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List Price: $189.99
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- Extremely flexible keyboard and multi-purpose sub-mixer, multi-track monitoring mixer, level translator, FX return sub-mixer, etc.
- 16 balanced high-headroom line inputs for individual stereo or mono use of each section with ultra-low noise and high headroom
- Each channel features balance/level controls, +4/-10 level selection, monitor/FX send, mute button, clip indicator
- Monitor/FX send control per section with global master send control for flexible monitoring, recording or effects applications
- 1/4-inch TRS main mix outputs plus easily accessible headphones output on the front panel with dedicated level control
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This mixer does what it advertises, almost.
The good: It works. It's not of quality I'd use for a combining mixer in a recording environment, but for tying multiple sources together (e.g. several computers, outboard synthesizers, etc) it does the job nicely. I very much like the fact that it's rackmounted: this was purchase to replace an original model Mackie 1202 desktop mixer. Overall, as a simple rack line mixer, it's adequate, and downright great for the price.
My major complaint with this is with the monitor mix. The concept of having a separate monitor mix is fabulous, and I was exciting to find it in a mixer in this price range. That mix is monaural. Again, no big deal. The kicker: the monitor mix, not the main mix, is tied to the headphones. In one way this may seem appealing because it allows completely different mix from the main levels. Unfortunately, as mentioned above the monitor mix is MONO. Rather than mixing in stereo, so the headphones could be stereo, and combining the L/R channels just before the mono output on the back, signals are combined at each channel input; before the monitor mix is created. Result: Monaural headphones. For some things, like a monitor in a recording studio, this might be fine. For me, this is a crucial failure. I need the ability to easily switch between headphones and speakers, and monaural headphones are simply not an option.
Thus, this mixer failed to be what I needed it to be and I'm left doing some really creative wiring through a patch panel to physically route the output to a STEREO headphone amplifier or speakers so I can have what I thought this mixer would do. If you don't need the headphones at all, this mixer is great. However the fact that one of the two main outputs on this mixer is essentially worthless leads me to give it only 3 stars.
Buy Behringer RX1602 16-Channel Mixer Now
Putting this mixer in my rack (along with a patch bay) solved a number of problems for me. It simplified the 'routing' in my rack and provided me with enough steero channels for all of my rack mounted devices. I found it difficult to find a mixer with enough stereo channels. As such, be aware this mixer has TRS inputs (not XLR microphone inputs), but you can use a XLR to TRS gender changer if you need an XLR input. Like the review before me, I too wish the mixer had at least one stereo 'aux send' (it has one mono 'aux send', but I can get around the problem using my patch bay. I am VERY happy with this mixer! It is an excellent value, has excellent functionality, and is available at an excellent price. This is my first Behringer device. I will consider Behringer more closely in the future.
Larry Scott
Moraga, CA
925-765-2883
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This is another one of those "how do they do it" Behringer pieces of equipment. They are so cheap I bought one as a throw-away mixer for a job I was doing. My only problem was, the mixer worked so well I had to keep it!
It's basically a stereo line mixer with eight stereo input channels so there are 16 input holes on the back (L and R input for each channel). You can use a channel mono (only one input) in which case the pan knob on each channel becomes a balance knob.
There is also an AUX mix which is like an effect send on each channel and that feeds to its own mix output. You can use this for adding an effect like echo or reverb or use it as a cue send. The headphone amp has lots of drive and sounds good.
The master outputs include a nice little stereo LED-ladder level-display which is very easy to see in a darkly lit venue. The outputs are very low noise and have plenty of drive level. There's not much to dislike on this little mixer, it's got a clean and accurate sound, it's low noise, it fits in one rack space and it's dirt cheap.
I own four of them and use them everyday for a variety of mixing tasks. I have a pair of 8-channel racks that are filled with various old analog synths from the 80's. Each rack is equipped with a patchbay and one of these mixers. One of the racks has a pair of old Oberheim synthesizers which have a great top end and massive deep undulating bass, great sounding instruments. I sum the outputs of the Oberheims with one of these mixers and pass that to our Apogee A-D when recording, the sound quality is amazing.
For some reason a lot of people hate the Behringer equipment, I think it's just for sport, they really don't have much experience with the equipment. I've used a lot of Behringer equipment in installations that are "ON" 24/7, year after year. This includes feedback eliminators, mixers, equalizers and compressors. Out of over 50 pieces of equipment I can only remember two failures by Behringer products and those both showed up immediately out of the box. In my experience their products are just as reliable as any Boutique audio products.
If you need a compact rack mount line mixer, this unit is hard to match regardless of price.
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I own two of these, which I purchased about 5 years ago. I've used them for many purposes, including:
live sound for small gigs (ran a dual output 8-channel preamp to this and to a 24-track hard disk recorder. Used this for FOH and monitors.)
surround sound (two of them together will do 5.1, and if you use the monitor channel for the subwoofer you can do bass management.)
Mixing the outputs of a hard disk recorder
Cue mixing: Run from a DAW and preamps to make a headphone mix in the studio
Pros:
Decent sound quality. I'd give it an 8.5 out of 10. A Midas Venice or Verona is better for example, and any expensive studio board such as an SSL or MCI is better. In-the-box summing is better. But this is pretty quiet, has good frequency response, and is excellent for the price.
Versatile. 16 stereo ins or 8 mono, or any combination. 3 outputs, a pair of stereo and 1 mono. +4 or -10 levels, or a combination.
Seems durable. Both of mine have had no issues in 5 years, and they've had a mix of studio and live work, including some short tours.
Cons:
NO RF shielding, AT ALL. I have used these hooked directly to powered monitors, and they will pick up RF from laptops, some cell phones, etc. If you are mixing to tape or FOH with one of these, don't set your cell phone or laptop on top of it or right next to it.
Not perfectly quiet. When hooked directly to a subwoofer on the monitor channel, the "auto off" would never engage until this was turned off. It also has a very slight amount of hiss when hooked directly to powered monitors. This is VERY SLIGHT though, I'd say -100 dB from the top of the headroom. So it's not a deal breaker, and very good for the price.
In summary, this is a very versatile, decent sounding, durable line mixer, and a steal for the price.
I've been a user of Berhinger signal processing products from the first three units that were imported here to the US from Germany. Back in those days the unit prices were higher and they even had service centers. Many years later...nearly all their units are inexpensive, yet still work wonderfully in my professional opinion. This is a very fine line mixer that is very clean, clear signal processing and offers stereo in outs per channel, individual volumes, even an FX send separate signal path. All 1/4" inputs are balanced TRS and one pair each outputs in TRS and XLR balanced. I highly recommend nearly every product produced by Berhinger.
