Behringer MS16 Powered Studio Desktop Monitors Review

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(More customer reviews)SUBJECTIVE REVIEW: Behringer MS16 2-Way Active Personal Monitor System
Pros:
- Accuracy, soundstage & imaging!!
- Connectivity & Front Panel Controls (Right CH Speaker):
.... INPUT 1 (1/8" TRS) Connector
.... INPUT 2 (RCA Right & Left) Connectors
.... ADJUSTABLE 1/4" TRS Microphone Input - mixable w/stereo inputs for playback and vocal monitoring applications
.... 1/8" TRS HEADPHONE Connector w/auto-mute loudspeaker function.
.... FRONT PANEL Controls (Bass, Treble & Level)
Cons:
None except deep bass - which can be resolved by adding a powered-sub like I did!!! ;-)
NOTE: All subjective comments based on:
1) SPEAKER LOCATIONS:
.... a) Free-standing near-field monitor location, 4' apart, slightly tilted-in (closes walls 10') - Music by my Polaroid 30 GB MP3 player (NO powered-sub )
.... b) Keyboard: L & R location installation, slightly tilted-in (with & without Altec Lansing FX2021 powered-sub**)
**NOTE: Adding a powered-sub relieves the Behringer MS16 4" woofer speakers of reproducing the lower frequencies thus lowering the possibility of distortion or breakup when played louder, - 85 dBc to 90 dBc Fast SPL Peaks!
2) Critical listening SPL = approx. 85 dBc to 90 dBc Fast SPL Peaks measured @ 8' to 10' away from the speakers.
.... a) Radio Shack SPL Analog Meter: Dial = 80 or 90 / Weight = C / Speed = Fast
ACCURACY:
One of the Behringer MS16 hallmarks is the accuracy in reproducing encoded musical sounds from my MP3s, ... like, a violin sounds like a violin, a trumpet sounds like a trumpet, a tenor sax sounds like a tenor sax, a Grand Piano, like the Grand Piano that Diana Krall uses in her "Live in Paris" CD (I use to own a 6' Yamaha Grand in my HT/family room), etc. What is unusual for this price range, is the MS16 ability to reveal subtleties and the resolution of the high frequency characteristics within the encoded music/instruments, . . . they are just more evident with the Behringer MS16 vs. other speakers in this price and some costing more; i.e. with close mike recording of an acoustic guitar, you can hear the artist fingers (George Benson; Earl Klugh; Russ Freeman) sliding up and down the frets; you can tell that that two violins are playing a melodic line, rather than just one violin; the air harmonics off the crash or ride cymbal sounds, just like our Tama Rock Set w/Zildjian cymbals; Diana Krall breathing during some of her songs Intro ("Live in Paris" Music CD). Here - I do chalk up the sound quality to Behringer MS16 1.5" (38mm) Diameter High-Resolution Tweeter., which is a nice size for a small personal Studio near-field Monitors.
SOUNDSTAGE:
The left to right placements of instruments & voices are excellent, providing a precise, very wide, beyond the speakers soundstage. The Behringer MS16 front to back (depth) soundstage is also excellent, as well as the dynamic's resolution (soft vs. loud) in playing back the encoded instrument sounds which helps provide excellent location placement of the instruments. Though the front to back soundstage can be a result of how close the microphones were to the instruments, no doubt, the quality of the best recordings, will be revealed by this speaker and the opposite is also true, poor recordings will be revealed as poor. The Behringer MS16 plays back all my Jazz CD Music with relative smoothness, with no surprising in-between the eyes, unnatural frequency peaks because of it's super flat & wide Pro Monitor like frequency characteristics. I also own the JBL N24 w/4" woofers (JBL NSP1 PKG) which was raved by Brent Butterworth for its super midrange playback (voices) and in direct comparison, the Behringer MS16 is equal to task providing the same balanced, natural, clear unstrained playback! (Samples: "Francis Albert Sinatra & Antonio Carlos Jobim" 1967 Digital remastered DDD Music CD; Diana Krall "Love Scenes" & "The Look of Love" Music CD; Bob James "Fourplay" Music CD; David Benoit "Fuzzy Logic" Music CD [Album Of The Year - 2003 National Smooth Jazz Awards], etc.).
IMAGING:
Another characteristic that the Behringer MS16 displays is its ability to image the specific instruments across the soundstage, with a floating in front, side, quality sound presence comparable to some JBL PRO Studio Monitors, though its point source is more precise due to the smaller cabinet side. The Behringer MS16 low-diffraction front cabinet geometry feature curved cabinet edges to eliminate diffraction, which ensures precise imaging and localization. I love the Behringer MS16 ambience reproduction in my room, because it gave me the feeling that "you are there" and if the recording is from a live concert, the ambience provided the right amount of reflections to make you think your listening to the performance outdoors, or in the symphony hall. ("The Corrs - Live at the Royal Albert Hall" Music CD; Diana Krall "Live in Paris" Music CD).
BASS FREQUECY:
WITHOUT POWERED-SUB: (Bass adjusted slightly less than MAX @ the 5 o'clock position / Treble left flat)
The Behringer MS16 bass is rated down to 80 Hz, and after adjusting the Bass Control to near MAX (5 o'clock position), ... it easily matches my JBL 24s (Benchmarked down to 89 Hz -2.7 dB - Fronts location by Tom Nousaine for Sound & Vision Magazine) lowest rated frequency reproduction in my familiar jazz music (David Benoit, Bob James, Joe Sample, Diana Krall, etc.) MP3 encoded music is not as demanding as a keyboard or CD (pure digital recordings), so what I hear was more than acceptable @ 85 dBc Fast SPL Peaks! (louder than normal listening). The deep bass is lacking of course, which is expected for a 4" DIA woofer, but it wasn't MIA and actually sounded better than most free-standing speakers w/4" or 5" woofers. The upright bass (Diana Krall) and electric bass lines (Bob James "Fourplay" w/Nathan East on bass) reproduction was way above average and overall, ... it nicely filled my 20 x 30' room with well balanced, clean & smooth frequency jazz music.
WITH POWERED-SUB - YAMAHA PORTABLE GRAND KEYBOARD:
Reproducing a digital keyboard is demanding so to get that floor & air feeling bass SPL without distortion or breakup, I coupled the Behringer MS16 Speakers w/the Altec Lansing FX1021 2.1 Speaker System, or more specifically, Altec Lansing FX4021 Powered Subwoofer (w/Two 5.25" long-throw woofers in isobaric configuration). This unit is rated down to 32 Hz and takes care of the lower frequency duties. Matching the Altec Powered-sub to the MS16s took about 20 mins. using the Keyboard built-in MIDI DEMO files and by playing it personally! I'm finally happy with what I hear from my Yamaha DGX-505 88-key Portable Grand.
THE BOTTOM LINE:
If you want "budget" monitors that provides excellent imaging, revealing resolution, super flat & wide Pro Monitor like frequency characteristics, the Behringer MS16 is for you! At no time during my critical listening phase (w/85 dBc - 90 dBc Fast SPL Peaks) did I hear any distortion or breakup (with or without powered-sub) from my Behringer MS16 speakers!!!
- Although the following is an OPTION & NOT REQUIRED to ENJOY these powered speakers, you can add a powered-sub to round out the lower frequency foundation and once you balance the SPL between the powered-sub & MS16s, ... you've got a very nice killer setup for MP3, PC, Laptop, Keyboard & near-field Home Studio application @ a very reasonable price!
In my case, I'm guessing, that the Behringer & Altec powered-sub combination for my Yamaha Portable Grand Keyboard frequency response is approx. 40Hz - 18kHz ±5 dB in my 17' x 13' living room (see my attached Amazon photo's) and for the price, ... it just sounds GLORIOUS @ 85 dBc - 90 dBc Fast SPL Peaks!!!
Highly Recommended!!! (Another way to think about it is, ... you can't build a 16 Watt [2x 8 Watts] self-powered speakers like this for under $60 a pair!!!)
Background: Audiophile since 1980; retired Audio/Video dealer; retired semi-pro musician (piano, keyboard, acoustic / electric guitar, bass guitar & drums).

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The Behringer MS16 Speakers are a compact 2-way stereo speaker setup for home studio or multimedia applications! Two high-power amplifiers drive the 4-inch woofers and the high-resolution tweeters. The front-mounted volume control and individual bass and treble controls make accurate sound adjustments a breeze. Two stereo line inputs (RCA and eighth-inch TRS) allow simultaneous use of two stereo sources, so you can play back CDs, MDs or MP3s and use an electric guitar/keyboard at the same time. In addition, the quarter-inch TRS microphone input lets you mix vocals with a stereo track. Behringer MS16 Features Compact stereo speaker system for home studios or multimedia applications 4 inch woofer and high-resolution tweeter powered by two 8-watt amplifiers Dedicated volume, bass and treble controls for more flexibility Stereo RCA inputs for sound cards, keyboards... etc Connect a CD or MP3 player through 1/8 inch TRS stereo input Separately adjustable 1/4 inch TRS mic input for vocal monitoring 1/8 inch TRS headphone connector with auto-mute loudspeaker function Magnetically shielded for placement near computer monitors Magnetic shielding and compact size make these speakers perfect for placement near video monitors or computer displays. AmericanMusical.com is an authorized dealer of Behringer products.

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Line 6 POD Mount Review

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(More customer reviews)I'm very pleased with this. As advertised, it fits perfectly under the handle on my amp and puts the Pod within reach. It was also easy to mount this to my studio countertop for better access when recording. My only disappointment is with the rubber plugs that hold the Pod to the mount. Mine didn't stay put as well as I would have liked, so now I have only 3 of the 4. The 4th went missing when I was moving it. 3 is still enough to hold everything in place, but I'd be happier if all four would have stayed in place better to begin with. Not enough reason not to purchase this mount, though. It's worth every penny.

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Getting your POD where you want it is a cinch with the versatile, bullet-proof POD Mounting Adaptor. Its innovative design of folded, heavy gauge metal includes four rubberized pins that slip snugly into the four mounting holes on the bottom of your POD, holding your POD securely while making assembly a snap. Holes for screws are included to attach the mount permanently to your POD, or to attach the mount-and-POD assembly to a desktop or other setup. The mount is angled to tilt POD toward you for easy operation on stage or in the studio. An included locking ring secures your POD on top of any standard mic stand or hardware that has standard mic mount threads. This same versatile mounting adaptor is also designed to slip under the handle of a guitar amp, giving your POD a secure perch while keeping it within easy reach. No matter where you want your POD, this mount can get it there.

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Behringer V-Amp 2 Guitar Amp Modeling Pod Review

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(More customer reviews)Alright, I have to admit that I'm a big Behringer fan. I appreciate that Behringer makes quality products at prices that the average working musician can actually afford (much like Peavey in the days of yore). I have several pieces of Behringer equipment in my studio ranging from mixers to rack units to cable testers and I have never been disappointed with any of their products...until now. I mention this so that anyone who chooses to read this review will understand that I'm not writing this from the view point of an equipment snob or an elitist, but as someone who has a good deal of experience with musical equipment in general and particularly Behringer. Until now my -ONLY- gripe with Behringer has simply been their instruction manuals which have always been on par with the old manuals that came with 486 PC motherboards...in other words, completely useless. Their products however have always been well above par for the price range and in my book have often given me the best "bang for the buck". Compared with this, the Behringer V-Amp2 is sadly disappointing.
My main gripe about the V-Amp2 is simply the sound of the presets. Ok, ok...I KNOW that "tone" is a very subjective thing and that in the world of music and especially guitars you can never please "all of the people, all of the time". That said, the majority of the presets on this unit "out of the box" sounded as though they had been programmed by some teenage metal monger with no sense of tone what so ever. If I were your typical "Yngwie-ite", I might find this very pleasing but as a guitarist who's primary interest is classic rock and blues, I found the presets disappointing at best and often downright annoying. Even the presets that were supposed to emulate "SRV" and "David Gilmore" were quite poor to say the least and not really usable at all.
Beyond the quality of the presets, I should also issue a bit of a warning here...no one at Behringer bothered to adjust the volume on the presets either. Some are rather quite and soft and with the click of a button you can darn near blow out your speakers! More than a tad bit frustrating for a person who's just messing around with this unit for the first time. Would it really be all that difficult for these folks to include a normalize function?
Now in all fairness with some "tinkering" this unit -can- produce some very good sounds...it does have the potential. This however leads me to my second gripe; this is NOT a very "user friendly" device. "As is" there is very little room to edit your tones beyond simple changes to amp/cabinet simulation and very basic effects. Any -serious- editing MUST be done via the MIDI editor (which isn't even included with the unit and has to be obtained via Behringer's website). For folks who aren't all that midi savvy, this leaves you with very limited choices in how to tweak out that perfect tone. In addition this also limits this devices use for live applications...unless you have the unit plugged into a computer next to your amp, should you need to make any changes to your tone settings you have to stop, unplug the unit from your rig, run to your computer, make and save your changes, run back to your amp and HOPE the changes you made will actually sound good thru the amp otherwise it's "lather, rinse and repeate". Imagine doing this on stage during a live gig?? I don't think so... Very simply this is one of those "toys" where you will spend more time playing with the unit itself trying to get the right sound(s) and not a lot of time actually playing your instrument. Personally I'd rather have my hands on the guitar instead of the little blue guitar shaped box.
It should be mentioned that this unit does compare well to higher priced units such as the Line 6 "POD" and these short comings are just as much a problem with more expensive comparable units. These devices in general really were not designed for ease of use in live situations (despite any advertising to the contrary) and "on the fly" changes are often difficult at best with any such device until you are intimately familiar with how to dial in specific tones. If anything, in this regard the V-Amp is a bit superior to the POD if for no other reason than it simply costs less for comparable results (and comparable levels of frustration).
On that note and again in all fairness...maybe it's just me and that I'm getting "old and lazy". Over the years I've often laughed at older folks like my father for being so completely inept at working his computer. Often I've thought "you could get so much more out of that -if- you'd only take the time to really learn how to use it". Computer's are after all rather complicated devices. A person who has never used a computer before doesn't typically sit down at the keyboard and start "surfing the net" right away. Perhaps I'm being the same way with this "new music technology"...maybe I just don't have the patience to sit down and learn it properly. On the other hand to me this shouldn't be "rocket science" either. I've already payed my dues by learning how to play the guitar and I don't feel as though I should have to spend weeks let alone months learning a "new device" just so I can do what I already know how to do and have been doing for over 25 years. In my mind, I play -guitar-...I should be able to plug that instrument into a device, tweak a couple of knobs/dials to get the sound I want and then rock until my soul is content. To me units such as this V-Amp or the comparable POD simply feel like home dentistry and just as painful.
Now in regards to the models and effects specifically, as with virtually any "simulator" or "modeling amp" there is more than a fair degree of subjectivity as to how authentic any of the models actually sound. If for example you really want the sound of a classic Fender Twin Reverb the BEST way to get that sound is...well...to play thru a classic Fender Twin Reverb. You simply can't get that exact same sound from a little blue (or red) plastic box sitting on the counter be it a $99 Behringer or a $250 POD. Even under the best of conditions in the most exacting environment there are simply too many variables to accurately reproduce such a sound with a generalization...tube quality and condition, bias, speaker age, mic choice, mic placement, etc., etc.. All these things play an important part in regards to how a given amp sounds and especially among vintage amps, even under ideal conditions no two amps sound exactly the same. In other words, despite any labeling that may suggest a given model is supposed to sound like "such and such", it really doesn't. On the other hand, this can also be said of PODs and similar units as well. A "model" is just that...it's usually not an accurate reproduction of the genuine article. This isn't to say that any of the models sound "bad" but you do have to put some effort into getting a good, let alone a really great tone with one of these devices. Again here, to me it just seems easier (not to mention more productive) to plug your guitar into a really great old amp (tube or solid state), crank up the volume and -play- rather than sit there for hours on end fiddling with knobs and MIDI functions trying to get something that is "almost close".
The same can be said of the effects on the V-Amp2 as well. When one is trying to define an instrument effect such as "delay" for example, one must ask what type of delay are we talking about? In the broadest sense, delay means the delay and repeat of a given signal but when you look at this specifically, delays have their own characteristics. An "Echoplex" for example does NOT sound the same as a classic analog delay pedal such as a DOD which sounds completely different from a digital delay even from the same company. Different delays from different companies sound completely different...try a classic digital delay from Arion for example against a comparable DOD and a BOSS...while they all may work in similar fashions, they all sound very different to the discerning ear. So that said, the effects on the V-Amp aren't "bad" but again they are simply broad generalizations of the given effect. Again with a degree of tweaking you can produce some very usable sounds but it's not nearly as simple as plugging in your favorite classic pedal and dialing in the right tone.
-If- a person's intent is to use this device strictly in a DAW based studio environment, with some work it has the potential to be a very useful tool -if- you are willing to take the time (and have the time) to play with it a bit (or A LOT depending on what you are looking to do). From that perspective, this would be a worthwhile investment. The sounds and quality are on par with units such as the Line 6 POD costing a great deal more and if you are seriously considering a POD you really should try one of these V-Amp's first. On the other hand, if you are looking to use this unit live or if you have a major recording session coming up where you are going to be paying for studio time and can't really afford the time to mess with it trying to find the right sound, a more traditional approach may be in order.
Bottom Line...
After purchasing this unit and messing with it for nearly 6 months, I traded it in for a Digitech RP series multi-effects pedal which is much easier to use. I'm primarily a live performer and the V-Amp2 (like the Line 6 POD) was simply more trouble than it was worth. Yes you can get decent sounds out of it but why rip out your own teeth doing so...

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If a lack of money and floor space is all that's been standing between you and a roomful of vintage guitar amps and effects pedals, get ready to love the V-AMP 2. It comes loaded with 32 amp models, 15 speaker cabinet models and 16 classic effects.

Any Classic You Like The V-AMP 2's 32 amp models are organized into four groups: CLEAN, BLUES, METAL and ROCK. Just twist the dedicated dial to plug into unbelievably authentic simulations of the greatest British and American tube amps from the 1950s to today. You even get models of uncommon--yet renowned--boutique tube amps! When you select an amp model, a speaker cabinet model is automatically selected. But if you'd prefer a different model, just go to EDIT>CABINETS, then use the BANK UP/DOWN buttons to navigate through all 15 options.
Just like on an actual guitar amp, you've got a three-band EQ, GAIN, REVERB, VOLUME and MASTER VOLUME dials. By holding the TAP button, the TREBLE dial becomes a PRESENCE control. This enables the adjustment of a high-frequency filter that can add or remove a "shimmer" from the V-AMP 2's tone.
Top Tone--In Full Effect The V-AMP 2 gives you flanger, chorus, compression, delay and 12 other beautiful digital effects to apply to your sound. Adjust the effect's level in the mix via the EFFECTS dial. To adjust effect parameters, you can rhythmically press the TAP button to alter delay times or LFO speeds, or hold down the TAP button and twist the EFFECTS knob to access e.g. feedback or depth. By using a MIDI pedal, such as the BEHRINGER FCB1010, you can access an additional Wah Wah effect. You can adjust the filter characteristic by entering EDIT mode, selecting the DRIVE menu and turning the EFFECTS knob while holding the TAP button.
Presenting the Presets All of these elements have been combined into 125 different presets divided into 25 banks, accessible through the BANK UP/ BANK DOWN buttons. Within each bank, you can press buttons A through E to explore its different presets. You can also create and save your own presets. Start by selecting a preset, then making any changes you wish: amp, EQ, effect, etc. The preset LED will begin to flash, indicating that the V-AMP 2 is ready to save your settings. To do this, hold the preset button down for about two seconds. Once the LED stops flashing, you have saved the modified preset. On top of all this, the V-AMP 2 also features a built-in tuner and noise gate. In essence, it's a Swiss Army Knife for the home recording enthusiast or gigging guitarist who can't seem to settle on one amp.
Stunning in the studio The V-AMP 2 features several configurations that make it an invaluable asset in the studio. Access the configuration menu by pressing the B and D buttons at the same time. Then use BANK UP and BANK DOWN to select a configuration.
When using headphones, the V-AMP 2 will switch into Studio Mode 1 (S1). This stereo mode works well for both monitoring and recording with effects, amp and speaker modeling. It doesn't apply the additional three-band EQ to the signal, but most recording programs--like energyXT2.5-- have their own EQ. In Studio Mode 2 (S2), the V-AMP 2 sends a signal with amp and speaker simulation, but only the right output has effects. You can either record both left and right outputs to separate tracks, or record the "dry" left output while monitoring the right output.
Stellar on Stage The V-AMP 2 has three live configurations. When performing live with this device, you can either run it to an amp on stage, run directly to the mixing board, or both. Live Mode 1 is the best choice for running the outputs directly to the mixer, because it applies amp and speaker simulation, effects and an additional 3-band EQ.
Use Live Mode 2 to run the V-AMP 2 into the effects return inputs of 2 different guitar amps. This configuration does not feature speaker simulation, allowing the amplifier's natural speaker sound to go unaltered. In this scenario, the amps would be mic'd on stage to get the sound to the house speakers, and having a dedicated monitor would be less important. In Live Mode 3, you can send the left output to an amp's effects return for onstage volume, while the right output sends signal to the main mixer for inclusion in the main house mix. Also note that you can press the TAP key while turning the GAIN knob to adjust the input sensitivity to match the output of your guitar's pickups. If the CLIP LED lights, the input's sensitivity should be reduced.
Veni, MIDI, Vici The V-AMP 2 comes fully equipped to fit right into a MIDI (Musical Instrument Digital Interface) setup. It can be controlled in real time from a computer, or via a MIDI foot controller during a live performance. Its MIDI connectors are international-standard 5-pin DIN connectors. You will need dedicated MIDI cables (not included).
The MIDI IN jack receives MIDI controller data. It can be adjusted in EDIT mode by pressing the A button and then using the arrow keys. MIDI OUT/THRU sends data to a computer. You can transmit both preset data and parameter changes. Some people even use the V-AMP 2 as a remote control for parameters of their DAW or VST instruments, which is more handy than using the mouse alone. If set to MIDI THRU, the V-AMP 2 does not send its own MIDI information, but passes on the signal received at the MIDI IN connector.
What's in the Box Behringer V-AMP3, Power Cable, User's Manual

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On Stage DS7200B Adjustable Desk Microphone Stand, Black Review

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(More customer reviews)I bought this stand a few months ago and it has held up quite well. For only $12.00 it is a steal, the stand is extremely sturdy and pretty heavy. I have used it with multiple mics such as the Audio Technica 2020 with the Samson SP01 shock-mount, a Rode K2, a Studio Projects C1 and a neumann TLM 103. I have not had any problems and the stand is heavy enough to use with basically any mic. I was not going to write a review for this product but I came across another review that stated "I purchased this stand as people had reviewed this to work with a AT2020 with a SP01 shockmount. Mine must have been missing a part as it does not connect no matter what I try. " THIS IS ABSOLUTELY FALSE. The Samson SP01 shock-mount works perfectly with this stand ( as any shock-mount or mic would, since the threading is a standard size). I just wanted to clear that up so that there would not be any confusion. Also almost every shock-mount has an adapter in the mount ( where the shock-mount connects to the mic stand) that is slightly smaller than most US mic stands, BUT THIS COMES OUT!! ALL YOU HAVE TO DO IS TAKE A COIN AND UNSCREW IT FROM THE SHOCK-MOUNT. After the adapter is out the Samson SP01 will connect to this stand. I highly recommend this product.

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An upgrade to the standard desk mic stand, this model includes an adjustable-height shaft and locking clutch. Height: 9.5 - 15.5". base diameter: 6".

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