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Beat Hohmann
Published on 07/17/04 at 05:04
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Within certain limits, you can even change the configuration (used for pre / post fader)
Mine is adapted to simultaneously control the six channels for surround recordings.
UTILIZATION
Simple.
The manual (if you need it) clear to me.
SOUNDS
In contracdiction with other opinions:
I measured the noise of the microphone inputs with Neutrik equipment / NTI Minirator + Minilyzer.
Even at 50 dB amplification (gain) - this is used to record "classic" with condenser microphones Neumann, Schoeps and Gefell etc.. placed at a distance as a main microphone - the sound relative to the input of mic preamps (XLR) was slightly lower than on my Mackie 1402 VLZ. Obviously, Behringer specifications were correct at least in this aspect. The results were much better than on separate Focusrite preamps (OctaMic) and Presonus (Digimax)! For those who like figures: My MX 2004A reached -129 dB (A) of noise relative to the input equivalent input noise = EIN.
The breath of the preamps MX2004 is much lower than the background noise of the best professional microphones like Neumann TLM 103, Gefell M930 and Sennheiser MKH80!
Of course, ACEC input "open" (infinite input impedance) the wind increases, but we judge with an impedance 150 Ohm eg realistic, because it is the output impedance of a typical professional microphone.
So I wonder if others have heard the soffle microphones connected to the MX2004, or really the breath of the MX 2004 preamp?
OVERALL OPINION
I use it 3 years now.
What bothers me are the knobs to adjust the input sensitivity that is not reliable.
Unfortunately, the Mackie has the same weakness 1402VLZ ...
Hopefully the new Mackie Onyx series will correct this!
In general, it seems that Behringer products sometimes suffer from negative stereotypes ... (Favored by vendors for commercial reasons?).
It was one of the reasons I really enjoy the exchange of experiences on Audiofanzine.
Within certain limits, you can even change the configuration (used for pre / post fader)
Mine is adapted to simultaneously control the six channels for surround recordings.
UTILIZATION
Simple.
The manual (if you need it) clear to me.
SOUNDS
In contracdiction with other opinions:
I measured the noise of the microphone inputs with Neutrik equipment / NTI Minirator + Minilyzer.
Even at 50 dB amplification (gain) - this is used to record "classic" with condenser microphones Neumann, Schoeps and Gefell etc.. placed at a distance as a main microphone - the sound relative to the input of mic preamps (XLR) was slightly lower than on my Mackie 1402 VLZ. Obviously, Behringer specifications were correct at least in this aspect. The results were much better than on separate Focusrite preamps (OctaMic) and Presonus (Digimax)! For those who like figures: My MX 2004A reached -129 dB (A) of noise relative to the input equivalent input noise = EIN.
The breath of the preamps MX2004 is much lower than the background noise of the best professional microphones like Neumann TLM 103, Gefell M930 and Sennheiser MKH80!
Of course, ACEC input "open" (infinite input impedance) the wind increases, but we judge with an impedance 150 Ohm eg realistic, because it is the output impedance of a typical professional microphone.
So I wonder if others have heard the soffle microphones connected to the MX2004, or really the breath of the MX 2004 preamp?
OVERALL OPINION
I use it 3 years now.
What bothers me are the knobs to adjust the input sensitivity that is not reliable.
Unfortunately, the Mackie has the same weakness 1402VLZ ...
Hopefully the new Mackie Onyx series will correct this!
In general, it seems that Behringer products sometimes suffer from negative stereotypes ... (Favored by vendors for commercial reasons?).
It was one of the reasons I really enjoy the exchange of experiences on Audiofanzine.