Being quite skeptical of most new gear, especially when the Midas logo has been slapped on it, the proof for the quality of the new Behringer X32 would be in the mix.
Editor's Note: Church Production Magazine is pleased to bring you this early, abbreviated version of the Behringer X32 review. Look for a more detailed, feature-length version of this review in the January/February 2013 issue of Church Production Magazine.
The new X32 is a 32-channel digital mixing console with 16 discrete outputs. What throws this console into another category completely is the implementation of Midas programmable preamps on each input channel.
Right out of the box, this didn't resemble a console from any manufacturer boasting an MSRP of $2,899.99. With the exception of the interesting built-in iPhone holder, the X32 has a much more sophisticated feel about it than the price point would suggest.
Going straight to the deep end of the pool, I slated this board to be used for a full band gig that would max out most of the inputs and outputs, and put most of its considerable assets to the test. The gig was for a professional pep band for a high school football game: full drum kit, bass, guitar, and keyboard rigs, eight horns, one vocal and ten aux mixes. We were using a large TurboSound PA and had to create maximum punch and SPL out of the mix as we were pushing the sound a pretty good distance. Admittedly, I was a bit apprehensive about using a “budget” console for this job but forged ahead anyway.
Before heading out to the field, I set the console up in a controlled situation and spent an hour or two getting to know it a bit. After getting familiar with the thought process used to lay out the various screens and controls—it was a breeze to get going. The 800 x 480 color TFT display was easy to see and it took no time at all to have everything configured, labeled, and ready to rock.
As I started pulling up band inputs, I honestly couldn't believe it—the console sounded great, the band inputs were exactly what I would expect to hear from any large-frame console.
I continued using the X32 for another gig the following week with the same band and setup configuration. The band played off and on for about four hours giving me plenty of time to play with all the extras the manufacturer packed into it.
The mixes turned out nicely—exact representations of what I was hearing with no apparent noise floor. We also utilized the FireWire output to capture the 32-in/32-out combination straight to Pro Tools.
I was impressed to find a set of quite intuitive, fully assignable user controls: four rotary knobs with displays and eight buttons—a very cool way to access tap delays, change effect parameters on the fly, and assign to just about any other console function. A total of twenty-four assignable options—nice job on that one, guys.
While it's a bit out of the norm for me to carry on about one specific piece of gear I will say that this console performed amazingly well while maintaining a useful complement of extras. Although I'm quite picky and opinionated about any FOH console I'm using, the power of the X32 lies with its superb sound quality coupled with a surprising amount of versatility. I was quite happy while mixing on this console, happy enough to start coming up with a few reasons not to send it back.
