AES 50 input 1-8, Local inputs 9-16, card inputs 17-24 and so on. You can switch these different signal souces in rows of eight. Local setups (XLR in 1-32), AES 50 inputs from the S-16 Stageboxes and Card inputs from your recording computer. You have 32 processed channels, any of these channel can recieve inputs dependend from what you set up in the "routing" set up. You can do that, every channel can be feed individual from various sources. If you don't need 32 channels for your show, you can use just unused "normal" channels as splitt channels for your monitorsound. This way you don't need to sacrifice any inputs channels on your first two layers (1-16, 17-32). These channels have EQ but no dynamics (and no PreAmp, so the share gain with the "original channel"). I rarely use dynamics in my monitorsound, that why I splitt my vocals to the additional eight Aux-channels on Layer 3. Nomally, I just splitt vocal channels, when I'm doing monitor from foh. Jesus.basically it is quite simple, but I'm not a native speaker, so I'm struggling with the right words. From this "pre decision" you can select inputs sources for you single channel individually.
#Behringer x32 review professional
For my personal taste, the overall sound of the X32 ist really good and suits professional needs.Ĭlick to expand.You can do that, every channel can be feed individual from various sources. But "sound" is subjective, so you better form an opinion on your own. The L'Acoustics Kara is a fine PA system, where differences in sound quality becomes obvious. When we switched between the 01V96 and the X32 the difference in the quality of the FX was noticable for everyone.
#Behringer x32 review software
By now I'm doing some experiments with the X32 and the LiveProfessor software ( LiveProfessor | ) and it is absolutly doable in terms of low latency (if you got a suitable PC with firewire) to use Drumagog with the X32 in a live setting! What I can say is, that for my taste, the build in Dynamics and Effects are really, really nice.way better than the Yamaha stuff for example. So it is other/different kind of sound right from the start. But I think it is like with a guitar player, who buys a new amp and after some tweaking he comes up with nearly the same sound as he had with his old amp It's hard for me to compare, because I use lots of VST Plugins like Drumagog, Waves DeEsser, FabFilter EQs, SPL Transient Designer and so on with my SAC rig. I've done some gigs with the X32 and with my SAC rig with the same band, same microphones and same pa system.
We did all measurements on our own with a NTI FX100īut I can't share them for obvious reasons. I wrote the review for tools4music: tools4music and it should be available on the 30th of I don't have a spec sheet from Behringer concerning the X32. In addition the X32 will come with a dustcover and will have new metallic fader caps. The Behringer guys told me, that the recording card is now onboard and not optional any more. f.e.) with the user defined keys (Assign X32 is announced for the by Thomann (big music gear retailer), but the price hasn't increased (yet) since the announcement. You could even set up your own tranport control buttons (play, stop, rec. So in the end I belief, it should be no problem to midi controll your DAW with the X32. When I hooked up my small Acer laptop with Cubase, the Midi from the recording card was already there and working. In addition, the board will feature various Midi in/outs (as hardware in/out on the desk itself, via USB slot and via the recording card as an embedded Midi signal through USB or FiWi). It seems, that the X32 will have a Mackie HUI and a Mackie Control Midi Template, but by now only the Mackie Control Template is implemented. Behringer is constantly working on new firmware updates, but there are only very few things left, that have to be implemented till the official sales date. I tried to set up the X32 as a control surface for my SAC rig ( ), but I was not 100% succussful, because SAC normaly needs a dedicated Midi-Template.
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