Reviews

X32

(113 Reviews)

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Dexter

Great unit but

Great mixer and easy to use. I've installed many church systems and I steer, churches wanting digital, to this unit.,,,in the middle of an install now. The tech support lacks (had a problem with a plug-in board and they were not helpful) but I've been impressed with the unit and will continue to help sell it to others. Keep up the good work!!!

Mark King

X32 Love

I own two X32 (1-flagship and 1-X32r) and three S16, these are primarily used in my recording studio. I interface to a Mac Pro and run Logic X DAW software, it all works flawlessly. I have one S16 in my drum room, now we have plenty of drum inputs. Another S16 lives in the main studio for vocal and instrument inputs. We use the Powerplay headphone system and everyone loves the sound quality. Thank you Mr Behringer for having the vision and drive to create a company that can make this great product and price it so competitively.

Sam

Good budget digital console

great for the price

Charly Spoerl

Marvellous Console

X32 and X32 Compact: The best choice especially for a small budget

Jediah

Using it for a year;

Im already using this for a year, I wanna add more units in our system But I really hate the price here in the Philippines https://onedrive.live.com/redir?resid=FD347DA3EC790954!2448&authkey=!AOvsgZwlnq83FbY&ithint=folder%2cPNG I have the big console but I want to add a x32 rack, P-16s, a stage box, etc.... I love your products, but the price :( Hope you check it.. :D Thanks Alot

Dushyant

Nice

This is a great item to have with you. Everytime you need to hear some great fusion music just take it out and plug it in and push play. You will get one of the best outputs it ever can be. I cant see a downside to it.

Alejandra

Behringer X32 And Midas PRO 1 Mic Preamp Integration

TBH I love this mixer but I am wondering and questioning if you could connect a Midas DL32 or DL151 digital snake Via AES50 and use the actual famous Midas sounding preamps rather than the X32s Pres, since this console and the Midas M32 share the same software it technically should work. the preamps are decent enough in the x32 however they start to sounding boring after many shows and are easily beaten by other pro mixers (venue SC48) and i would like to use the midas preamps to upgrade my sound quality but i havent tested this yet but if it does this would raise the game for the x32s since the M32 pres are the same ones found in the PRO 1 and PRO 2 series consoles from Midas which are very professional touring grade mixing boards. BTW Midas and Behringer are collaborated together so i would think that this would be an awesome integration for x32 user as it will result in higher sounding quality yet with the flexiblity and routing options that the X32 provides.

Whole Hearted Productions

Amazing package for the price!

1/12/2015 Update: I have owned an X32 for almost a year now and have also used other people's X32s. Here is what I REALLY like and find to be very useful. 1. The DCAs and ease of setting them up. I usually set up my drums, bass and stereo Keyboards on channels 17-32 and run them on separate DCAs so I don't have to flip between the two very often. I recently ran a 28 channel concert using mostly the DCAs. 2. Effects. Effects are pretty easy to use but you have to think of the board in the same way as an analog board to figure out how to set them up. 3. Quick control panel. I use these to control the effects with great results. 4. 6 band Parametric EQs on all outgoing mix busses (including the mains). 5. Built-in RTAs on every EQ. 7. Scribble strips!!! How do people live without these wonders?!?!? What I am NOT crazy about. Very little actually. With that said (and this might be improved on the M32--I have not had a chance to play with that board), I sometimes find the sound to be a bit "dull." While EQ can fix a multitude of sins, there is something that I often run into that almost seems like a "board" sound (which is thankfully NOT a Peavey!). I regularly mix on a Yamaha LS9 and I also own a Presonus 16.4.2 and I would consider both of those boards to have brighter, and possibly cleaner preamps. In a live setting, most of this can be overcome by using enough EQ in all the right places, but I would potentially consider upgrading to the M32 if I were to use the board for a lot of digital recording. But part of that depends upon your taste and how handy you are at "fixing" things after the fact. Bottom line? For the money, there are no other soundboards that come anywhere CLOSE to the functionality and features of the X32. I recently had the opportunity to play around with an $80,000 digital Soundcraft, and my reaction was that I very much wanted to go back to the ease of use, the effective mixing power, and even the sound of the X32... even without considering the fact that the X32 cost less then 10% of the Soundcraft. ________________________ Original Review I have not yet had the privilege of using this in real life, but I was able to get a hands on experience on a display model at Guitar Center. The first hint that I had stumbled upon something that was more than a typical Behringer was the subtitle "Powered by Midas." The first time I was introduced to Midas was reading about the Midas XL4, the creme de la creme $100,000 board from the mid 1990's. Fortunately the price of technology has come down since then! The first thing that impressed me was the solid but light build of this board. Considering how it is constructed, and what is in it, it is relatively light, and the well-placed handles on the sides (Where the headphone jacks are also protected) make the board very easy to move. The next thing I noticed was that this board was NOT for the faint of heart! If you know a fair bit of sound, you will be astonished by the capabilities of this board (which frankly blow the comparably priced Presonus StudioLive 24.4.2 out of the water). But some of the features take some getting used to, especially where they are located. The closest board I could think of comparing this to in terms of capabilities is the nearly $30,000 32 channel Yamaha M7CL or possibly the $12K LS9, although this board does not have a touch screen-- oh, and it costs less than a Presonus 24.4.2 at less than $3K! I love the fact that this board can use buses for monitors, groups for adding effects to an overall group (such as compression on the Drums) or as a monitor feed (such as the entire drum mix as channel to the built in 16 channel Behringner ethernet personal monitor system), and it also has Matrix capabilities which include delay capabilities so you can time align your subs with your mains or your mains with additional fills. In addition, and this REALLY sets it apart form any competition in this price range, it has an 8 channel DCA. The monitor sends can be adjusted from the channel strip (although it can require an extra button push depending upon which send you are trying to adjust). Alternatively, but selecting the send master fader and then pressing the "sends on faders" button, you can adjust the entire mix for a send using the channel sliders. In addition, this board has 6 dedicated Mute groups in addition to additional programmable knobs (with their own scribble strips) and buttons. The effects capabilities are impressive. Every Channel has a 4 band fully parametric EQ plus an adjustable high pass filter, phase and phantom power. The gate and Dynamics sections are fully capable with not only typical adjustments such as Threshold and ratio, attack and release times, but it also includes feature such as frequency selectable ducking and adjustable knees. There are a total of 8 stereo effects inserts which can be placed anywhere you want including eqs (which can be stereo or dual mono), reverbs, delays, etc. Again, the routing of signals to these processors is so capable that it is not necessarily for the faint of heart. It is MUCH more flexible than the Presonus 24.4.2, but not nearly as intuitive, being much more akin to the Yamaha M7CL. The ins and outs of this board make an M7CL blush! Without the need to buy any additional cards, this board has 32 real preamps (designed by Midas) as well as 16 XLR outs (which can be assigned however you would like). In addition, it also has 6 more TRS ins and outs for Aux sends and returns--which can be assigned to any channel you would like as well! Aux 5 and 6 can be either TRS or RCA. Behringer has their own proprietary monitor system built in (equivalent to the inclusion of a 16 channel Aviom card), as well as two 48 channel I/O ports on Klark Tecnic's ethernet protocal called SuperMAC 50. So you could have a digital snake on Ethernet (with preamps controlled from the X32) going to an on stage monitor board and an ethernet cable going from Port B of the Monitor Board to Port A of the FOH board. All 32 channels can take inputs from any of these sources and likewise, outputs can be assigned anywhere as well. But what is VERY cool is the fact that this board can be used to make a 32 channel recording at the same time as you mix your live concert with 32 channels of I/O on either Fireire OR USB. For those with PC's that don't like Firewire, you will know how cool that is! The X32 can also be used as a very capable control surface for your DAW with flying faders and scribble strips (although it does not have any transport controls). From my brief observation, an initial setup could take awhile just because there are so many variables available and maneuvering to those variables takes a bit of getting used to. The fact that the variable knobs under the screen are also push buttons is a helpful but not initially obvious tip. However, with extensive library capabilities, this could be effectively used at a church once the initial setup is done with multiple services being able to be stored and individual channel settings being stored for each musician to e recalled the next time that musician participates. Also the color coded scribble strip is a feature that not even the M7CL has fully implemented, but it would take some effort to get it set up the first time. As I have said, I have not yet heard the X32 and cannot vouch for its durability (although I will say that it feels very solidly built), but the fact that Midas was willing to attach its name to the console is saying a lot! For this price point, there is absolultely NOTHING that comes anywhere close to this board. But as I have said, the Presonus still has it's advantages... namely, there is less board there and everything is much closer to the surface with few button pushes required to accomplish your task in a live situation.

CJ

Great for church use

We bought this for our church. I was extremely hesitant to even consider a Behringer product because their products have been incredibly poor quality in the past. With the purchase of Midas and Klark Teknik, and non-stop marketing of how much they've spent on Quality Control and whatnot, I decided to give them another chance. So far I must say that I'm extremely impressed. As long as the board hold up in the long run, I'd say I'm completely sold. I think the thing I like most about this board is the ease of use especially in a church situation where you may have volunteers and not necessarily fully professionally trained sound techs. Granted, an analog to digital transition still takes some significant training but you can minimize the shock of it and even "automate" your sound man. Here's a few things that makes life easier specifically for this scenario. 1. The Scribble Strips are awesome. You can change the color so that all vocalists are blue and guitars are green, etc. This gives an extreme amount of visual feedback on your mix. How often do we pull out the masking tape or get those magnetic strips to try and keep track of our mixes. This is especially good in a church situation where your worship team may be different individuals from week to week. 2. The PC app is awesome. I haven't tried the iPad app yet but I was able to completely configure the board from the PC and just load the values to the board. That's great if you are a volunteer rather than paid staff and don't want to have to physically be at the church to do changes to the board. You can even set many specifics for changing vocalists or musicians if you know who is playing that week all from home and then just load it up. 3. This is more just digital in general, but being able to save channel presets is amazing. I can finely EQ our various vocalists and save their settings to the board. Then the sound tech can just pull up the preset and it automatically puts that persons name on the Scribble Strip, EQ's their voice and applies any other specific settings. This way if you have a volunteer who may not be great at the finer points of sound, you can set a quality EQ right off the bat and not worry whether it's going to sound good. 4. This also applies to scenes. You can get a perfect mix in practice and then just cycle scenes for a new lead vocalist or other change of mix. 5. The integration with their P16 personal mixers means the FoH guy is not also mixing monitors. All he has to focus on is whether it sounds good to the congregation. These types of things have made my (volunteer) job as the head over sound much easier. I have some guys who are professional sound engineers and others who just want to help out. This allows me to easily accommodate both types of volunteers. Beyond this specific scenario, I've just been generally impressed with the board. As long as Behringer keeps their promise on Quality Control, I can't give this less than a 5 star. You just can't beat the price for what you get.

Sam Beckett

As the owner of 2, these have made my life very simple (on the audio side) until one broke.

this was a five star review until one of my consoles (I have three) stopped working (would not boot) immediately before a 5 day work week of consecutive jobs, Thankfully, I had a spare... however, the reason for one stars - while my initial email to behringer tech support about a warranty repair was answered in two days, none of my phone calls, emails, or the promised follow up from the initial reply have happened. it's been 12 days. No contact. that's a long time to be without a board you paid 3k for, and now, with another set of consecutive dates coming up next week, I have no choice but to buy another one so I still have a spare. wish I could switch to something else, but everything is so tied to the ecosystem, that would be impossible, but, if you're looking for a company that will stand behind the product if something happened (I carry my x32 in a custom flight case that is handled with kit gloves - no abuse, on balanced power, and it just quit one day,,,), look elsewhere... There plenty new choices since I bought my first x32... I thought behringer had converted me, but, nope, same old behringer.... I could write a book here on the x32 (and did already refute one single star review of the x32 that was completely off base.). This is my "main" review" - concentrating on positives and not addressing perceived negative. I am using the console live, not in the studio, so my comments will come from that direction. The X32 is a breakthrough in price/performance. a bit of background and digression: I was a loyal Presonus evangelist until recently when the faders started to die one by one after less that 100 hours use in clean, smoke free environments and protected, off-use, by a custom ATA case. I purchased replacement faders (they were cheap enough, but Presonus was no help is directing me to docs for proper replacement - they p, of course, wanted more money to fix their planned obsolescence - it was out of warranty, Afterall) Two of the "new" faders were as dead/or improperly working as the ons I was replacing. This led me to the X32. The X32 is a multi-generational leap in technology over the competition in this, or a (x3) price range. 32 balanced XLR ins (one small ding, not having a few dual XLR/1/4" channels, or a few combined Neutrik XLR/1/4" ins), 16 assignable balanced outs. I currently have my board configured with all 32 channels occupied with instruments and sources intended for in-ear monitoring only (like the click track and a talkback mic - yes, I know the X32 has a full fledged talkback section, but Id rather sacrifice a channel to have the total control over the talkback levels and tonality in my IEMs, unfortunately not everyone likes the same talkback level In their cans so I went with a pre-fader channel where I could be more attentive to their needs - another small ding, lack of full talkback control (though. like the dual switches, latched and unlatched, and two mic options, internal and external.) Channels themselves are well appointed. BIG BIG plus - digitally controlled head amps. What's the point of having scene recall if your head amps are not included. If you are mixing multiple acts, this is a huge issue - even in transport, trims can get bumped and all of a sudden tour total recall isn't on point anymore. Huge improvement over Presonus and others. The head amp has the requisite per channel phantom power, phase reverse, and HPF. There is a small-ish meter to set you levels to achieve as close to unity input as possible - you'd be better to use the level n the screen - 7 segments is a big spartan - but it's there. Each channel has dynamics with strong functionality. Ducking is available to be triggered from any per input source, great for making introductions/speeches over pre-recorded music. Each channel has a 4 band parametric EQ with HPF that should suffice for all but the most demanding input sources. As with dynamics, you have multiple choices for placement of EQ In the signal chain. Each channel can routed to the M/C bus, L/R bus, and to any of the 16 busses (I have mine set so that 1-8 are pre-fader IEM sends, 9-12 are standard "group" busses (rhythm section, horn section, vocals, and drums) and 13-16 are effects sends. This has worked spectacularly, as opened up a lot of doors without having to be stuck with a "10 pre fader aux for IEM, 4 traditional Busses for grounds, and 2 busses for effects" convention. The effects are superior sounding - they aren't a 480L, Bricasti or eventide, b for the customer this board is likely to appeal to - a mid market live AC or a worship center, the built in effects are more than sufficient - Plus they are firmware updatable (more on that later.) The vintage room is use, delays are clear, specialty effects as passably good. The only complaint I have (and this passes thru to other areas of the board) is the fact you are limited to 4 traditional effect and 4 (generally) dynamic or tonal effects. If you want a graphic EQ for a channel, that takes a slot, if you want a bass enhancer for a channel, another slot (but, even though there are 16 ins and outa to this section, only 8 effects may be selected.). thankfully the graphic EQ can be adjusted independently side/side so you can process two channels at once. I don't mind the traditional effects being limited to two slots (that's two more than many units at this price range offer), however, the limitations on graphic EQs, true limiters, etc are tough to accept. Perhaps this will be addressed in a Firmware update, but I am thinking processor power is likely tapped right now. Some other great features - I love the programmable control section - 4 endless rotaries and 8 buttons - 3 groups (so with a button press, you get access to 4x3 rotaries and 8x3 buttons). terrific. in my situation, Given there are only 16 Input faders available at once, I have assigned the 4 most need channels to the rotaries, so in effect, I have access to 20 channels instead of 16 (I have my drums in the second layer, since I rarely adjust relative balance, but sometimes I like a little more bass and snare - so I assigned those, along with my two lesser used horn mics to rotaries, and I'm all set.). Great workaround. Pretty much anything can be assigned to those buttons and rotaries - buttons are especially great for tap delay times, among tons of other uses. There are also 6 mute groups, programmed easily by holding the mute group, selecting the channels to,be included, and, well, that's it. Super simple. Also, a quick mention to the AES50 digital snake options. These are great - one cable handles 16 inputs and 8 outs, and they're stackable. No more thick cable runs from mix position to stage. I have a pair of S16 digital snakes even though I mix from the stage. The make for such a clean stage - one S16 handles my wireless rack - receiving inputs from my 12 wireless sources and 4 channels from my audio interface (click, bass, sfz, and "everything else") and providing the outputs to drive my 8 PSM 900 wireless IEM units - the other S16 sits in my drummers rack - handles his kit, his monitoring, and a few misc. stage instruments. This is super clean and makes for a great looking stage. I uses : each group of 8 ins or outs (ins 1-8; 9-16, and outs 1-8) is selected in a group of eight, not Individually. This may sound like not a big deal, but takes away a lot of versatilitiy. This same "8 by" choice issue is implemented in all channel group assignments - if you want to monitor just channels 1, 2, and 3 from FireWire, you can't do it - ALL 8 become driven by FireWire. Not cool, and eliminates the option of allowing me to directly drive the board with my support track because I lose channels in the process. The output section: 4 modes are available for the 8 (9 counting the master "gas" fader). DCAs, Buses 1-8, Buses 9-16, and Matrix outs. DCAs are cool, just like track groups in a DAW. They don't actually process audio, they just act as a way to control the relative level of multiple sources. Buses 1-8 (for me are monitor sends), Buses 9-16 vary - for me 9-12 are traditional group busses, allowing full processing of all sources sent. Send your drums to Bus 11, apply some compression, overall EQ, gate, etc and have your preferred drum mix ready to fade up or down in a second. While this is a typicality for busses, there is a lot of processing power here for those who want to polish a group of signals prior to reaching to main bus/main outs. Buses 13-16 represent effect returns. It isn't required that you return your effects to busses, to some it might be a waste. You could simple return them to their dedicate returns on the third page of the 16 channel input group. However, you wouldn't be ale to as clearly see what was going on. The fourth selection is the matrix out option. There are 6 matrix outs which can be handled in stereo or mono. These can accept input from virtually anywhere and output them virtually anywhere. Good example, I have my mains controlled by my master fader, assigned (by default, but easily changed) to outputs 15 and 16. I have Matrices 1 and 2 as a stereo pair (linked) being fed by the same main L/R out as the master fader but appearing at outputs 13 and 14. This allows for a set of side fills to be independently controlled with its own HPF, LPF, 4 band para EQ, and dynamic processing. I also have outputs 11 and 12 set up for videographers to take a stereo send, fed by matrices 3 and 4 (linked). Other uses - you could use the H/LPFilters to act as a basic crossover - making Matrix outs 1 and 2 stereo hi paks, Matrix outs 3 and 4 stereo mid paks, and matrix 5 and a mono sub out --- point in having a sub run in stereo... perceiving directionality of such lo frequencies signals is not possible.) also, in a house of worship, you could set up Matrices 1 and 2 to feed a secondary room during a service (and overflow room, or a children's area), Matrices 3 and 4 to drive a 2 track recorder or camera, and 5 and 6 to drive a second, time delayed set of mains positioned halfway up the sanctuary. LOTS of great options here at this price point... A few other points, the unit can be used as a control surface in studio, HUI compatible (not sure about EuCon.). It has a built is 32 channel FW or USB (Great to have the option) audio interface for recording and playing back recordings. The board does not require a computer in order to handle external control devices (iPads, etc.). You do need a router, but do not need to boot into a computer (BIG plus for those who have been forced to always boot into their computer just to get IM remote control.) The unit can store scenes to USB or to internal memory. Those scenes can be limited to one function (ie. just dynamics), to an entire channel, or to every function on the board (terrific if you happen to work in a situation where you have multiple X32s available to you and you want to load your setups.). Also, regarding USB, you can record a live board ape (in addition to the multi-track recording happening they the interface discussed earlier.) VEry cool, because you can select any source for L and any source for R. It is a great rehearsal tool to make a recording of someone's backup mic of the L and a mono sum main mix on the R. They can take it home, study it, fix the issues they're having, and come back next time ready to roll. Of course, you could also make simple L/R board recordings too, or anything else you can think of... OK getting verbose, so to sum up... Pros : - 32 REAL (not channel 23/24's stereo in's counting as separate channels - try mixing with that..). channels, 16 fully assignable busses -Strong on board effects -excellent control via external devices - full multi track recording support out of the box - AES50 digital snakes, and reasonably prices S16 stage boxes to compliment. - option to be used as a control surface - An very good sounding board in this price range (it isn't a 50k Avid, and doesn't have the sound of one, but it sounds very very good for the investment... better than anything sub 5k, IMHO. (remember the two mixing axioms. $ in $ out, and 90% the guy behind the board 10% the product). I don't discount the need for quality products - I have great EAW cabinets, Crown Macrotech amps, and BSS system controller, etc. The Behringer isn't acting as the weak link.... - Matrix outs for zone control. - The scribble strips, eliminating the board tape are great (sounds trivial - try doing three or four shows in an evening... the channel names all save with the scene making changeovers a breeze, and the color coding helps too..) - multiple 1/4" aux ins to eliminate the need to waste two channels on an Dual RCA iPod in. These appear on the same pages as the EFX/aux returns. - A large clear screen for editing. - USB recording and saving of full board scenes. - the unit is firmware upgradable. I've already seen some great additional to the nit since purchase and have heard about some coming feature that should be great. Thanks to Behringer for not just throw it out there and forgetting about it - continually upgrading the platform will encourage new buyers and make existing buyer happy and willing to rack,end the unit to others. (I understand auto tune is coming in a future rev... I hate it, but it's such a ubiquitous sound that for a variety band, what a cool addition to the FOH board) - (theoretically) trickle down tech for Midas and Klark. CONS- - channel driver selections in groups of 8 only - Effect section doesn't provide enough limiters/gEQs for my needs - 7 segment channel metering is virtually useless for anything other than seeing if a channel is clipping, compressing, or gating. These meters are not useful for setting gain structure. - The board takes some serious time and commitment to get to know - its is nowhere near plug and play. I set the board up in my house for a month before even attempting a real show with it. That was time well spent, but I can see when MANY would get frustrated - I turned it off plenty times at 2am thinking Id come to an insurmountable hurdle, only to find the easy answer in 2 minutes the next day and Ive done live and studio sound for 20 years professionally. - the manual is terrible - the SMARRT analyzer theat presonus added just before I got rid of mine due to multiple fader deaths, was something I used and was helpful. Hopefully it will be added to the Behringer in some capacity soon. - No built it router (the new Presonus 32 channel does include this - still not nearly enough to even come close to the X32 feature set), still need an external box to utilize the wireless function - plus - you'd better have at least a basic knowledge of IP if you expect to get it to work quickly. I had no problems but a few friends reported some angry nites. - Controls do feel a little less than solid, but nothing gave me a problem. Given that I had multiple fader failures on my (babied) Presonus, I am fearful of the process to fix the motorized faders in the X32. - That said - it's a Behringer... It took me four months to convince myself to give it a try just because of that word, and had Klark and Midas not been on it as well, I likely never would've bought it. My original Behringer DDX digital mixer died out of the blue one day (sold the carcass as is on eBay to someone with a different problem and he ended up with a working unit) I watched the quality of their original compressor product decline until it was a shadow of its former self. SO... given that the price was so affordable - I bought 2 (total without cases, less than 5k --- 2 x32's, 2 ATA cases, 2 S16 digital snakes, two 4 space racks for S16s = 6800. unbeatable). I have my main X32 in an odyssey ATA case ready to pop In place at every gig and an X32 in a Gator ATA case in our truck ready to pop a USB stick in and roll in case this one fails. The three year warranty helps me sleep - the second board assures I won't get bitten by the Behringer curse (In all seriousness, I firmly believe they built this board as with a lot of attention to detail to rehab their iffy reputation. I hope that's the case, because if my main board fails, and Im stuck with just the backup while the main one is in the shop, I'll be very scared until I have another spare to rely on. So, that's my take. I know I missed a lot, but that's what the manual is for :-) (which is TERRIBLE, BTW, for a unit of this complexity. use the forums (Behringer does reply with regularity to concerns.) I can't see how you'd go wrong with this unit unless it is just too much product for someone who just needs a scaled down straight ahead analog console. I can't recommend it highly enough.

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