right hands, with the right performers, going for the right sound the Behringer may not be much of a liability. However, for professionals, there really is no situation where Behringer equipment really falls into the "asset" category. I really don't care if David Bowie's producer thinks that a compressor is just a compressor. I don't care if he thinks that the Behringer is what he needs. The truth is that good work can still be acomplished despite the fact that there is some Behringer stuff in line somewhere. The fact also is that 99% or more of the time a better sound could have been had with less effort if better equipment was used.

You might not want to use Primus as one of your examples. I know some of the people that have worked with Primus and I personally have worked with Les Claypool several times. He too is a bit of a gearslut. I am sure they love their original stuff for what it was. Make no mistake though. They don't think the recording quality of it was up to par or the rest of their albums would have been like that as well.

In the end I guess the whole of the recording industry must be wrong because Edan an a small handful of people endorse Behringer products. The rest of us must be silly. That must be why people save up to get one nice U47 when they could have easily had 50 or more sp-B1's for that same money. Or spending upwards of $300,000 on an SSL when they could have had 300 or so Behringer mixers. Maybe I should go trade my distressor in for 15 Behringer composers? I mean that don't sound any different right? My ears tell me they do, but David Bowie's producer thinks they sound the same, so I must be wrong.
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Let's see. All three kits sound great, Bowie's albums sound great and my ears are fine. I don't care that Les is a gear head, that's neither here nor there, it doesn't take away from the fact the first Primus album, which was recorded on a 1/4 tape 388 sounds great. Bostons first Album was done on a Tascam 80-8 1/2, a consumer deck, the album sounds great. You can make great recordings with some cheap gear if you know what you are doing. No ones bashing high end gear, everything has it's place, but it's total nonsense to think just because brand A's compressor costs $1,500 and brand B's cost $200 that brand A's is better and that Brand B's can't compete. Do you really think Bowie's records would have sounded better or more professional with a high end compressor? If so, that's just plain ignorant.


I haven't yet heard a recording out here by any gear head or know-it-all or Behringer Basher that sounds better than what I producer from home with mostly cheap and semi-cheap gear, in fact most of what I have heard doesn't come close. No, I'm not braggin, I'm making a point and I'll put my recordings done on about $2,000 worth of used gear up against yours any day. I'll put them up against anything done out here in a "real" studio as well. They may or may not sound as good or better, but it will prove that low end gear can give you pro results.
 
again Edan, I would honestly like to hear some of your stuff...link?
 
Yeah, lets put your money where your mouth is./ So lets here some of this stuff that can hold its own against anyone using anything. I do not bash gear because it is inexpensive. I said what I said about Behringer because it just plain doesn't sound good, not because it is cheap. I would certainly admit that of the whole Behringer line up there are two items that don't actually suck. The Composer pro and the ECm 8000. All the rest just really sounds that bad. That does not mean that everything that goes through them would sound bad, but with a little better equipment would sound better, and with much better equipment would sound much better.
 
xstatic said:
Yeah, lets put your money where your mouth is./ So lets here some of this stuff that can hold its own against anyone using anything. I do not bash gear because it is inexpensive. I said what I said about Behringer because it just plain doesn't sound good, not because it is cheap. I would certainly admit that of the whole Behringer line up there are two items that don't actually suck. The Composer pro and the ECm 8000. All the rest just really sounds that bad. That does not mean that everything that goes through them would sound bad, but with a little better equipment would sound better, and with much better equipment would sound much better.
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Ok, now we are getting somewhere. I take you at your word, so what you are saying is that you've tried and tested at length every single product in Behringers line up, Every Audio product, Every Computer-based Recording product, Every DJ product, Every Loudspeaker, Every Bass/Guitar. Keybaord/Vocal Amplifier, Every Microphone, Every Headphone, Every Wireless System, Every Mixers, Every Musical Instrument, Every Professional Lighting product, etc etc etc .. You have tried them all and decided only two are good. Why did you spend all that money buying hundreds of Behringer products in the first place? Heck, you could have some very high end gear and money left over if you didn't. Well, damn, why wouldn't I take your word for it!
 
EDAN said:
Ok, now we are getting somewhere. I take you at your word, so what you are saying is that you've tried and tested at length every single product in Behringers line up, Every Audio product, Every Computer-based Recording product, Every DJ product, Every Loudspeaker, Every Bass/Guitar. Keybaord/Vocal Amplifier, Every Microphone, Every Headphone, Every Wireless System, Every Mixers, Every Musical Instrument, Every Professional Lighting product, etc etc etc .. You have tried them all and decided only two are good. Why did you spend all that money buying hundreds of Behringer products in the first place? Heck, you could have some very high end gear and money left over if you didn't. Well, damn, why wouldn't I take your word for it!
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hey edan...where is the fucking link?.....if you're not going to post a link or direct us to where we can hear some of your stuff, please shut up.
 
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xstatic said:
Yeah, lets put your money where your mouth is./ So lets here some of this stuff that can hold its own against anyone using anything.
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It can hold it's own against anything out here and that's for sure. I will post over the weekend, in the mean time ask Sillyhat, he got mouthy and I had to put him in his place. He heard a song I recorded for a local songwriter and had no choice but to admit it sounded great (his words). Now, I only have two or three songs on my vintage (98) computer at this time as I don't normally post my work online, but I will upload them to soundclick over the weekend, right now it's time to take the fam out for chinese :D
 
You didn't put me anywhere you flatulent gelatinous mass. For what it was, it sounded great, but there certainly wasn't any real production value to it. I would be suprised if it was all of 16 tracks. You weren't working any miracles and you didn't do anything special. You're going to break your arm patting yourself on the back.
 
EDAN said:
Ok, now we are getting somewhere. I take you at your word, so what you are saying is that you've tried and tested at length every single product in Behringers line up, Every Audio product, Every Computer-based Recording product, Every DJ product, Every Loudspeaker, Every Bass/Guitar. Keybaord/Vocal Amplifier, Every Microphone, Every Headphone, Every Wireless System, Every Mixers, Every Musical Instrument, Every Professional Lighting product, etc etc etc .. You have tried them all and decided only two are good. Why did you spend all that money buying hundreds of Behringer products in the first place? Heck, you could have some very high end gear and money left over if you didn't. Well, damn, why wouldn't I take your word for it!
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What a dumbass. First, you hijack this thread (I'm the OP). Then you pontificate about how great you and your gear are. Please return to the original subject or start your own thread. Perhaps you could call it "I'm Better Than the Rest of You and My Crappy Gear is Too".
 
This is ammusing. You have quite the attitude Edan. Of course I have not tried all of the Behringer line. I have however had the occasion to use way more Behringer equipment than I woiuld like by going into a bunch of shitty clubs for gigs. I did forget to mention one other peice that works OK and is probably the best value in the whole Behringer line... the quad gate. As for what I have used, several differnt mics, composers, patchbays, headphone amps, mixers, speakers, V-Amp, Behringer guitar stacks, some of the dimmers and two lighting controllers, digital EQ, the tube crap line (magician was it?), and probably much more than what I have listed here. Honestly, all of it sounded pretty bad save a few random pieces here and there. I have onyl bought a headphone amp and a composer for it, a patchbay, and the Behringer BCF 2000 fader surface. I still have the heapdphone amp with the composer in line before it (extremely non critical apsect), and have sold the patchbay and the BCF. I went through three BCF's in two weeks. I finally got one that worked as it was supposed to, but was damn near impossible to configure with anything in a normal fashion. I am not sure why Behringer even advertises the BCF as a Mackie HUI emulator. It is very spooty about what it will work with and when it will work. I sold that. I had a patchbay once as well. Used it for a few minutes and decided it was garbage as well. The switches were a great idea, and the noise in it was not to bad, but was measurable without an oscilloscope, but the jacks were very loose. I went to guitar center and checked a few others to see if there was something wrong with mine, but there wasn't. They are all loose and it hardly takes any pressure to pull a plug out. Not good for a patchbay.
 
Sillyhat said:
You didn't put me anywhere you flatulent gelatinous mass. For what it was, it sounded great, but there certainly wasn't any real production value to it. I would be suprised if it was all of 16 tracks. You weren't working any miracles and you didn't do anything special. You're going to break your arm patting yourself on the back.
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What does the number of tracks have to do with anything? For the record I believe the song I posted for you was 20 tracks done on an 8 track machine so there was a lot of bouncing. Let's see, you say it sounded great but there was no real production value? hmmm, isn't the point of producing music to get a great sound? and the fact you think I produced a great recording has no value? interesting. You speak of miracles, this is home recording not the parting of the Red Sea. Not patting myself at all, I've been a member here for two years and never even brought up the quality of my own recordings until the theory thread and now this one when people start biting off more than they can chew and giving bad advice to others. If people are going to insist you need theory or you need high end gear to produce great sounding recordings I'm going to speak up and prove otherwise. If anything this is to show the people who go out and spend money they don't have, on gear the know-it-alls say they need, that they really don't need it at all at this point to get high quality recordings. I'm screaming loud because I have proof positive that the Behringer gear I have and use can give you pro results, or at least close to pro results. You see, all I'm doing is responding when the know-it-alls say "Behringer sucks", I'm saying, no, you're wrong, look what I've done with their gear, it doesn't suck and here's the proof. If the know-it-alls can't produce what I do with cheap gear than it's not the gear that's the problem.
 
So a U-47 sounds the same as a B-1 through Behri pres???

WTF should that be telling you???

I use a Davisound TB-10. Every mic I own sounds different through it.

AKG C3000
Rode NT2
Rode NTV
BLUE Cactus
Sennheiser 421
 
c7sus said:
So a U-47 sounds the same as a B-1 through Behri pres???

WTF should that be telling you???

I use a Davisound TB-10. Every mic I own sounds different through it.
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I never owned a Berhringer mixer so I wouldn't know. I also never said the U-47 I used sounded the same as my B-1, I said they sound close and that the differences would come down to the opinion of the producer. My point was the U-47 was not in a different class. We've all seen plenty of mic shoot outs where cheap mics compare to or sound better than high end mics, if the gear heads want to dismiss these shoot outs time and time again and blame it on everything from unscientific comparisons to the angle of the mics to the price of tea in China, so be it, the fact is it's been made clear countless times that some cheap mics compare to some high end mics. I use either the onboard pres on a vintage Tascam-M-308 or the built in pres of my FatMan compressor, depending on a lot of things, the instrument, the mics, the musician and what side of the bed I woke up on. Now, let me say this again, I have nothing against high end gear and I'm not saying every piece of cheap gear can compete, I'm saying that you can produce very high quality recordings using a variety of good cheap gear when you know how to use it.

Anything else?
 
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