Hola,
las opiniones sobre Behringer van por barrios. Por ejemplo, el comentario que haces respecto de la 2222FX Pro no coincide con la revisión que hizo SoS respecto de la 2442 que es casi el mismo aparato. Yo me fío bastante de la SoS porque, a diferencia de FM, suelen ser bastante rigurosos en sus análisis. Pues bien, en relación con la 2442FX concluyen lo siguiente:
"I found the UB2442FX Pro to be easy to operate, though some of the panel legending is a bit small to read in subdued lighting and it's hard to tell whether the all-black routing buttons are up or down. The mic amps are quiet at all but the maximum gain setting, where a little hiss is audible, and the overall impression is of reasonable transparency and accuracy. There's enough headroom to prevent overload, unless you're very careless with the gain settings, and the EQ sounds surprisingly useful for such a budget console — you can use it quite heavily before any tonal smearing sets in and the high control adds a useful degree of airiness without provoking harshness.
The effects hold up well for a mixer of this type, albeit with some of the reverbs longer than you'd use in normal mixing applications, and the only real limitation is that the presets don't have any user-variable parameters at all, so compressor thresholds have to be fine-tuned by adjusting the relevant send level. Also, as there's only one effect, you can only use one insert effect at a time, and then at the expense of a send/return effect. I would imagine that in most instances the effects section would be set to reverb for mixing and the insert effects used mainly when recording one track at a time.
Once again Behringer have come up with a budget mixer that manages to deliver a level of performance which is better than expected, including good-quality internal effects. It has been deliberately kept simple, but is still versatile enough to use in the studio as well as live. The direct outputs on the first eight channels are particularly useful for recording, as are the subgroup outs, and the overall signal path quality is more than adequately quiet for making serious recordings, provided that due care is paid to gain structure. Having four stereo returns is more than generous for a mixer of this size, and getting the rackmount kit as standard rather than as an option is also welcome.
Overall, my impression is of a solidly constructed, workmanlike mixer, and it's clear that some careful thought has gone into its design. On a more expensive product, I'd have liked all the line ins and outs to be balanced, but in the kind of situation in which this mixer is likely to be used, unbalanced connections are unlikely to cause problems. The other evidence of cost saving is the use of short-throw faders, but, once again, these don't cause any practical problems and they have a good feel to them. Whether this mixer is right for you depends on your budget and on the facilities you require, but there's no denying that it offers extraordinary value for money in the UK and, used properly, it is capable of seriously good results."
Si alguien quiere leer el artículo completo, puede hacerlo en
http://www.soundonsound.com/sos/Feb03/a ... 2442fx.asp
El artículo lo firma Paul White que es la persona que suele escribir los artículos sobre Audio en SoS y, para mí, que ha debido ver ya unas cuantas mesas de mezcla...
Salu2
sorry.
además es una mesa super delicada, los potenciómetros se mueven, es cómo si no estuvieran bien cogidos, y los fader no ofrecen resistencia al ser movidos (parece que estén sueltos pero funcionan) A la antigua Mitek le hacíamos burradas y ahí estaba tan campante, se nos cayó alguna vez al suelo, y ahí estaba...
