Preamp/converter comparison – Delay compensation

In addition to the previous article regarding the Midas M32 and the A-Designs Pacifica / Steinberg MR816 CSX, we were really interested in the question how the Behringer X32 would differ from the Midas M32 in preamp / converter quality soundwise. Therefore we recorded some basic tracks with guitar / speech. Furthermore we also used the Steinberg MR816 in comparison to the M32/X32 in order to find out, how they both would compare to a common “studio” signal-chain.

As Midas claims their M32 to have fully latency-compensated buses (in advantage to the X32), we conducted a little experiment by inserting different fx in the M32’s buses, while recording the respective outputs (ChannelOut, Bus1 Out, Bus2 Out, Sum Out). Those tracks have been recorded in ProTools to visualize the delay between the different outputs. We tried the same thing on the X32 but we did not take any screenshots. As the downloadable description is written in german, here’s a short explanation:

Channel Out: Direct out from the channel (post – AD, pre – signal-processing)

Bus 9: Channel routed to bus, Bus not routed to LR, no FX applied

Bus 10: Channel routed to bus, Bus not routed to LR, FX from slot FX1

Bus 11: Channel routed to bus, Bus not routed to LR, FX from slot FX5

Sum: Channel routed to LR, no processing

The result: The Behringer X32 will NOT compensate for latency introduced by inserted FX from the FX-rack. The bus channel’s EQ & COMP will not add any latency. The M32 though will compensate for latency, but only if the FX is inserted in Slot 1-4 in the FX-rack. This seems weird, as Slot 1-4 is intended for send-FX use. Maybe that’s also a firmware issue and will be changed with some new firmware, so far it works like that nevertheless.

Signal chain:

Microphone (AKG C214/Beyerdynamic M400/Shure Sm58) —> ART ProSplit into

–> Behringer X32 Rack –> Steinberg MR816 CSX (Adat In) –> Cubase

–> Midas M32 –> ProTools

Filedescription:

Fileformat is 48kHz, 24 bit, which it was also recorded in. Each take is split into 2 files, the X32 and the M32 recording, which are sample-aligned. All tracks were normalized to -1 dBfs. Each take has then been repeated (e.g. Take1 & Take2), while switching the micsplitter’s outputs to quantify the influence of the micsplitter’s built-in transformer (= isolated out). The file decription itself contains the respective preamp, the application, the microphone model, the take number and the mic splitter’s output. (The applied gain settings are listed below – the maximum provided amount of analog gain is 45.5 dB on the M32 !)

X32 vs M32:

Take 1 & 2: Guitar, AKG C214, +35 dB Gain

Guitar, AKG C214, +35 dB Gain Take 3 & 4: Guitar, Beyerdynamic M400, +45.5 dB Gain



Guitar, Beyerdynamic M400, +45.5 dB Gain Take 5 & 6: Speech, AKG C214, +38.5 dB Gain

Speech, AKG C214, +38.5 dB Gain Take 7 & 8: Speech, Shure Sm58, +45.5 dB Gain

X32 / M32 vs Steinberg MR816CSX:

Take 1 & 2: Guitar, AKG C214, +45.5 dB Gain X32

Guitar, AKG C214, +45.5 dB Gain X32 Take 3 & 4: Guitar, AKG C214, +45.5 dB Gain M32

Downloadlink: Behringer X32 vs MIDAS M32 Audiofiles