behringer x32

[museav]

Does anyone know what the overall max channel count is?

Max channel count or max input count? As far as internal signal routing the inputs are 32 mono channels, 8 mono aux returns and 8 stereo effects returns along with an internal oscillator and talkback mic. The X32 itself physically has 32 mono mic/line inputs, 8 mono aux inputs, a stereo USB recorder/player, a 32 channel USB 2.0/FireWire400 card and two 48 channel AES 50 ports. The AES 50 ports are primarily for use with the S16 remote I/O box still in development.

So a lot of potential I/O but do be aware that one related apparent compromise is that physical inputs are assigned to channels in 8 channel blocks. Many times that will not be a factor but if you want to do something like use the USB/FW card for effects playback from a computer then even if you want just 2 channels of playback that will still require 8 of the input channels. Once the S16 is available that will have a similar situation, if you only use 4 or 6 inputs on an S16 it will still have to be assigned to 8 or 16 channels on the mixer. So some situations may take a little planning to avoid running out of channels with the physical I/O being used.

Anything else you'd like to share? How do you like it compared to other small digital consoles, such as the LS9?

I think that depends a lot on the application. Of course the most obvious advantage of the X32 is the capability and functionality for the cost. And I personally find functions like the electronic 'scribble strips' of the X32 very useful, but in some applications some may not see that as much of a benefit.

At least for some time people are probably much more likely to have a Yamaha show file and/or to be familiar with the LS9, but that may change over time. The one place I think Yamaha has everyone else beat is compatibility, their range of optional cards allows interfacing with a multitude of other devices and signals. I believe that also helps in terms of long term viability, if a new audio signal format is introduced chances are good an associated card will be made available to allow the mixer to work with it, however that ability does have a cost and not everyone makes use of it.

But beyond such generalizations a comparison may really depend upon the specific application.

 

[JoeSanborn]

Question: "Does anyone know what the overall max channel count is?"

Mic inputs:
- 32 XLR Mic inputs with Midas designed mic pre amps, (with individual phantom power), these generally come up on input layer 1 and 2 - unless you re-patch.

Additional inputs - Aux Analog Inputs and various digital sources, come up on input layer 3:
01 - 06 = Aux Analog input channels on 1/4" TRS (2 of these inputs are either 1/4" or RCA)
07 - 08 = The USB memory stick recorder - returns to 2 channels on input layer 3
09 - 16 = The internal FX return to 8 channels on input layer 3

Of course you can re-patch anything, but this shows a typical setup.

There are a total of 166 possible Input sources, when you start considering AES50/S16, firewire/USB, etc.
32 Mic inputs
6 Aux inputs
32 Firewire/USB inputs
48 AES50 Port A inputs
48 AES50 Port B inputs
= 166 possible input sources

This is from our website:
X32’s extensive connectivity includes 32 high-end programmable mic preamps, 6 balanced Line Ins and Outs on 1/4" TRS, 16 balanced XLR Outs, plus dual Phones and balanced Control Room outputs on both XLR and 1/4" TRS connectors. Additionally, a single AES50 CAT5 cable from FOH to the stage can transfer up to 48 channels of bi-directional audio, collecting all input signals and delivering all bus outputs, along with 16 individual monitor feeds for BEHRINGER’s brand new P16 personal monitoring system—all on just one line! The two AES50 ports provide connectivity for up to 6 BEHRINGER S16 stage boxes, or for sharing signals between multiple consoles—all with its ultra-low latency and high reliability the SuperMAC technology is known for.


Question: "How do you like it compared to other small digital consoles, such as the LS9?"

Last month I did a shootout with an X32, LS9 and StudioLive, with a group of independent sound engineers in Mississippi.

If you are interested please read this post about the event:
Thoughts on the Mixer shoot-out and the VUE presentation...
or
RESULTS: Digital Mixer Shootout and VUE Audiotechnik Demo


I hope the information helps.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER

 

[bishopthomas]

Anything else you'd like to share? How do you like it compared to other small digital consoles, such as the LS9?

The LS9 sounds like garbage. The preamps are harsh, the EQ takes hard cuts to get anything out of it, and the compressors are almost useless. If you're used to a Yamaha digital then you start using something else you will realize what you're missing out on (I did). Sure it's become the industry standard, but only because it hasn't had any competition (until now). You can buy an X32 with a 32 channel stage box for less than the LS9-32 and be way ahead of the game. I'm so glad that something has come out to give the LS9 a run for its money. I did a quick A/B with the X32 and Soundcraft SI Compact through a QSC K12. The Soundcraft sounded slightly better, but the X32 definitely held its own. There are things about the Behringer that I like more than the SI.

Number one is the digital snake option. There are no expansion cards needed; just buy the (inexpensive) S16's and an ethernet cable and you're up and running. The X32 has fully parametric EQ while the Soundcraft does not. It's not necessary to go to sends on faders, just select the channel and use the knobs. This makes for quicker access while mixing. I've always like Lexicon effects (what's in the Soundcraft), but the Behringer's is also quite usable. There are user defined keys similar to the Yamaha consoles, however this has 3 "layers" worth of them, plus user defined encoders. So you can set an encoder to adjust effects parameters and a button to mute the effect. Color coded scribble strip is a nice thing to have. DCA's. The LS9 can't even do groups (well, it can, but it's kind of ridiculous how you have to go about it).

Seriously, a very impressive console that should be about double what they're charging. Is it going to meet riders? Hell no. But for anyone looking for a 32 channel digital console there's no reason to go with anything else. Another cool feature: If you have two of them (monitors/FOH) you can run a Cat 5 between the two and share preamps, so no need for a stage box. They really put a lot of thought into this. It's impressive, since most Behringer gear is just a direct ripoff of something else. One of the first original Behringer designs I've used and I'm extremely impressed.

 

[JohnD]

It is good to see Behringer getting away from being a cloneshop. However, Uli has just "leaked" some info about the upcoming X16.

Hmm, why does that look so familiar, oh yeah, this:

 

[Aman121]

Wow they aren't even trying to hide it anymore. Same layout, number of inputs, everything. That ought to blow some circuits at Mackie. I almost wonder if mackies gonna get eaten by behringer someday, mackies entire product line and behringer's pro PA and mixer line could almost be interchanged..

 

[Edrick]

I saw one of these in the wild yesterday at a wedding I was working, boy was that a nice setup for a wedding. Well the guy was giving it a trial run as they just bought it and he was also doing some recording via firewire to see how the recording capabilities of this board sounded. So I'll check with him and let you guys know his results. It was quite nice and I had to do a double take when i saw it was a Behringer. Defiantly seemed like a good console and he had nothing but good things to say about it from what he's used it for os far. I'm actually sold on getting one so in the next few months I plan to purchase one as the multi track recording sold me so I can use it both for live and studio.

 

[Edrick]

Question: "Does anyone know what the overall max channel count is?"

Mic inputs:
- 32 XLR Mic inputs with Midas designed mic pre amps, (with individual phantom power), these generally come up on input layer 1 and 2 - unless you re-patch.

Additional inputs - Aux Analog Inputs and various digital sources, come up on input layer 3:
01 - 06 = Aux Analog input channels on 1/4" TRS (2 of these inputs are either 1/4" or RCA)
07 - 08 = The USB memory stick recorder - returns to 2 channels on input layer 3
09 - 16 = The internal FX return to 8 channels on input layer 3

Of course you can re-patch anything, but this shows a typical setup.

There are a total of 166 possible Input sources, when you start considering AES50/S16, firewire/USB, etc.
32 Mic inputs
6 Aux inputs
32 Firewire/USB inputs
48 AES50 Port A inputs
48 AES50 Port B inputs
= 166 possible input sources

This is from our website:
X32’s extensive connectivity includes 32 high-end programmable mic preamps, 6 balanced Line Ins and Outs on 1/4" TRS, 16 balanced XLR Outs, plus dual Phones and balanced Control Room outputs on both XLR and 1/4" TRS connectors. Additionally, a single AES50 CAT5 cable from FOH to the stage can transfer up to 48 channels of bi-directional audio, collecting all input signals and delivering all bus outputs, along with 16 individual monitor feeds for BEHRINGER’s brand new P16 personal monitoring system—all on just one line! The two AES50 ports provide connectivity for up to 6 BEHRINGER S16 stage boxes, or for sharing signals between multiple consoles—all with its ultra-low latency and high reliability the SuperMAC technology is known for.


Question: "How do you like it compared to other small digital consoles, such as the LS9?"

Last month I did a shootout with an X32, LS9 and StudioLive, with a group of independent sound engineers in Mississippi.

If you are interested please read this post about the event:
Thoughts on the Mixer shoot-out and the VUE presentation...
or
RESULTS: Digital Mixer Shootout and VUE Audiotechnik Demo


In regards to the LS9, this is also a comparison chart I put together with the X32, LS9, StudioLive and GLD80
https://www.dropbox.com/s/ue0ozpa0b308h3c/X32 Comparison Chart.pdf

I hope the information helps.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER

So at any time you can only mix 40 channels but have a possibility of using 40 of any 166 channels?

 

[museav]

So at any time you can only mix 40 channels but have a possibility of using 40 of any 166 channels?

You can apparently route any of the available inputs to the 32 mono mic/line channels and 4 mono Aux 1-4 inputs while Aux 5/6 are dedicated to the associated X32 rear panel inputs and Aux 7/8 are default assigned to the X32 USB playback. So as far as external inputs that's apparently 4 fixed and 36 assignable mix channels (plus the internal oscillator and talkback microphone) and if you had all of the 166 potential inputs then any of those could be assigned to the 36 assignable channels.

However, you cannot do so in any combination as the input to channel routing is not approached on an individual channel basis but rather as 5 groups (4 groups of 8 inputs for the mic/line channels and a single group of 4 inputs for the aux returns). Each group can be assigned inputs from only one 'device' (X32 rear panel, X32 FireWire/USB card, AES A or AES B). The mono mic/line inputs also have to be assigned as inputs 1-8, 9-16, 17-32, 33-40 or 41-48 while the 4 aux return channels are limited to inputs 1-4 on each of the 'devices'. Thus channels 1-8 on the X32 could be assigned to AES A 1-8 or Local 17-32 or any of 20 different 8 input groups, but Channels 1-8 could not be assigned to 4 Local and 4 FireWire/USB card inputs or to AES B inputs 1-6 and 11-12.

This seems to be one of those things that may not be a factor at all in some applications and may just require a little more thought and planning in others, but could be a significant issue in some situations. For example, using only one or two inputs on any 'device', much less multiple 'devices', could result in running short on channels rather quickly.

 

[bishopthomas]

Very glad I held off on buying the Macke DL1602...

 

[museav]

Wow they aren't even trying to hide it anymore. Same layout, number of inputs, everything. That ought to blow some circuits at Mackie. I almost wonder if mackies gonna get eaten by behringer someday, mackies entire product line and behringer's pro PA and mixer line could almost be interchanged..

A 16 channel mixer is hardly a new idea. Neither is having the physical I/O arranged and located like that or the gain/trim controls and power switches where they are located or the overall size, all of which may be partly driven by making the units rack mountable. The only really original physical element seems to be using the iPad for the mixing surface and the location of that is pretty much determined by where the faders need to be, so it is not surprising to me that this and the DL1608 would be similar in size and layout.

According to Uli Behringer, the X16 is targeted (his word) to be available Q2 of 2013 and around US$1,000. So about the same price as the Mackie DL1608 but also about a year later (assuming that date does not end up being delayed as was the X32 release).

Uli's comment about the X16 that "Aside from the reduced channel count (16 inputs, 8 outputs) it has the same DSP engine and functionailty of the X32." suggests that Behringer may want people to perceive this mixer as a smaller version of the X32. However, it pretty clearly appears to lack some of the functionality of the X32 such as support for FireWire and, more significantly, support of the AES 50 digital snakes. It is not just a different form factor than the X32 but also appears different enough in capability and functionality that it probably should be a separate model or series and I sincerely hope that Behringer does not market this mixer as the X16, especially as I think a good number of people would like to see atrue X16 that is simply a downscaled X32.

I find the Behringer and Mackie analogy interesting as over the years they have competed for much the same markets and with products like the X32 Behringer seems to be trying to be successful in markets where Mackie somewhat failed (anyone remember the TT24?).

 

[bishopthomas]

I'm with you. It HAS to have AES50 or it's just a waste. I plan on buying the stage boxes as soon as they come out. To not be able to use them with the half size X32 would be ridiculous. I will have to say that whatever that iPad mixer is it is clearly modeled after the DL1602. It's what Behringer is good at, it's what they do. I just hope it's not actually an X16...

 

[neotrotsky]

No matter what their company men say, Behringer is still a clone shop of the first order: Their "Xenyx" boards are Mackie rip-offs pound for pound and suffer some pretty horrible failure rates (I should know: I got burned TWICE by their shoddy quality). Then there was the tussle of their C-2 small diaphragm condensers that were nearly IDENTICAL to the TLM-102's. Throw in the newest lot of copyright-skirting like this "iPad" mixer, and you have proof that it's a different line, but the same old fashioned practice.

Besides, if it doesn't meet the rider, the gig won't go. At the end of the day, it's a paycheck for most of us. And, in example of this iPad "mixer", A used VLZ 1604 Pro can be had for about $350-$400 locally and that meets nearly every rider. Yes, it's not fancy digital, but it makes me the money to afford a desk made by someone who doesn't have a more 'liberal' view of patents and copyrights. We complain about our own intellectual property being protected as designers and artists. We should afford the same to the QUALITY companies that make our tools. Support the companies who use the best (well, the best you can find in the corporate world) ethics. You can even find companies who produce in China who don't blatantly rip-off other designs and companies like Behringer at the same price point and sleep better at night with nice kit. Phonic, Truesonic and a few others have proven that AND are starting to meet rider requirements. Behringer, due to their business practices, will not. The damage is done

 

[museav]

Throw in the newest lot of copyright-skirting like this "iPad" mixer, and you have proof that it's a different line, but the same old fashioned practice.

I'd be one of the last to argue about Behringer's past practices, but I don't think that applies in this particular case. If the argument is that a product having similar user controls in a similar general layout is infringing on prior work then there are a huge number of analog mixers that are infringing on prior art including the VLZ 1604 that you mentioned.

Especially when you have common third party devices for the primary control surfaces I think you will start to see the differentiation between products being defined more by the related processing, firmware and software than by the physical form factor. In fact Behringer's justification for the "X16" name is that it shares the same DSP, software, etc. with the X32 and thus from a manufacturing perspective they consider them in the same family despite the rather obvious physical differences and that the two related products seem to be addressing different markets, applications and users.

Besides, if it doesn't meet the rider, the gig won't go. At the end of the day, it's a paycheck for most of us.

I agree completely where tech riders are relevant and that will likely be applicable to the X32, however I don't think the Mackie DL1608 or Behringer X16 are aimed at those markets. I personally don't see many Mackie DL1608 or Behringer X16 mixers being purchased by venues, sound providers or production companies, as the Mackie DL1608 video reflects, why would those types of users want a mixer that relies on an iPad that some weird, tripping BE can walk off with while they stick their head in a urinal and flush? The interest in such products seems to be primarily from small bands providing their own PA, musicians mixing from the stage, etc. where tech riders are much less likely to be relevant.

Phonic, Truesonic and a few others have proven that AND are starting to meet rider requirements. Behringer, due to their business practices, will not.

By "Truesonic" I assume you mean Alto Professional, for whom the Truesonic series is one of their product lines. I have to say that I was not aware of Alto or Phonic gaining in tech rider acceptance, although they may not often be specifically excluded by name. And while I am not arguing the sentiment, I have to wonder how often any manufacturer being specifically excluded in tech riders is actually related to their business practices, in fact my experience is that the markets and applications where Alto Pro and Phonic may be common are also ones where people often don't seem that concerned about issues like copyright infringement. That is also exactly why I find Behringer's attempts to offer products in markets where that may be more of a factor so interesting.

 

[nickbramblecornwell]

I would like to start by committing social suicide within my group of audio engineering friends... i think the X32 is a fantastic console for what is was made for. ah i feel cleaner for saying it out loud. What i mean by "what it was made for" is that i have seen the console in real life.

I am that p**** in guitar center rewiring the demo rig that had behringer speakers and replacing them with QSC's and then replacing those with JBL's and then trying the altos and attempting to create a complex mock show scenario for myself the best i can with what isn't locked at Guitar Center to get a real feel for how this console will help me when the director/crew chief/promoter/God is starting to breath down my neck. In my experience this consoles staple is in small live application. Much in the same way that the Mackie 1204 and 1604 had wonderful lives in small theaters and in bars and are currently riding out "retirement" as a "musicians first" console's the X32 will have a similar life. And that is not down playing its worth. It's intuitive, sleek and honestly the body design albeit has nothing to do with its abilities does make it a more lucrative and appealing console. But as many positive attributes as any of us can bring up about the console none of us will utilize it on a touring platform.

The market for this console should be regional theaters and sound companies that will serve a smaller gig. Any gig is important but your not going to send a PM5D to a (Insert town name here) day.

I like the board, the name is stigmatic and let us not forget who the consumer base should be for this console. If the goal was to make a system that could go on a 9 month tour don't sell your console through the "Musicians choice." That statement does not mean to "Diss" GC but when making a product with a specific consumer base in mind you must play by the rules of the market. Microphones to an extent ascend above that obtuse impulse, but with a digital mixing console i feel a little different.

And maybe thats just because my fundamental years in this industry have been during the digital revolution of mixers.

if the goal WAS to expand the consumer base and to have more buyers of the product i think that Behringer should have at a very slow pace introduced this branch of the company. Create three consoles with different points of interests for engineers the way that yamaha did, do this over a three to five year plan where all of a sudden the product is being demo'd under the gun at a festival and let the interest we have in the product remain mostly hungry for a while... Feed me in bit's and keep me hungry so that i sit and wait excitedly.

-Nick Bramble Cornwell

 

[JoeSanborn]

No matter what their company men say, Behringer is still a clone shop of the first order: Their "Xenyx" boards are Mackie rip-offs pound for pound and suffer some pretty horrible failure rates (I should know: I got burned TWICE by their shoddy quality). Then there was the tussle of their C-2 small diaphragm condensers that were nearly IDENTICAL to the TLM-102's. Throw in the newest lot of copyright-skirting like this "iPad" mixer, and you have proof that it's a different line, but the same old fashioned practice.

Besides, if it doesn't meet the rider, the gig won't go. At the end of the day, it's a paycheck for most of us. And, in example of this iPad "mixer", A used VLZ 1604 Pro can be had for about $350-$400 locally and that meets nearly every rider. Yes, it's not fancy digital, but it makes me the money to afford a desk made by someone who doesn't have a more 'liberal' view of patents and copyrights. We complain about our own intellectual property being protected as designers and artists. We should afford the same to the QUALITY companies that make our tools. Support the companies who use the best (well, the best you can find in the corporate world) ethics. You can even find companies who produce in China who don't blatantly rip-off other designs and companies like Behringer at the same price point and sleep better at night with nice kit. Phonic, Truesonic and a few others have proven that AND are starting to meet rider requirements. Behringer, due to their business practices, will not. The damage is done

Hi,
I have to say I disagree with you comments.

Not sure where the comparison of the BEHRINGER C-2 and Neumann TLM-102 mics is coming from... one is a small diaphragm and the other is a large diaphragm... one is $65 and the other $699. Two very different products for two very different applications. I also do not think mixing with an iPad is "new concept".

In regards to our XENYX line you might want to check out our new XENYX Q series mixers. These are very unique and even feature internal Klark Teknik FX, built in compressors, wireless mic ready, and USB.
Behringer: XENYX QX2222USB

Or our UFX1604: features a built in 16-track direct to USB stick recorder
Behringer: XENYX UFX1604

The bottom line is you will be hard pressed to find any product at the X32 price point, that has any where near the features or sounds as good, which is what really matters. Mix a show on one, you might have a change of heart!

I can tell you the new products at NAMM will be unlike any you have seen at any price point as well.

I hope we can earn your business!

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER

 

[neotrotsky]

Hi,
I have to say I disagree with you comments.

Not sure where the comparison of the BEHRINGER C-2 and Neumann TLM-102 mics is coming from... one is a small diaphragm and the other is a large diaphragm... one is $65 and the other $699. Two very different products for two very different applications. I also do not think mixing with an iPad is "new concept".

In regards to our XENYX line you might want to check out our new XENYX Q series mixers. These are very unique and even feature internal Klark Teknik FX, built in compressors, wireless mic ready, and USB.
Behringer: XENYX QX2222USB

Or our UFX1604: features a built in 16-track direct to USB stick recorder
Behringer: XENYX UFX1604

The bottom line is you will be hard pressed to find any product at the X32 price point, that has any where near the features or sounds as good, which is what really matters. Mix a show on one, you might have a change of heart!

I can tell you the new products at NAMM will be unlike any you have seen at any price point as well.

I hope we can earn your business!

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER

OK, let me clarify that I made an error: I for some reason I wrote the TLM mic when I meant the Oktava MK-219. I have no idea why my thinking was split considering as you said, the mics are nothing alike. But, it is what it is and my brain was on holiday.

And, you can cut and paste all of the spec sheets you wish. The proof is in the gig, and the stacks of failed Behringer gear. I have personally had to Behringer boards fail on me, both within months of purchase and each time the "Wal Mart" of music stores fought me tooth and nail saying that they were "quality" boards that never failed, when you could clearly see the stack of opened Bheringer boxes of various gear behind the counter. In fact there was another person in at the same time bringing in a failed compressor and Europower desk. To trust a Behringer product after years of taking audio guys out at the knees during a gig would be a stupid mistake to put it lightly.

If Behringer wants to earn my business, it's simple:
-Stop ripping off other manufacturers
-Get bought out by a real company, wait 5 years for the stink of Behringer's past to wear off, and beat the competition with REAL innovation.

Then, I *might* give you a second look for my backup/wedding grade kit.

Might.

 

[JoeSanborn]

OK, let me clarify that I made an error: I for some reason I wrote the TLM mic when I meant the Oktava MK-219. I have no idea why my thinking was split considering as you said, the mics are nothing alike. But, it is what it is and my brain was on holiday.

And, you can cut and paste all of the spec sheets you wish. The proof is in the gig, and the stacks of failed Behringer gear. I have personally had to Behringer boards fail on me, both within months of purchase and each time the "Wal Mart" of music stores fought me tooth and nail saying that they were "quality" boards that never failed, when you could clearly see the stack of opened Bheringer boxes of various gear behind the counter. In fact there was another person in at the same time bringing in a failed compressor and Europower desk. To trust a Behringer product after years of taking audio guys out at the knees during a gig would be a stupid mistake to put it lightly.

If Behringer wants to earn my business, it's simple:
-Stop ripping off other manufacturers
-Get bought out by a real company, wait 5 years for the stink of Behringer's past to wear off, and beat the competition with REAL innovation.

Then, I *might* give you a second look for my backup/wedding grade kit.

Might.

Hi
First off, let me apologize for any past service issues you might have had with our products.
I can say that we are working very hard to have better customer satisfaction.

As this forum thread is about the X32, most of my comments have to do with this product to keep it on point.

I have to say I disagree with your assessment. Many major top artists are inquiring about using X32 consoles, especially those who are carrying their own monitor rigs.

With the acquisition of Midas and Klark Teknik, we have invested over 20 million dollars in our manufacturing and testing procedures. This has benefited all of our companies including BEHRINGER and products such as the X32.


The positive response to the X32 has been undeniable:
SOS August 2012 article:
"The X32 should win the ‘Best Product of 2012’ award with considerable ease!"
Product Review - Behringer X32

We were just nominated for a Mix Magazine Tech Award the highest honor for our industry.

If you check some of the other boards such as Sound Forums, you will find we are really going out of our way to make sure customers are very satisfied with their X32 purchase.
X32 discussion - Page 107

I recently spoke to Patrick Ferdig our VP of Care, (service), and he had a few comments about improvements we have made in regards to service.

From Patrick Ferdig VP Care
We must admit that our customer service left something to be desired in recent years.

As our business doubled year over year, we failed to take proper care of our customers and struggled to build the support infrastructure. We relied on external service centers and third party spare parts providers that clearly didn’t work.

We’ve learned our lesson and have since made significant investments in our Customer Care Operation.
We have recently purchased a state-of-the-art facility in Las Vegas that houses our US response team, repair depot and parts fulfillment.

We also repurposed our Midas manufacturing facility in Kidderminster, UK to serve as our European Care Center.
Overall, our Care Division now employs over 125 employees on four continents providing support in 7 languages and we’re investing more.

While we haven't achieved the desired Customer Care level yet, it is our Company goal is to provide the very best customer experience in the industry. * Give us a call and see for yourself.

Regarding the quality concerns, last year alone we made a US$ 20 million investment in our state-of-the-art manufacturing facility and quality. As a direct result, we have now reached a quality level that allows us to confidently offer a 3-Year Warranty Program since the beginning of this year.
(end of Patrick Ferdig comment)

Once again, I am truly sorry if you had any bad experiences in the past. We hope that you will give us another chance with our products.

Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER

 

[tk2k]

Joe, I think it's fair to say 'the proof is in the pudding' and it will take several years of consoles in the field before many of us will feel comfortable genuinely recommending one to anybody in professional audio. I think that's something you and your company should embrace, a product of the year award is a good start, but what all of us really care about are fault numbers. If BEHRINGER really wants to prove to us the company has changed, what you should do is, in a year, collect failure rates for the X32 or other 'in that class' consoles you make and compare them to others in the industry. It's not good enough to make a better product, it has to be more reliable. I know in my case I've often opted for a 'worse' product with a higher reliability record, and higher build quality.

I'm very much willing to give your company another chance, it's just a lot of us are worried about the perceived risk. Why not offer, to verified professionals in installation/non portable settings, an introductory 3 year guarantee on the WHOLE system, excluding user damage. If any part fails, they get a 25% refund off purchase price, and the part replaced. If you want to to compete with presonus and Mackie, show us you will stand behind your products, monetarily.

As to your quote below, I'm sorry but it's just not true. No "major top artist" who has the money to carry their own in-ears would by an X32, it's just too inexpensive, and too new. I could see them carrying a Pro1 or Pro2, but statements like that are just so far from believable it discredits other statements the company makes. Now, it may be true you got requests, but the fact that it feels like a lie to 95% of us reading this matters more than if it's true.

Lastly, per customer support, consider setting up a dedicated professional support line, make us have to register and prove we are professionals (like Canon and Nikon do with their pro support) we'd all greatly appreciate it.

Again, thanks for sharing your thoughts with us. Always a pleasure to engage with manufacturers, as well as your VP.

I have to say I disagree with your assessment. Many major top artists are inquiring about using X32 consoles, especially those who are carrying their own monitor rigs.
......
Best
Joe Sanborn
Manager, Channel Marketing
MUSIC Group
BEHRINGER

 

[avkid]

If Behringer wants to earn my business, it's simple:
-Get bought out by a real company, wait 5 years for the stink of Behringer's past to wear off, and beat the competition with REAL innovation.

I think you fail to understand the true size of Music Group and their presence in the world market.

 

[Aman121]

There are many people out there who just shop for price. Behringer has made its millions off of starving artists, Craigslist DJs, garage bands, churches and schools on tight budgets, and people who just don't know any better. Behringer has failed me plenty of times, but they also have produced some decent pieces of kit. Its aparant that the are trying to grow up and move into the pro world, by it's not all there yet. Their shady marketing and design theft practices are not something you want to see in any company trying to cater to pros. They flat out lie about the specs of their amplifiers, steal product ideas and designs, and buy out good company's like Midas and lower the quality of their products. Im glad their finally trying to clean up their act, and I appreciate what joe is doing, but it's going to take more than one new product and some guy answering questions about it in a forum to restore my faith in behringer.