Rear-panel word-clock input and output BNC connectors make integration with a more complex digital system possible and there's also a balanced SMPTE input on an XLR. The digital out always follows the main stereo mix and may be 16, 20 or 24-bit with or without noise-shaped dither. Routing is fixed to channels 13/14 so, when switched on, it replaces any existing sources. There's also coaxial S/PDIF I/O where the input is automatically sample rate converted to avoid clocking problems.
There's no analogue expansion option, so it's my guess that the mixer is aimed primarily at the current crop of hardware recorders (ADAT tape or most current hard disk models) that can be fitted with digital I/O, or at computer systems with ADAT I/O. An external XLR connector box accompanies the AES-EBU interface, though no expansion cards were supplied with the review sample. The I/O expansion options are for 16-channel ADAT and TDIF, as well as eight-channel AES-EBU, with all but ADAT being connected via D-Sub multi-pin connectors. In this respect, the output arrangement is very like that of the smaller Yamaha mixers and recorders. Sample rates of 44.1kHz and 48kHz are supported while the operating firmware for the mixer is held in flash ROM so that it can be updated from a PC if necessary.Īs with all assignable digital mixers, the I/O that you see on the outside is somewhat different from the internal bussing structure, so while the console may indeed have 16 internal busses, it only has two main analogue outs, plus four more assignable outputs, unless you add some more I/O via the card slots. 24-bit Crystal converters (delta-sigma, 128x oversampling) are used throughout and the majority of the circuitry is surfacemount. Up to 128 snapshots can be saved, a snapshot comprising virtually all the console parameters other than the analogue gain settings. The console also has moving-fader automation via full-length 100mm Alps faders, snapshot automation and I/O expansion via two card slots. It also includes four onboard effects processors based on the Behringer Virtualizer algorithms. The mixer can handle up to 32 channels, it has 16 internal busses and eight aux sends as well as dynamics and gates plus four-band parametric EQ on every channel (but not the busses).
Behringer's offering in this department provides a surprisingly comprehensive feature set at a startlingly low price. Can a digital console at such a low price really deliver on features and audio quality?ĭespite the proliferation of computer-based studios, few of them can manage without a mixer, and in these days of recallable, resetable everything, digital mixers tend to be more attractive than their analogue counterparts.
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