Behringer X32 | Media
Digital Mixing Console
Reviews : Mixer
As I mentioned in the main review, the entire analogue circuitry has come from the Midas boffins, from the XLRs to the A-D and D-A converters, which are Crystal CS5368 and CS4385 devices, respectively. Exactly the same design is employed in the S16 stage boxes, too. The DSP technology employs Analog Devices Sharc AD21371 processors running 40-bit floating point maths, along with FPGA-based (Field Programmable Gate Array) ultra-low latency digital routing, again developed with the help of the Midas and K-T teams.
The published specifications claim a dynamic range of 104dB, but my own Audio Precision measurements came up with an AES17 dynamic-range figure of 106dB (from an XLR input to the AES3 output, with a +21dBu input and 0dB preamp gain), reducing to 102dB on a complete analogue round path. Not state-of-the-art (a Prism Sound Orpheus manages 115dB, for example), but still more than good enough for a live-sound console. Crosstalk between channels was better than 106dB at 10kHz and 123dB at 1kHz.
The mic preamps clip at +23dBu, but with 0dB of gain dialled in an input of +21dBu registers as 0dBFS internally. The TRS aux input accepts a maximum of +15dBu. The minimum mic input level necessary to achieve -20dBFS is -60dBu. The Equivalent Input Noise with a 150Ω source measured -123dBu, with a benign noise floor. The maximum output level is +21dBu, and residual noise measured -84dBu (-86dBu A-wtd).
The THD+N figures are impressive, achieving 0.006 percent (A-weighted) with a 0dBu output and 20dB of gain dialled in. At 60dB of gain that figure rises to 0.06 percent, which is still very good.
 "The frequency responses of the high-pass filter, with a turn-over range of 20Hz to 400Hz.")
The frequency responses of the high-pass filter, with a turn-over range of 20Hz to 400Hz.
 "The console frequency response from the mic preamp (with 60dB gain) to an XLR output. The response is flat within 1dB between 20Hz and 20kHz, but there is evidence of a gentle tailing off at both ends of the spectrum, which is unusual and must be deliberate. Such subtle contouring tends to give the impression of a slightly rounded and softened sound character.")
The console frequency response from the mic preamp (with 60dB gain) to an XLR output. The response is flat within 1dB between 20Hz and 20kHz, but there is evidence of a gentle tailing off at both ends of the spectrum, which is unusual and must be deliberate. Such subtle contouring tends to give the impression of a slightly rounded and softened sound character.
 "These traces show the frequency response as measured at the digital output, thus revealing the characteristics of the mic preamp on its own. At maximum gain (upper trace) the bass response starts to tail off from a higher frequency, ending up 1dB down at about 12Hz. At unity gain (lower trace) the reponse reached -1dB at 10Hz — although I doubt anyone would notice the difference in practice. The high-end response remains consistent at all gain settings")
These traces show the frequency response as measured at the digital output, thus revealing the characteristics of the mic preamp on its own. At maximum gain (upper trace) the bass response starts to tail off from a higher frequency, ending up 1dB down at about 12Hz. At unity gain (lower trace) the reponse reached -1dB at 10Hz — although I doubt anyone would notice the difference in practice. The high-end response remains consistent at all gain settings
 "An averaged FFT plot showing the residual noise floor, which is very clean with no mains-related spikes present at all. The high frequency spikes are probably related to the display screens or universal power supply, but are all comfortably below -100dBu.")
An averaged FFT plot showing the residual noise floor, which is very clean with no mains-related spikes present at all. The high frequency spikes are probably related to the display screens or universal power supply, but are all comfortably below -100dBu.
 "The ratio of distortion harmonics at unity gain, showing a tendency towards third harmonic, but at very low levels indeed.")
The ratio of distortion harmonics at unity gain, showing a tendency towards third harmonic, but at very low levels indeed.
 "The ratio of distortion harmonics at maximum preamp gain, showing a very even balance.")
The ratio of distortion harmonics at maximum preamp gain, showing a very even balance.
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Wed 19 Jun 2013
Sound On Sound : Est. 1985