Behringer Mixer Users

  • Thread starter Thread starter YesZep Lick
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I'm with pratt... I too use a Behringer MX1604A. It's perfectly adequate for my purposes -- to provide mic preamps and phantom power, and to allow me to route the outputs of my two soundcards (Delta 66 for audio tracks, SB Live for MIDI tracks) to my monitors. I almost always record just myself or some other lone musician or singer overdubbing over existing tracks, so I have not outgrown the number of preamps (4) or tracks (14). I have had it for almost two years and it has not had a single problem.

If I had a larger budget I probably would have bought the Mackie, but I didn't, and I have no pressing reason to get one now.

For a musician/composer who is just trying to get usable results, not make a completely magnificent, technically state-of-the-art master recording, my Behringer is excellent. I have never heard any sucking sounds coming from it or any ass in its proximity.
 
hey AlChuck....

have you had any problems with the Delta66 and SBLive! coexisting?? I have a Delta44 in my 'music machine' and would like to install my SBLive! (for midi/soundfonts)...but am SCARED (now that I've had my Delta recording flawlessly for 9+ months....I don't wanna screw it up).

Is there any way you can route the midi output through your Delta outs for monitoring?? I guess that I'm a little unsure how mixing the two cards will work....for example - I record in Cubase - say I have 4 audio tracks and 2 midi....I alwasy assumed that the could monitor a stereo mix of the 6 tracks via the Delta1&2 outs (when set to monitor)...is this possible - or do you need to monitor the midi separately via the SBLIVE (as it sounds like you do...)?
 
and even if you are recording music that will be released, most 'average listener type' people would be too stupid to notice anyway :)
 
Lucid's right on...

Berry mixers are like mopeds...fun to use till yer friends see ya on one...

I have a 602a and it fits my needs nicely...but I'm just fartin around at the house, nothing serious...

paraphrased >>who designed this circuit?

depending on who you ask, none other than Mr. Mackie himself :)
 
I've had an 802 for a couple of years and it has served me well. If I could have afforded a better mixer at the time I would have bought a better mixer. But I couldn't, so I didn't.

I've more than gotten my $100 out of it. Now it performs as a headphone amp and part-time preamp.
 
"BTW, famed Jazz guitarist, Eric Gale's, FOH man used the Behringer EuroDesk 9000 in a concert my wife and I attended and Eric was constantly signaling the FOH'ist to asj this tone , trim the hi's etc, etc ,etc! After the concert I asked the man, was he satisfied with the mixer's overall performance and he replied
to me "

How can a musician on stage possibly know that the top needs cutting on the FOH monitors? Maybe the Muso and the PA guy are just deaf ( as the majority are).

As I have said many times I have 3 Beh Jobbies including the new Digital and all work as stated on the Box!! Mr Q you got one of the earlier bad ones thats obvious but does that mean Beh. are condemned for ever ( Stands back whilst putting on his flameproof clothing) ?
 
Well, shoot. I have you all beat, I think: I have 6 Behringer mixers now. 5 are MX602s that I use as headphone mixer/drivers in the studio, and the other is an MX1604A that is only used for occasional live PA work for my wife's a capella quartet. So I have some experience with their quality...

One 602 has dead phantom power, one has a dead mic pre, one has a noisy summing amp on the mix buss. Come to think of it, one also came with a DOA power supply, but GC swapped it for me (and probably just put it into the box to sell to someone else). The 1604 has one dead channel (line in), but its mic pres and phantom work fine for the PA application, where I just needed 4 mic pres and a simple mix buss. So about 50% of the ones I've bought have had minor problems.

I basically like them because they are *disposable*. I bought the 1604 instead of a Mackie so that when it eventually gets rained on, dropped out the back of a truck, or stolen (each of which is practically guaranteed as part of a live rig), I won't lose much sleep. And the 602s are ideal for use in the studio where they can get knocked over, get beer poured on them, and so on. If one dies, a replacement is only $60. The peace of mind that buys me is pretty valuable- I just don't care much what happens to them. So what if some of them have minor problems? They mix line level signals and drive headphones just fine.

I have a better mixer for my primary recording/monitoring audio path: it is far quieter and better-sounding, and yes, you can tell the diffference in noise floor, EQ smoothness, and control accuracy/repeatability. But as *beaterboxes*, the Behringers are perfectly adequate...

The only caveat I can mention: if you're thinking of buying one, listen to several of that model carefully, and check out _all_ their functions, before you plunk down your cash. This would not be a wise product to mailorder, or buy sight unseen. My experience is that Behringer's QC leaves a lot to be desired: Caveat Emptor! But if saving money is your primary aim, they do have a place...
 
EURORACK MX2004A

i have had my 2004a for since 1997 and use it week in week out for live Foh in small clubs and at home for recording on, although this was in the first batch that was released in australia i think it has held up quite well, as it has hit the ground a few times(that's why i had a flight case made), when you look at mackie and other brands you pay for what you get, but if you have your gear out in smokey clubs? so why spend extra to get you gear F***ed on the road. i am happy with there products and as far as bang for buck they are on the right track. if my desk was at home and not on the road i would have brought a mackie or soundcraft. but thats life i'm on the road.........
 
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