livereport WORLD Behringer’s X32 aims to change the paradigm.Phil Wardinvestigates it The factor X
THIS ISN’T the first time that Behringer has offered “the world’s most affordable digital 32-channel mixer”. Quite some time ago, there was another product that had “a feature set you won’t find in any other product in its class” or “in
any compact digital console”. It must be habit-forming. The DX3216 is well and truly discontinued, because the new 32-channel, 16-bus digital X32 – with a generous supply of built-in effects and all the trimmings – has already been
described as “quite a game changer” and “a whole new level” of cost-effectiveness by the trade press reviews. It even has its own truck, currently traversing the US on the Prozone tour: it sounds like a tranquiliser, but in fact
INFINITE POSSIBILITIES INFINITE POSSIBILITI F The ‘revolutionary’ X32
it’s designed to stimulate interest at demo events in selected retailers.
MIDAS TOUCH This generation is truly different, because the Music Group umbrella that harbours Behringer’s output now also contains Midas. The component technology that goes into the X32 has some inside advantages, therefore, as explained by Christian Stahl, manager, channel marketing at Music Group Services EU GmbH. “Well, there are so many important pieces of technology under the hood of the X32, like the programmable preamps based on a Midas design, the virtual FX rack or the AES50 connectivity. “However, as we started to
develop our X32, we recognised very soon that we needed to look at the components level to bring all the features into the X32 we would love to implement. It was not our goal to cut down the specs, like motor faders and channel displays, because we believe digital mixers without these essential components are actually fooling the public. “Therefore we started to design
Experience the Eclipse GT – a virtuoso on any stage ce the Eclipse GT
Optimised console surface, high quality components, superb workmanship World’s first: complete workflow integration of all digital microphone functions Virtual soundcheck (M.A.R.S.), 64 channels HD record/playback
and produce our own motorised faders and scribble-strip LCD displays, instead of purchasing them from a third party. This allows us not only to bring this exciting mixing board to market at a highly affordable price, but also to control the overall production processes including the quality control for all the technical ingredients of the X32.” Compact designs are the
order of the day in digital consoles, with space, flexibility and usability seemingly at the top of everyone’s shopping list of ergonomic requirements. “With the combination of the workflow, the feature set to match big touring consoles and the slim form factor, we are meeting the requirements of many users, like musicians, bands, contractors and rentals,” continues Stahl. “The X32 is
perfect for nearly every audio mixing application and, thanks to its footprint, it can fit everywhere from FOH positions, small clubs and rehearsal rooms to professional broadcast locations or even a home recording studio.” There’s more to come, says
Stahl. “Around the X32 we’re building an entire eco-system of tools. The S16 Digital Stagebox allows a convenient and professional way to stream audio between X32 and the stage with extremely efficient AES50 audio networking technology. And since the X32 provides two AES50 ports with up to 48 ins and 24 outs, each user can access a comprehensive audio system with six S16s and up to 96 routable inputs at a very affordable price point.”
TEAM SPIRIT
The huge selling point for the X32 is precisely the extent to which it contains technology syphoned from the deep pools of Midas know-how – especially in the mic preamps, so long a prized feature of Midas circuitry. To do this involved a highly delicate management process to bring together two teams of design engineers, one from each company. “I’m very proud of how the team synergy worked out,” reveals Costa Lakoumentas, senior VP of marketing at Music Group. “You can try to manage projects like this by pushing from the top down, almost forcing different teams to work together, but it seldom works. In this case it was much more from the bottom up. “We introduced the two engineering teams to each other, made it clear what skills each team brought to the table and let them work out between them what each person could bring to the project. That’s a radical management model, and one that we’re trying to apply across all of the disciplines in our business – not just in R&D and engineering but in sales, marketing and operations.