A potential game-changer for the industry, Behringer’s X32 digital console features 32 input channels (32 mic/line preamps), 16 XLR output buses (plus stereo XLR/TRS outs), multichannel digital I/O (AES50 Cat-5, FireWire, USB), 4-band parametric EQ and six aux sends on all inputs and eight onboard stereo multi-effects processors. Street price is $2,899. I tip my hat to the Behringer group for creating the board’s clean, feature-packed physical layout and intuitive onboard GUI.
Trial By Fire
I received the review unit two days after the first X32s arrived in the U.S. I set the stage for the evening’s show the night before, so I only had to wait for the X32 to be delivered on day-of, so I could plug-and-play and run the show… hopefully. The mixer arrived without a manual (still being finalized) and a Europlug AC cord. Fortunately, a standard IEC power cable worked fine. With no manual, the first show was a trial and error fly-by. I should mention the X32 arrived a couple hours before the show, while the band was setting up, which, of course, made me want to plug the console in and see exactly how well Behringer did with the layout and interface design. After swapping inputs and sends from my house console to the X32, I made a 15-minute call to get a crash course on operating the console I had just unpacked, and we were ready to go.
A few days later, Behringer’s John DiNicola came by to answer any questions I had after working the X32 on a show. I only had two major questions. The first was regarding the I/O options of the included rear-panel card, which is loaded with the USB, FireWire and network ports. The functionality and flexibility the X32 offers for console control and networking is astounding for the price and allows different uses in a variety of applications. My second hope for the X32 was an easy way to flip into full monitor console mode. Without the manual, hashing out many of the setup functions on the fly was kinda tough, but after understanding the options, setup was smooth sailing.
The simple labeling of options within the GUI interface let me “follow the breadcrumbs” to my desired setup configuration. I could make it work to some extent, but once DiNicola went through section by section, we were confident in our console layout. DiNicola sent the setup file to the team in Germany to work out some preset concepts for an easier “switch to monitor mode” option.
In 48 hours, I received a firmware update, with interface and metering tweaks. This arrived when I was out doing a show with the X32 and had no Internet access. I downloaded the file to my smart phone, transferred it to my laptop and copied it to a flash drive. After sound check, I loaded the file and, within a few minutes, was running the latest firmware. I backed up my show files, in case the update might wipe the console’s memory, but this did not occur.
Console Setup
Out of the box, the X32 is set to go with main L/R routed to “Omni” (assignable) XLR outputs 15 and 16, the first eight mix buses in pre-fader/post-EQ (and sent to their respective Omni outs) and the main and mix buses routed through graphic EQs. This greatly cuts down setup time and has you ready to do a general signal flow for a show and get rolling with sound check. There are four dual graphics for the first eight mix bus outs and a stereo graphic EQ on your main L/R out. The only thing that’s not preset is having the graphics engaged automatically. You must use the “Insert” function to activate these, but that’s not a huge deal. “Scribble screens” on each channel are backlit with dimmer functionality and let you change the colors and customize the labels. The scribble screens change with the layer that you’re on and, if desired, you can also route your inputs/outputs to create custom fader layers.
A major feature is the X32’s use of motorized faders. Uli Behringer decided to design and build the scribble screens and faders in-house, which keeps pricing reasonable, while offering the features of a much pricier console. Also appreciated are dedicated View buttons for every function section on the console surface, so you don’t have to go through multiple layers to access basic functions and features.
Monitor Mode
Setting the X32 up for a dedicated “monitor mode” layout is done within one screen and as little as four selections, depending on how you would like your cue source to follow your solo selection. You choose which output you want for your monitor send, as there are dedicated monitor L/R outputs for studio wedges, or you can take it out of an Omni. A nice touch when using the X32 as a monitor console (besides the motorized faders, “save scene” and sends-on-faders option) is that you can place up to 16 graphic EQs in your onboard racks (eight stereo FX slots). Anyone who’s ever been in the corporate world with 14 breakout rooms, or an arena with 11 individual zones during the event or have needed the 12-way mix when working with a compilation of wedges, stereo IEMs and stage fills, will truly appreciate having 16 EQs. And that processing power in this console is wonderful for a lot of small- and medium-sized companies and facilities who lack either the space or the money to buy all of the decent analog outboard gear for 16 graphics. I ran a 6-way monitor mix with a cue wedge and felt very comfortable, even though I had never used the X32 for that purpose.
DAW Control Interface
The X32 can also act as a 32×32 channel audio interface over FireWire and USB 2.0, with DAW remote control emulating HUI and Mackie Control. This allows full mapping and control of recording apps such as Pro Tools and Logic. Using the X32 for live multi-tracking and then being able to take it into the studio for mixdown/mastering is fantastic. I hooked the X32 to my MacBook Pro and pushed a multitrack file through the console in minutes once the driver was automatically installed — a very easy setup; that’s the way it should be.
Network Functions and Capabilities
The AES50 connection is powerful in terms of expanding an X32 system. AES50 allows adding a complete digital snake system and personal monitoring system, via the optional S16 stagebox (16 in x 8 out, analog), as well as Behringer’s P16 Personal Monitoring systems, (with P16M personal mixers and the P16D distribution box). AES50 delivers 48-in x 48-out audio channels. A typical system would consist of an X32, two S16 stageboxes, (to get the full 32 x 16 to/from the stage), a P16D and as many P16M personal mixers as needed. In this configuration, you’d have 32 channels for mic inputs, 16 outputs to drive speakers from stage, and 16 discrete channels for the P16 personal monitor system for mix control — all fed down a single Cat-5 wire.
The S16 snake provides the option of setting preamp gains on stage and having that control the corresponding input channel gains on the X32. Alternatively, you can tweak the preamps from the FOH position and, in this mode, the stage control of the S16 preamps can be locked out. When using multiple X32s, directly connect the X32 that you wish to use for S16 gain control directly to the AES50 “A” Port on the S16. The second X32 will receive the signal digitally through the AES50 “B” Port, where it can be trimmed/boosted by 12 dB.
The AES50 connections can also be used without the S16 snake to share audio between multiple X32 consoles — typically, FOH + monitor console. This means you can send each channel input to two separate consoles for a stage split without requiring any gear other than two X32s. Here, gain is controlled by the console where the mic is physically connected. The second console receiving the signal via AES50 will again have 12 dB of gain/trim control.
House of Worship Install
With an all-inclusive console/stage box/personal monitor package, a house of worship install comes to mind. No need to worry about I/O card compatibility or issues that arise with cross-manufacturer implementation for personal monitoring and control systems. The X32 has a dedicated network port just for its P16 monitoring system, a separate dedicated network output for the AES50 network line to your stage box and another port for network control of the entire system. Scene save capability is a lifesaver with churches, simply due to the time and convenience of not spending an additional hour or more each rehearsal setting levels and more time focusing on fine tweaking and finishing the additional prep for the service. When you set up the P16 monitoring systems, output routing is onboard the X32 and it’s simple and quick to have each performer program and set their desired 16 channels and custom mix on stage.
FX Plug-ins
The X32 is armed with a selection of every type of FX module that you’d need to take on the “enhancement world” — echo, delay, wave builder and even guitar cabinet emulators. Guitar cab emulators are great when you either don’t have enough room on a stage for your Marshall 4×12 or the cab goes “poof” right before a show. The player can plug directly into the system via a DI, and off you go with a high-quality emulator, keeping the show going. Hopefully, Behringer will offer future downloads with additional emulation FX patches.
More Thoughts
I was truly impressed with the X32 and its capabilities. Behringer goes beyond what I expected in a small-format digital console with a sub-$3,000 price. I would have no problem using the X32 in any situation that required sound reinforcement or recording. The X32 will be quite a game changer to the industry once it’s available and starts shipping. Having a decent-sized digital system with console, stage box and personal monitor system for a small budget is something many in the industry have wanted for quite a while. Although you may be hesitant at first, I recommend you at least take a look at this system. You just might see something you like. I also look forward to comments from any future X32 users on ProAudioSpace.com. See you there!
Evan Hooton is Blog Master for ProAudioSpace, owner of Pure Quality Sound Productions and production manager at Stargazers Theatre and Event Center. Reach him at evan@fohonline.com.
More information at behringer.com.
