I can hear the difference but I'm not sure what it is. I'm an experienced user with lots of high end professional gear, but to be honest, I don't quite know what I'm doing when it comes to compression...
i think this would do great as a budget mastering compressor i do not think i would get this for vocals at least not from what has been demo i'd get something else like the wa-1b
Sounds great but the ONLY negative I've personally noticed from the 369 is those threshold pots seem to be really hard to turn and sound like you're stripping a plastic screw head when you turn them. That being said, I'm still gonna get one.
Laufen die Geräte noch stabil, ohne Defekt? Klanglich find ich die Reihe interessant, nur baulich hab ich Bedenken. Zumal ich mir aber den 1273 definitiv kaufen werde - lohnt sich der neue Neve Comp von Behringer? Danke
I like Behringer's engineering,and I have several of their products all of which stopped working.. I wish they would manufacture their products in Germany,even if they have to raise the price. It's really annoying when you're working on a project and their equipment just quits working. WHERE is this unit manufactured? If it's China,it's a "no go" no matter how good it sounds when it's new.
Servaral? Which ones have stopped working 3 to 5 pieces ? Was that in warranty time. Did you have good customer support . And what was the issue with product. This is interesting 🤔
i guess no attack setting in milliseconds hmm but if for subtle comp on mic bus it’s ok. i just don’t get buying outboard gear for doing subtle things.
So here's my rant about Behringer. Back in the day they used to be an incredible high-end outboard gear company where all of their equipment was made in Germany. For one reason or another, and I'm not going to pretend to know the reason, they stayed in the business but unfortunately had to outsource their gear to China. Fact of the matter is, the genius of Behringer is still there and it's clearly behind so much of their equipment so when people piss and moan about them ripping other companies off or whatever they piss and moan about when it comes to Behringer, I think they should just look at the situation as being an incredible value for equipment that would cost easily five times as much if it was still made in Germany. And as they have control over what they release, does it really matter who's putting it together? I'm never going to be one of those people who know about labor practices or trade practices or any of that shit but one thing I do know a lot about is equipment. I know what works and what doesn't, I know what's good and what's cheap and by cheap I mean made like shit, I know when I've scored something that is pretty damn incredible for what I paid and that happens more often than not with Behringer equipment. I have a number of their mics that cost under $20 and I use them on a regular basis in recording and stage applications and Not one of my peers have ever asked me what I was using because it was terrible. However, "Dude that sounds incredible... what are you using on that?" is pretty common for me to hear on a Friday or Saturday night. I use their UMC-1820 quite frankly because the Midas preamps are just the shit. Especially for the price I paid. The amount of recordings that I've made with that and not one person, not one single customer ever has been disappointed. In fact because of most people's surprise at the quality and my recommendations I'm sure that I've helped them sell so much gear. But whatever, I do the same with any company that I dig and Behringer's just always been there at the top. Everybody knows that they're inexpensive, but what everybody doesn't know is that about 90% of it is just incredible, sadly just because they're afraid of trying it out incase their gear snob egos get crushed and they have to admit something that goes against every other sheep's opinions. Baaahhhh
It's crazy how a lot of people are dissing behringer, like they're defending their mom or something lol Companies don't care about you, they only care about your wallet, stop simping for them. Sounds great to me btw.
listening cassette tapes here from my TELEFUNKEN Casssette deck that was made before I was born and I was born in 1980....easily the best cassette player /deck. that I have ever owned.... sound is jyst so clear and bright but still watm and powerful.... anf and actually, I am a Behringer Analog modular synth user also so we have some things in common 👌🏻🤝
This was fantastic... we also have to challenge the " has to live up to the real deal". Is the pricepoint good? Is the sound good? Hardware makes the diff no question and just gets you there quicker. I think it's great we have more options for small studios. I think this unit sounds good personally.
Dumb question, but I just bought a Klark Teknik LA2A and 1176 clone. did I waste my money? should I just have bought this? Can this handle vocal, guitar, drum tracks "better" than the K.K. 1176 and LA2A clones?
These are all different compressors for different tasks/falvors. A FET (1176) is a totaly different character, VERY quick attack und cool distortion. A La2a (OPTO) is - at least for me - more a leveler for "overall compression" and not that much aggressive shaping. These all have their place.. :)
Thank you very much, great demonstration. I have 2 questions. One about gain staging. At what dbvu level does the song enter the compressor. Second, what is the process flow, does the signal go first to the compressor and from the compressor to the limiter or first to the limiter and then to the compressor? Thanks
