All user reviews for the Behringer Eurorack UB1202

Acquired through American Musical Supply. Shipment arrived earlier than the estimated date (very cool!). I ordered the mixer through AMS's website. I bought the unit for use with live performance with bands and also for home recording. Paid 79$ for the unit, shipping was about 5$.

The board has four xlr inputs on it. Each one has Behringer's great sounding mic preamp included. These four channels have high, mid, and low eq. These same four channels, in addition to your standard level knob, also have a gain knob. This board has a lot of potential gain if you're starting with a weak signal. The master fader is a slider...nice for things like fading in or out. RCA Tape input/output...nice for either running a cd player into the board, or running your mix out to a recording device. The headphone level rotary knob is nice. Each channel has an FX send.

Most of my complaints about the board could be alleviated by spending more money on a board with more features. The independant channels have rotary knobs for the level adjusters. EQ for only the first four channels. It would be nice to have EQ for the tape input, although a workaround can be had by using one of the four EQ channels and converting your RCA CD player output to a 1/4" jack.

Construction seems solid, for the most part. There are some slots on the underside of the board for the area around where the power supply hooks up. This area can get somewhat hot. I usually put an old cd case underneath the right side of the board to give it some breathing room. It seems odd to me that behringer didn't put slots on the right side of the unit, as most of the time the side of the unit would have more room for venting hot air.

I like the board very much. For my simple uses for it (live band use + personal recording studio), its more than I need at this point. If you have many instruments to run through a board, and you're looking to have EQ on every channel, this is not the board for you. If you're looking for an easy-to-use board with four EQ'd, xlr'd channels + eight 1/4" basic channels (db level and FX level), then this board will work for you. Its also very small, so if you're looking for a board that requires little effort to transport, pick one of these babies up.

This review was originally published on http://www.musicgearreview.com

Small non-rack console (unlike the 1204), 4 mono inputs XLR (with phantom power supply) / 4 stereo jack and Jack, and Control Room output hand jack, RCA input and output types, output pramplifie headphone jack stro.equaliseurs three stripes on the mono input.

UTILIZATION

The use is of extreme simplicity. Reading the manual is limited voluntary, but this one is clear and trs Retailer. The abscence of poru faders control the volume of diffrent between fact lose some precision but it is all acceptable.

SOUNDS

The console has not yet produced a breath audible during use, however, an audible breath is pushing the gain and volume of the bottom four mono inputs. The equalizer is not of an absolute precision, but it remains useful even when recording.

OVERALL OPINION

I use it now in a home studio for 3 months (it silent before the local BPS, for lack of sufficient number amps). Trs is satisfactory for some recordings I did, and to mix the output of computers and the keyboard to the amp. It also has the advantage not prndre nd place (which m 'adcide from the 1204 (MODEL substantially the same but with the volume control for each channel fader), the that allows you to place it on an office cot computers. At that price the more difficult it is (can be from Alesis, and again ...).

Small 4-channel console mic / line XLR / jack symtriques + 4-way Stereo Jack asymtriques.
A single bus effect.
EQ on the inputs not paramtrique symtriques only.

UTILIZATION

Considering the console is very simple forcment.
Manuel clear.
Small potentiomtres sr are more difficult to handle than faders.
The VU meters, even if it has only a few diodes, can be used.
Apprciables too, comuter +4 /-10dB on the inputs Stros.

SOUNDS

I used to like video and sound from mac.
Given that the sound often comes from reports in the streets or equivalent, difficult to distinguish the breath of ambient noise. Electrets microphones with correct (ATM33a, K6 + ME66) with prampli Intgr and a good output level, there is no problem of breath. on the other hand, push the gain with dynamic (SM58) and is a gte (I feel that the distortion explodes when one approaches the limit of the gain) .
Please note that the headphone gnre breath standard not found out about the "main".
The headphone amplifier is really a *** m e.
The equalizer is difficult to use: action too abrupt, its PForm. Leave the center position and make corrections by software.

OVERALL OPINION

I was looking for something very minimalist in order to connect an XLR microphone on the mac (useful for voice over), see for ITWS. By using video, I look obviously not the quality "studio", I mean its a "readable". It suits me well for a. trs It's not the console that limit is the iMic from Griffin, which is not good (its cold saline with acute whistling), or between the camra.

After a few months of use: Printing gnrale is to deal even when an object fragile when I put the console on a flat surface, it is flawed, the pads are not all at the same level ... The jacks are not reliable: even leaving the cables still in place (no hook-intensive unplug), false contacts occur.

Non-small rack console with 12 channels: 4 stereo channels (XLR or jack, they can benefit from a preamp and phantom power), and 4x2 channels (8 mono channels so that come in pairs of 2 or 4 stereo). A main output, a headphone output, output "Control Room" (the return), an output effect, an output and an input tape (CAR). The first 4 channels have a gain knob, the tri-band EQs (12kHz, 2.5kHz and 80Hz), a switch "Lo Cut" knob and a "Pan" and LED "Peak". The other 4 offer a switch "+4 / -10" as a gain knob and a "Ball". Finally, all voices have a knob "FX" to send to the output effects and "Level" for the volume.

There is also a switch "Phantom" to activate the phantom power on XLR inputs, one knob "Fx Send" on the output effects, a knob "Phones / Control Room" for the volume of the headphone output of AND return output (watch it when it was not used). There was also a fader "Main Mix" which controls the overall level of the stuff (apparently it works even on the back and headphone output), an LED "Power" to indicate that the console is connected, an LED 48 to indicate that V Phantom switch is on and two sets (for stereo) 4 LEDs indicate the sound level at the output of "Main mix", -20 to Clip (saturation) through zero and six. Not to mention three switches: "Tape to Control Room," "To mix Tape" and "FX to control room", the last to transform the function according to FX PFL.

No ON / OFF button, and that's not really very practical, having to disconnect / reconnect every time. Besides careful Behringer makes clear that the need to login first transformer to the console before connecting to the sector!

UTILIZATION

Good use is self-evident, not need the manual. But fortunately, if we ask questions it is damn well, and explains everything. Clear and easy. The console is damn good, solid, aluminum, heavy on the seriousness of making sense, it is licked. The knobs are solid, I think they pose concern with time but it remains to be seen. They are not too loose, allowing greater accuracy. I have some reservations about the fader and his life but it's not a DJ mixer crossfader is therefore no reason why it is unusually tired, but in any case we can obviously change it. The switches are solid, no worries. Attention by skate against anti-slip under the console so it's weird when you get a smooth surface and the console starts surfing on the table when touched. Anyway it is easily adjustable to less than 1 euro

The LEDs are convenient and useful to see if it was not made blunders, and if all goes well, nothing more. Catch seem solid, but I was still a little afraid that over time the jacks start messing around. Finally we'll see.

Level using nothing wrong, both live in that home studio or repeats, it ensures. Simple and convenient. From a glance you know where you are and what we can do it again. The risk of a change in one knob for another button by mistake is reduced by the "heaviness" of the knobs. In short nothing wrong, that's what is asked.

SOUNDS

Console transparent, do not worry, no breath, unless you push the knobs at the bottom, but hey there's no point in general and 80 euros is no more embarrassing than that. The Equasis are more effective in negative than positive, and finally rather more "natural" should I say. Not very convinced by their sound when they are going in the positive ... But it depends on taste. Since I used primarily for recording vocals and instruments at home, no need to give much color to the sound that is already rich enough for my taste.

OVERALL OPINION

I use it for three months in home studio, live and repeat for different uses (the composition of the live sound) and I appreciate good especially for its size and strength, I put it in my backpack qq with cables and microphones and hop. Very good quality / price ratio. I have tried other consoles, the big stuff, small, the "brands" to very expensive (not all that at home eh), and for the moment I see no point investing in something else . I really like Behringer and I am not disappointed with this little console, still the best at the lowest price. Obviously this choice I would do, unless I become immensely rich and I do not know how to spend my money

Design * ULN
* 4 new IMP "Invisible Mic Preamps"
* 130 dB dynamic range for up to 24 bit, 192 kHz
* Gain range up to 60 dB
* Distortion 0.0007% (20 Hz to 20 kHz)
* 3-band EQ with low cut filter dbrayable on all mono channels
* 12 line inputs symtriques "High Headroom" switch with +4 / -10 level on channels Stereo
* Amps oprationnels 4580
* A dpart effect post-fader per channel for external effects processors
* LED peak on all mono channels
* Main mix outputs over output spares control room, headphones and magnto stro
* Between magnto assignable to main mix or control room outputs and headphones
* Function FX To Control Room for the cost of the effect signal via headphones and control room outputs
* Power supply 48 V fantme dbrayable for electrostatic microphones
* Master Fader ALPS 60 mm logarithmic potentiomtres closed
* External power supply for noise suppression and excellent rsiduels rponse impulse
* Chssis steel

This mixer is (presumably) not rack except hack.
No automation, or MIDI sync, much less of memory or presets scnes CONTRL: it's small, simple and cheap.

For features I do not have much repprocher him. The report features / trs price is good.

UTILIZATION

Easy and clear is the key word of these mixers, either in Behringer, Phonic, Tapco ... Everything is done for the use or IMMEDIATE.

It was all hand door, without inconsistency or dsordre particular, the knob, a master fader and taken plutt many places. Minimum: no switch on / off, she gets along well with the monitors that the switches are placed on the rear face! Not at all practical.

The manual is not used much, but if you like franais or broken English gnez do not read it!

In use, the UB1202 fills all done its mission without too dnaturer dmriter and without the sound ... read on.

Price / ergonomics correct.

SOUNDS

- The console is transparent?
To be frank and honnte is correct. It does not sound DGRAD unduly and will not magnify it. As of references, an M3 TLAudio will give you fat and harmonics in addition to the price scale of its quality. Trs a good vintage equalizer can provide you with some rather large rglages extreme ...
So for a modest price, let's be reasonable and do not push too much and pramps equalizer. It's pretty normal.

- Introduced she breath?
If you play with meekness the rponse is no.
With cblage cohrent and softs rglages it does not blow.

- The qualiseur is it effective?
It is effective for sure.
But it is not "musical" as they say of some, or absolutely Fidler as mastering EQ paramtriques. The shims are frquences "little prs", rendering is decent but not one extreme precision.

Similarly, the TO and implementation based on the phantom power supply gnrent do not hum or particulire repisse.

OVERALL OPINION

- How long have you use it?
A rule of thumb, at least three years. It will mix rps, served prmixer samplers and synths, t used as central monitoring ... she saw the little!

- What is the particular feature you like best and least?
Frankly, I bought it because it stuck to the price that I could put in a secondary tool. It's not my main console, even if today it plays the rle temporarily, and I did not make absolute confidence as I would with an Allen or a Trident. So I like its good qualitprix / features.

I do not dislike the lack of switch ON / OFF and I would have AIM one second headphone jack.
But these are minor shortcomings that in the end.

For comparison, I also had the Phonic MM1202 (which served me prmixer two samplers for percussion) and both are close trs. To say that one is better than the other seems to me questionable as they are close in every way. I think she is not trs moves away from Yamaha of the same size and costs approaching.

A little of the correct mixer for reasonable use and reasonable. It will complete its mission srieux provided they do not ask the moon: it is neither a Mackie or an Allen.