Review: Behringer X32 Digital Mixing Console
Behringer has packed Midas under the hood of its digital mixer. Is it a game changer or the emperor in thrift store clothing?
By Guy Harrison
1 November 2012
Behringer has an immense product range, and with umbrella company The Music Group now holding the title deeds to Midas, Klark Teknik and Turbosound, there’s a big base of R&D to draw from. The new X32 digital mixing console from Behringer does just that, with ‘Powered by Midas’ proudly emblazoned across its surface. This console has been a long time coming and was initially glimpsed at NAMM as an empty case with no internals quite a few years ago. Since then it has laboured on Behringer’s ‘Coming soon’ web page. I must admit that after viewing the specs on that page and knowing Behringer’s keen pricing, I never thought the X32 would make it to market. But it’s here! And the audio industry is abuzz with opinion. In case you’ve been hiding under a rock, the Behringer X32 is a 32-input, 16-bus digital console with eight stereo effects buses and a comprehensive feature set. Aimed at the live sound market, though entirely capable in a recording setup, its street price has a lot of people using terms like ‘game changer’. Lets take a peek under the hood and see if the game has really changed.
SCRATCHING THE SURFACE
The Behringer X32’s control surface follows what is the generally accepted standard for today’s digital consoles. The most frequently used channel strip controls are spaciously laid out in sections on the console’s surface for quick access. On the Behringer X32 there are 10 sections. The first six: Config/Preamp, Gate, Dynamics, EQ, Bus Sends and Masters, pertain to input signal and routing, and Monitoring, Talkback, Scenes and Assignable Controllers round out the control surface. Each section contains a view button which brings up its finer details on the 7-inch, 800 x 480 pixel, daylight-viewable TFT screen for editing via six dedicated rotary encoders.
Faders on the X32 are split into two sections. The first 16 are switchable in four layers: The first two layers for the 32 inputs; layer three for auxiliary ins and effects returns; while layer four handles bus masters. Another group of eight faders are switchable between VCAs, buses and matrix’s. All fader channels feature an LED bar graph meter and 128 x 64 pixel, colour LCD screen (more on this later).
The Scenes section provides space for saving 100 snapshots while the Assignable Controllers section is heavily laden with four rotary encoders and eight buttons, switchable in three banks. In effect, that amounts to 12 assignable rotary encoders and 24 buttons. The rotaries can be assigned to things like reverb time, etc. And the buttons can be used as shortcuts to your effects, FOH graphic EQ, tap tempo for your delay, or just about anything you can think of. Mute groups are also provided, with six dedicated buttons. A dedicated smart phone holder is even integrated into the X32’s surface. Handy!
INBOUND
The back panel hosts the X32’s I/O with 32 mic inputs on XLR. These present a reasonably high 12kΩ impedance and therefore will also accommodate line level signals. A further six line level aux inputs are provided on TRS, two of these inputs are also mirrored by parallel RCA unbalanced connections. Some will miss the inclusion of any kind of digital input here. The other input available is USB, which offers play back of uncompressed WAV files at either 44.1k or 48k. The Behringer X32 offers no sample rate conversion so files playable are governed by the console’s sample rate. This is something that could be addressed with a future firmware update. Personally I would like to see the ability to play mp3s as this would allow a plethora of BGM tracks to occupy a small capacity USB stick. This USB input can also be used to record shows with a simple click of the record button. This generates WAV files derived from the L/R stereo bus named by time stamp for easy recognition.
OUTBOUND
Sixteen bus outputs are provided, though no dedicated master outputs means the last three will be tied up by LCR masters. A further six aux outputs can also be found on TRS jacks, and as with the TRS inputs, two of these have unbalanced RCAs. These TRS sockets can be used for anything but are especially useful for inserting outboard effects like compressors. Dedicated monitor outputs are supplied on XLR and TRS.
A digital AES output port is provided along with MIDI I/O and Behringer’s proprietary Ultranet port for connecting their personal monitoring system. A pair of AES50 ports provide 48 channels of bi-directional connection to Behringer’s S16 stage boxes using Cat5e cabling and utilising Klark Teknik’s low latency SuperMAC technology. It’s worth mentioning that while you can add these remote digital stage boxes you can still only process a maximum of 32 mic/line input channels through the X32 — although you can mix a combination of local and remote I/O. A remote control port allows Ethernet connection to PCs running Behringer’s XControl app (currently PC only, with Mac to follow) which allows complete control of the X32’s functions as well as offline editing such as show preparation for routing, channel naming, etc. Behringer also has an iPad app to keep the Mac faithful happy, although it requires a wireless router connected to the X32 for use. It’s currently fairly basic but does allow control over all levels, channel naming, and more. I expect Behringer will expand its feature set with future updates.
Lastly a card slot is provided and comes filled with a USB and Firewire interface. This allows the X32 to be used as a recording interface with up to 32 channels of I/O between any Mac or PC.
NEED TO KNOW
THE ARCHITECTURE
The Behringer X32 DSP features 40-bit floating point processing with 40 input channels (32 mic/line input channels, six aux and a stereo USB input) and 25 mix buses (16 internal, six matrix and LCR). The 32 mic/line input channels have access to all DSP sections and are very well featured. First up is Gain (-12 to +60dB), polarity, channel delay (up to 500ms max), adjustable high-pass filter, and a gate/ducker. An insert point is included next, which can be set before or after the compressor/expander and EQ (four-band parametric) block. This insert can be routed to the internal effects or physical I/O for external processing. Gates and compressors feature key inputs with filters (hi-pass, lo-pass and band-pass) which can be driven from any channel, aux, effects return or mix bus. The signal path continues through mute, fader and pan (L/R or LCR depending on pan mode). From there, signal can be routed to any of the 16 analogue output buses. The buses are where you route all aux’s, subgroups and LCR master buses to the outside world. The six TRS aux inputs and USB inputs feature a somewhat reduced signal path losing the Gate (gate/ducker) and Dynamics (compressor/expander) sections. The internal effects are simpler again with just mute, fader, pan and bus routing. The main output (L/R, LCR) and submix buses feature more powerful EQ (six-band parametric), plus a
compressor/expander.
Talkback facilities are comprehensive: an internal mic is included, or an external mic can be plugged into the XLR provided on the X32 surface, so a gooseneck mic could be employed. Two separate talkback buses are available each with their own dedicated talk button that can be set to momentary or latch. An oscillator is included too which, like the mic, can be routed to any of the mix or main output buses.
EFFECTS OF POWER
The Behringer X32 is a powerhouse of effects processing power. There are eight stereo effects processors available. The first four can be used as send and return effects or inserts, though numbers 5 through 8 are for insert only. These latter effects slots will probably be used primarily as graphic EQs for your master bus and monitor sends. A standard setup might be four stereo send and return effects for FOH duties, while running dual-mono graphic EQs for monitor Sends 1-6 on Effects 5, 6 and 7, and a stereo graphic EQ in Slot 8 for FOH. If you only need four Monitor sends you could free up a processor to use as an insert; perhaps a limiter for your drum bus?
There are plenty of effects on offer. Some are apparently based on classics with GUI stylings making clear references to Lexicon, EMT, Quantec, Roland, even Yamaha gets a look in! These effects sound brilliant and as a bonus there are quite a few multi-effects like delay/chamber or delay/chorus, which make even greater use of your available effects slots. Just about every effect style is catered for and some more esoteric ones too like stereo/dual guitar amp, rotary speaker and dual tube stage/overdrive. Perhaps these won’t see a lot of use… but better to have than not.
IN USE
The Behringer X32’s footprint is relatively substantial, but weighing in at 21kg and with thoughtfully placed handles it is easily managed by one person. The build quality feels reassuring, there is no flex in the console chassis and generally the Behringer X32 gives the impression it will stand up to the rigours of live sound.
Navigation is straightforward. I particularly like the way the X32 is laid out. It’s uncluttered, and with so many assignable buttons and rotary encoders, you can get to everything with ease.
The fact that I can get at the aux buses on rotary pots in banks of four pleases me. It has been a frustration of mine since the dawn of digital consoles that level-wise I apparently only need to adjust one thing at a time! It’s a pleasure to be able to ride a delay send on a vocal while still being able to turn that guitar solo down a bit! While we’re on ergonomics, Behringer (or perhaps Midas) has provided another two ways to get at your bus sends. With the Sends On Faders button pressed you can select a mix bus — say Monitor Send 1 — and see all the channels that contribute to that bus on the channel faders. Which is (so far) standard digital console procedure, but on the X32 you can also select an input channel, and the bus faders on the right show you the levels of the buses it is contributing to. Great when the band says, ‘Can we have a bit of the lead vocal in all our wedges?’ No more stepping through all the sends. Instead select the lead vocal channel and turn it up on the bus send faders. Nice!
NOT NAMING NAMES
With an LCD scribble strip atop each fader I was surprised that I couldn’t connect a keyboard for channel naming. That said, this feature is handled cleverly once you find the menu, which is not obvious! A bit of googling and all was revealed. It turns out you need to select a channel, then go to the Home page, step right to Config, then press the Utility button. Why didn’t I think of doing that…? Apparently it’s easier on the iPad app.
From this page you first select a picture of the instrument, in this case a snare. Once selected it narrows the naming field down to a few choices Snare Drum, SD, Fat Snare, etc. My snare was indeed going to sound fat so I naturally selected that one! You can of course name the channel whatever you like via the rotary encoders, but it’s a little time consuming. Unless you have a glockenspiel player turn up, you will find most bases covered.
You can also colour the LCD scribble strip window in one of seven colours for easy visual recognition of instrument groupings. Black is also provided in case you’re mixing Spinal Tap. Although, with black, you can’t read any of your channel naming or see the pictures — very Tap!
The effects on this console are stellar and wouldn’t be found wanting on a console costing thousands more. Also worthy of mention is the four-band parametric EQ, which coupled with the separate high-pass filter, is very versatile. All bands have at least two shapes to choose from. The middle bands have bell and peaking options while the high and low bands have bell, peaking, shelf and pass/cut filters available.
The scene saving and loading is comprehensive with all the channel and parameter safe options catered for. I was surprised by the omission of an ‘insert scene’ option. This will not please anybody thinking of using this console for theatre, of course this again is something that could be added with a future firmware update.
GOLDEN EARS
Is the X32 a rival for Midas’s baby, the Pro1? I don’t think so. The Music Group is not that silly. In reality the two consoles cannot be compared. The Midas Pro1 [see Guy’s review in the last issue] is a swiss army knife that will do just about anything, while the X32 is perhaps a Leatherman. Not as versatile but does what it’s intended to, admirably, and with little fuss.
SIX WEEK TEST
My time with the Behringer X32 saw me try this console in a number of different scenarios from rock/pop, to theatre and dance, and it excelled in all. I watched and helped several different engineers step onto the console for their first time. All remarked how simple the Behringer X32 was to navigate and said they would be happy to use it again. By this reasoning and by virtue of the very reasonable price point I would like to bet you will see this console popping up in venues all over the place.
The sound of the X32 is something that everyone is asking about, and specifically, whether it sounds like a Midas. The Behringer X32’s mic pres are reportedly derived from the Midas Pro range, so comparisons will be made. Having just spent time some time with the Midas Pro 1 I would have to say that, as consoles, they really can’t be compared. I don’t mean that to be a criticism of the X32, just an acknowledgement that they are very different beasts. From a marketing standpoint I’m sure that’s not by accident either. The X32 is designed to be perfect for the pub, club or small theatre that will never need more than 32 mic inputs and some line level inputs at the console end for CD payback, etc. The large theatre, or perhaps production company that has to deal with many styles of acts with bigger channel counts and constantly changing needs is more likely to be in the market for a Midas Pro range with its focus on expandability, versatility and redundancy. Two clearly different markets I’m sure The Music Group had identified.
But how does the Behringer sound I hear you cry? Great! I can’t fault it. Mixing on the X32 always felt easy with the 40-bit floating point processing, giving the feeling of headroom to burn at the stereo bus. I really liked the mic pres and enjoyed their classy midrange depth and clarity. Sure they don’t quite exhibit the same punch and top end sheen of the Midas Pro range but should we be surprised? The Midas Pro 1 is three times the price! So if you have the money… What you do get in the Behringer X32 is a console that sounds great, has great effects, a brilliant layout/workflow and is very versatile with its 40-input, 16-output framework. It may even be suitable in a home studio environment so long as you’re happy to work at 44.1 or 48k sample rates. It will also perform as a control surface for your DAW with HUI Protocol and Mackie Control data supported.
In summing up, I will say that this console didn’t throw up any surprises. In fact, in over six weeks of testing it didn’t skip a beat. Sure there are a few caveats to be aware of — aux sends can only be changed pre or post in blocks of two for instance — but all consoles have their limitations. It is currently Version 1 software, so you can expect the X32 will gain more features over time. The inclusion of an interface slot means that further options may be added there too. The ability to do virtual sound checks and a multi-channel record with nothing more than a laptop is a bonus, not to mention being able to record the show to USB at a button press. Some have been weary of Behringer’s reliability in the past but with a three-year warranty on the X32 it looks like Behringer is serious about addressing those concerns. The simple fact is that currently there is nothing that comes remotely close to the Behringer X32 in terms of versatility and features at this price point. Will it stay that way for long? Probably not. Already we are seeing some manufacturers lowering their retail prices as a result of the release of this console. Does that mean the game has changed? I think it probably has.
RESPONSES