Having started out with a XR 18 and moved to the MR 18. We noticed a definite improvement in clarity with the Midas, Further, after about 2 years the XR 18 it began to have issues with the left main output, after some research we dissembled and re-seated the ribbon cables and it solved the issue... for a time we were required to do it again a few times over the years. and we finally hot glued it into place and had no further issues, (5 to 6 years total ownership), we are going on 3 years with the Midas and have had no issues with the audio at all. for $100 is a small price to pay for a better product. but I really loved them both.
Thanks for your post. I just ordered the MR18 about 30 minutes before I saw this. Same issue with my XR18. I forgot about the first time that it happened and your post reminded me. I did same repair as you and was getting ready to cancel my order and my wife said no, get the Midas keep the XR for a back-up. Again, thanks for your post.
Hey thanks!!!! I was tempted to just swap them around without the testing, but it was worth the time. Lol. Glad that this test will live forever, now. That null test really showed the differences in tone in those S frequencies.
It's certainly worth it. We just switched to the MR18, after many years of XR18 use, and it seems to be an immediate improvement. Happy 100th video!!🎉🎉
I got a Midas MR18 about a year ago based on a recommendation from an audio technology professor (he said MR18 and XR18 stage boxes were both good options for iPad compatibility, but at the time the Midas app was working better with Apple updates than the Behringer one and I was nervous that I would accidentally update my iPad and no longer be able to use the Behringer app. He also showed me all of the features on an MR32 and I felt more comfortable with the Midas app instead of figuring out the Behringer app and getting confused later due to my horrible memory). I saw little to no reviews/TH-cam help with MR18, but a lot on the XR18, so I used those videos since a lot of the XR18 help videos worked with the MR18 due to it being almost the same product, especially with Midas and Behringer combining. I'm so excited though, I saw your video comparing the two and have realized that there are now a lot more videos on the MR18 than there used to be. I can't wait to pull it out again and test some more features on it! Thank you!!
What I hear on YT is more highs and mids from the XR18, but I here more warmth in the MR18 in and around them same frequencies. I bought the Midas mr18 about 5 months ago for live use. I use an RCF system with Art-910’s and a Yamaha DXS18XLF center filled sub. I put the Stereo Combinator on my mainout and added +2 db to the lows (30 to 100) which the crossover is set to 100Hrz and then add 1.5 db to the mid highs and add 1 db to the highs. It literally has taken our sound to another level. I’ve used this now with 4 different bands I mix and everyone of the bands say their crowds are saying it’s the best they’ve ever heard them. I’ll take that!
@@stevesrecordingtips7247 well there must be a definite difference as you have observed. It’s not much, and I can’t pick it through live audio speakers. Thanks for the great video.
For me, just the extra drive level of the outputs on the MR is worth the extra money. +21dBu output is relatively industry standard. +16dBu isn’t. Speaker processors for live work may need a hotter output level than +16dBu to get them up to full gain. Also, I believe all the connectors on the MR are Neutrik rather than cheap knock offs.
yeah that's a big difference in pro audio but I rather spend 160 dollars more on the allen heath cq20b that clocks internally at 96khz and can smoke the midas mr18 any day
The difference in input gain between the two may be because the MR has 5 dB more output gain. They may have shaved off the gain on the front end to keep them relatively matched on output.
we have the XR18 and left out had issues, had to open it and put the cable back, but again this problem pops up sometimes, simply moving the device. 3 inputs have issues where we uses direct jacks for base guitar, acoustic and one elektric with amp simulator. one we use already a di to solve the issue. The other 2 inputs we have to test each gig and make sure they do not move using ducked tape. So if the Midas does not have these issues and also sounds better, i might order midas using the scenes from the xr18? that would work?
Yes, the scenes import straight over. I did it with my XR over to MR. The only catch, if I remember, was it won't recall phantom on/off settings. Don't quote me.
We use both the xr18 and the mr18, the xr18 has been going strong, the mr18 just last week had the internal ribbon problem - which is no output from any aux or main, however inputs and usb are fine. The mr18 has zif connectors for the ribbon that goes to the output board. Easy enough to fix if you are familiar with electronics and glue the zif connector down (e7000 glue), but the choice of zif connector is a major disappointment. Zif connectors release with vibration during transport. While I like the subtle difference in sound of the MR18 and the locking jacks the ribbon issue makes me wonder about their products, regardless of the $100 difference. BTW the software x-air and m-air is really 99.9% the same.
Great video. On a smaller scale, I upgraded from a Focusrite 2i2 to an Apollo Solo, and while the difference wasn't night and day, the Apollo definitely sounded better. If I were setting up a studio, I'd go with the Midas, too. Just my 2 cents.
I use the XR18 in my band as a dedicated IEM mixer and since I build a self contained rack with splitters and everything, I don't connect or disconnect any cables to the XR18 ever. It is hardwired into that rack and so the locking connectors dont matter to me at all. The slight difference in preamps also is not that important to me, it is just for our IEMs, not to be used as the venue mixer. And we are not that professional that we would mind that difference in sonic spectrum in our ears while performing. So we used that 100 bucks on something more useful to us :)
I've had the chance to use both the XR18 and the MR18 with the same band, in the same venue, with the same PA system and saved scene. Yes, you can hear the difference between the two. However, that said, I have three XR18 mixers and no MR18 mixers. The silly reason? I don't like the locking inputs on the MR18. I try to find any way to tear down and load out as quickly as possible. The difference isn't enough for me to deal with the locking inputs. Plus, I got a great deal on each XR18 I purchased.
@G_handle what security? My mixers are not racked and sit on the stage. In the 8 years I've been using them, I've never once had a cable come loose. One band I work with has an XR18 for a monitor mixer in a rack. In the three years we've moved that rack from gig to gig in the back of a pickup, not once has a cable come loose from the mixer. In my experience, the cables connect firmly in the inputs and have never had a "security" issue. So it's really a non-issue.
Where I really notice the difference is in IEMs. When playing live, I often prefer the M32 over the X32 for this very reason. However, when I go out there as an audience member, the difference is subtle depending on the system it’s played on and size of venue.
Hello ! this video helped me choose... or actually I don't know... because I thought that the MR18 was better for the studio (apart from the inputs). I want to buy it for my home studio, I have 4 synthesizers and 1 microphone, but the problem is that it is in Logic I have an average of 30 virtual instrument tracks... so I'm wondering how to master it on 16 channels. I would really like some advice. 🙋♂️ Greetings !
Good question. I personally would never mix in Logic by using the mixing function of any interface. Logic gives you a mixer and effects built into it. Use it that way. The MR/XR is an interface in a studio. Yes, it "can" mix from Logic, but it's limited to 18 channels of mono. It is best used as a way to get hardware instruments and mics recorded into your DAW, then also to listen to the final stereo mix you create in your DAW. Hope this helps.
@ So far, I have been using the Steinberg UR22 mk2 interface and it is tiring and pointless to constantly move cables from synthesizers, it has completely discouraged me. So I will change it. Midi messages from Logic to MR > Synthesizers > and audio return to MR. But I don't know how to solve it issue with virtual instrument tracks...
Great video Steve. I have a pretty good stack of Behringer gear, and the reason is price. The difference in these is in the Sample rate is it not? I read the XR only goes to 48Khz and the MR will do up to 192. This is for windows, not sure about mac. That is not a deal breaker for me, but might be for others. Great comparison video, thanks for taking the time.
Thanks for the great comparison, Steve! But wouldn't your Null test be fairer if instead of comparing acoustic signals saturated by the room, you compared the pure line signal from the outputs from the consoles?
Well, my goal was to test the mic preamps, mainly. They're different on these units. So, I tried to figure out a test that could do that. So, a full-bandwidth song from a fixed position in a properly treated room using the best mic I own. Since a test of the converters was not really important, I didn't just line in a recorded source. You're right, it wasn't the perfect test. But it was the best way I could show the mic preamps were in fact different.
Love my MR. Probably the best single purchase I have made. Easy to control with Streamdeck. When I first got the MR I was suprised that it did not have hi-z inputs on channels 1, 2. What I found is that I can use any of the inputs for inst. level input. Can you confirm?
Really? I know the X18 (not sure about the XR18) has instrument inputs on 1 & 2 and they Sound Different than all the other channels. Found that out on a panel discussion with all matching mics.
Hi Steve. Question about the mr18. You mentioned in the video your using a Mac. I’m thinking about buying the MR 18 to downsize my set up. the budget tight so I was hoping to use my Mac. Can you tell me how that works and how you can connect an older Mac got a 2012 MacBook Pro with OS Catalina version 10.15.7 as the budget allows, I’ll pick up a tablet, but I currently don’t own one so I was hoping that I could run the MR18 with this MacBook do you know if that’s possible? Thanks for your videos congratulations on # 100.
Ok, there are two things you need to know. First, I use these as interfaces on my Mac. I can't comment on compatibility with older Macs. This means the audio is going through the MR/XR, over USB, and being handled by the Mac. That's a big job, btw. Older, slower Macs might have issues with tons of channels of audio. They might not have any issues. I really don't know. Second, the MR/XRs allow for devices to control them. Like, the adjust volumes of the channels and so forth. In a live show, for example, you may want to control the MR/XR using X Air Edit, or some other software. There's far less computing needed to do this. Like iPhones and Androids run this all day with no issues. I assume an older Mac can easily do this as well. So, depending on your application, you may have an easy time or a harder time. Happy to answer any questions.
I have a 2012 MacBook Pro and have been using this playing live and playing and recording live for a bit over a year now. The only problem I have encountered in this situation has been when I’ve had bad USB cables. Otherwise it has been very reliable and the MacBook Pro has been more than adequate to do everything that needs to be done. I actually picked up an Amazon fire tablet for under $100 and that works great to control it.
I believe you said it in the end.. The XR18 for the concert and The MR18 for the studio. That extra 100$ may be useful in the studio when you said that the MR18 has more clarity if you boost the preamp.. for recording purposes.. at the concert I believe that extra 100$ doesn’t matter so much. 🤷♂️ that the conclusion for me, thank you !!
The only way to really test this is to use both mixers in a real world situation, such as with a live band. Use a splitter and use identical mixes, eq, etc and then make a comparison. Chances are no one would be able to tell the difference in a blind test.
@@stevesrecordingtips7247 Though there are differences in mixers, given the normal operating environment of someone running a sound system with that level of mixer, it is highly unlikely that anybody would really notice a difference. Sure if some one was running those boards through high end touring speakers like an L Acoustic, Meyer Sound, etc... then perhaps it we be noticed.
While live sound is a normal use, its other normal use is in a recording studio as an interface. In that capacity, we do often care a bit more about clarity, preamp coloration, noise floor, and so forth. I use the XR18 for live and the MR18 as an interface in my studio. You do make good points about testing, and I'd agree that most FOH engineers would not probably care if one sounded slightly better than the other. Recording studios don't often think that way. We commonly upgrade a mic that is perhaps 1% better than the last one. Think of it like a race car driver chasing 1 more horsepower out of an engine. Everyday driver would not notice it. But it could be the difference that wins a race.
Did you measure the accuracy of the output metering for each? ie when you're outputting at 0db from one of them, what's the meter reading on your daw? Since there's a 5db difference, I'm curious which one was actually accurate
This test appears to be flawed by making two separate recordings in free air. The same reason two microphones will not record the same sound in the same place, or the same microphone won't record the same sound in the same place has to do with the chaos theory of movement. The same results would be expected if the test were repeated on just one of the 2 consoles as a control in the test, but this was not done. The correct test would be to use a Y splitter from the one microphone and split it to the 2 and record both consoles at the same time for both consoles to have the exact same input signal. Then the two inputs could be nulled against each other, instead of two different recordings compared to each other. This is the principal of scientific method. If the test had a control group of for example 3 recordings of the music on each mixer and all 6 recordings were compared, this would show the amount and type of difference in recordings on the same mixer and the recordings compared to the other mixer. With a sample size of one for each mixer, the result suggests a difference in recordings. The difference can not be isolated as a difference in recording time, or a difference in recording equipment. I have only one of the 18 series mixers, so I can't run a valid test until I obtain access to the other mixer to run true difference tests with the same inputs at the same time. If you don't understand this, please research chaos theory in the study of the repeatable path rising smoke takes above a smoldering cigarette. The flow is very predictable for a very short distance, then it bunches up and twists in a random direction which is unpredictable. Air flow from a speaker cone follows the same unpredictable path that makes the same sound recorded at two different times, not exactly the same. This test did not address this issue or even acknowledge it. The difference is gain is a difference in the units and not a random chaos theory effect.
@@stevesrecordingtips7247 To duplicate the signal, including the air chaos, use a mic splitting cable. use a 2nd DAW to record both mixers at the same time, so they have the exact same input. Otherwise, you will have chaos between recordings. This is why two identical mics, provide phase issues with the stereo recording, which was mentioned. Test it for your self. Make that 3 recodings on the same mixer and test for the differences between the "Identical recordings" with nothing changed. They won't be identical, which is my point. They can't be identical due to air motion being chaos in the sound providing differences in the recordings. It's why non digitally generated pink noise, is never identical in waveform. A digital synthisised pink noise waveform can be identical as they are preporduced identically. True pink noise is truly random.
@@stevesrecordingtips7247 LOL Pseudo science trying to trump actual science on an electrical engineer. Please pull up any coaxial cable datasheet and see the inductance variation. Resistance changes with temperature. What property of coax changes it's inductance?
am i the only mr18 owner who has a headphone output volume difference between left and right channel ? i have used many different headphones already but the same bug at each
The preamp level difference has zero to do with quality. Its simply circuit design. The Midas are objectively better, even if you have to push them harder (on the digital readout)for the same level.
The band I'm in uses an XR18 with X-Air software, which is pretty intuitive and easy to use, especially personal monitor mixes on iPhones. I bought an MR18 for my personal use because of the upgraded hardware and preamps but really don't like the M-Air software. The iPad version soft controls (especially for input gain) are frustrating and harder to use in a live mix and there is nothing for personal monitor mixes on the iPhone that compares with the X-Air software. Is there a better software package for using with the MR18? Mixing Station perhaps?
@@stevesrecordingtips7247 yes it is, Midas MR 18 got 16 preamp"s Pro M series, they just sound amazing , but i understand why some people buy Behringer, money is always the reason,isnt it ? :)
@ I love Midas. In my studio my main desk is a Midas Verona 400 40ch analog console. I also run a Midas m32c and a dl32 stagebox from the direct outs of the Verona. Use a xr18 I just bought as a mobile recording interface and live mixer.
Having started out with a XR 18 and moved to the MR 18. We noticed a definite improvement in clarity with the Midas, Further, after about 2 years the XR 18 it began to have issues with the left main output, after some research we dissembled and re-seated the ribbon cables and it solved the issue... for a time we were required to do it again a few times over the years. and we finally hot glued it into place and had no further issues, (5 to 6 years total ownership), we are going on 3 years with the Midas and have had no issues with the audio at all. for $100 is a small price to pay for a better product. but I really loved them both.
Thanks for your post. I just ordered the MR18 about 30 minutes before I saw this. Same issue with my XR18. I forgot about the first time that it happened and your post reminded me. I did same repair as you and was getting ready to cancel my order and my wife said no, get the Midas keep the XR for a back-up. Again, thanks for your post.
I just ordered an XR-18 during the sale, but the MR-18 is so tempting. Thank you for this honest, straightforward comparison.
Awesome! I know they dropped the price like a couple of hours after the video came out, lol!
I totally grabbed Behringer on sale as well. Practically 50% less. Yeah just give me the Behringer.
Thank you for contributing to this eternal debate XR/MR, and congratulations on your 100th video🎉
Hey thanks!!!! I was tempted to just swap them around without the testing, but it was worth the time. Lol. Glad that this test will live forever, now. That null test really showed the differences in tone in those S frequencies.
It's certainly worth it. We just switched to the MR18, after many years of XR18 use, and it seems to be an immediate improvement.
Happy 100th video!!🎉🎉
Thanks Mac! Yeah, we're hearing a real improvement especially in the drums and acoustic guitars.
The differences are very subtle. If you don't have the budget, the XR18 is perfect!
Great video. Thanks for making it
Many thanks, mate!
I have both and there is a difference. But only if you A/B them, the Midas has more clarity in the vocals
I got a Midas MR18 about a year ago based on a recommendation from an audio technology professor (he said MR18 and XR18 stage boxes were both good options for iPad compatibility, but at the time the Midas app was working better with Apple updates than the Behringer one and I was nervous that I would accidentally update my iPad and no longer be able to use the Behringer app. He also showed me all of the features on an MR32 and I felt more comfortable with the Midas app instead of figuring out the Behringer app and getting confused later due to my horrible memory). I saw little to no reviews/TH-cam help with MR18, but a lot on the XR18, so I used those videos since a lot of the XR18 help videos worked with the MR18 due to it being almost the same product, especially with Midas and Behringer combining. I'm so excited though, I saw your video comparing the two and have realized that there are now a lot more videos on the MR18 than there used to be. I can't wait to pull it out again and test some more features on it! Thank you!!
Very cool. Welcome back!
What I hear on YT is more highs and mids from the XR18, but I here more warmth in the MR18 in and around them same frequencies. I bought the Midas mr18 about 5 months ago for live use. I use an RCF system with Art-910’s and a Yamaha DXS18XLF center filled sub. I put the Stereo Combinator on my mainout and added +2 db to the lows (30 to 100) which the crossover is set to 100Hrz and then add 1.5 db to the mid highs and add 1 db to the highs. It literally has taken our sound to another level. I’ve used this now with 4 different bands I mix and everyone of the bands say their crowds are saying it’s the best they’ve ever heard them. I’ll take that!
Good deal, mate 8)
The bull test makes a lot of sense. Is it possible that a small change in latency in the capture could cause some signal to come through?
The recordings were synced up to sample-accurate precision.
@@stevesrecordingtips7247 well there must be a definite difference as you have observed. It’s not much, and I can’t pick it through live audio speakers. Thanks for the great video.
@@AndrewBanker1 yeah it's not too much. Over studio monitors I can hear the difference. In the video, it's harder to hear it.
For me, just the extra drive level of the outputs on the MR is worth the extra money. +21dBu output is relatively industry standard. +16dBu isn’t. Speaker processors for live work may need a hotter output level than +16dBu to get them up to full gain. Also, I believe all the connectors on the MR are Neutrik rather than cheap knock offs.
Good advice!
yeah that's a big difference in pro audio but I rather spend 160 dollars more on the allen heath cq20b that clocks internally at 96khz and can smoke the midas mr18 any day
Excellent.
Thanks!
I use an XR18 for my virtual keys and backing tracks live.
I have an MR18 in my studio for recording and tracking.
Amazing machines.
The difference in input gain between the two may be because the MR has 5 dB more output gain. They may have shaved off the gain on the front end to keep them relatively matched on output.
Could be!
we have the XR18 and left out had issues, had to open it and put the cable back, but again this problem pops up sometimes, simply moving the device. 3 inputs have issues where we uses direct jacks for base guitar, acoustic and one elektric with amp simulator. one we use already a di to solve the issue. The other 2 inputs we have to test each gig and make sure they do not move using ducked tape. So if the Midas does not have these issues and also sounds better, i might order midas using the scenes from the xr18? that would work?
Yes, the scenes import straight over. I did it with my XR over to MR.
The only catch, if I remember, was it won't recall phantom on/off settings. Don't quote me.
@@stevesrecordingtips7247 ok phantom i would check and that would be just a small thing. Thanks!
@@REDCARSCoverband Aye. No biggie at all.
We use both the xr18 and the mr18, the xr18 has been going strong, the mr18 just last week had the internal ribbon problem - which is no output from any aux or main, however inputs and usb are fine. The mr18 has zif connectors for the ribbon that goes to the output board. Easy enough to fix if you are familiar with electronics and glue the zif connector down (e7000 glue), but the choice of zif connector is a major disappointment. Zif connectors release with vibration during transport. While I like the subtle difference in sound of the MR18 and the locking jacks the ribbon issue makes me wonder about their products, regardless of the $100 difference. BTW the software x-air and m-air is really 99.9% the same.
Great video. On a smaller scale, I upgraded from a Focusrite 2i2 to an Apollo Solo, and while the difference wasn't night and day, the Apollo definitely sounded better. If I were setting up a studio, I'd go with the Midas, too. Just my 2 cents.
Thanks!
I use the XR18 in my band as a dedicated IEM mixer and since I build a self contained rack with splitters and everything, I don't connect or disconnect any cables to the XR18 ever. It is hardwired into that rack and so the locking connectors dont matter to me at all. The slight difference in preamps also is not that important to me, it is just for our IEMs, not to be used as the venue mixer. And we are not that professional that we would mind that difference in sonic spectrum in our ears while performing. So we used that 100 bucks on something more useful to us :)
Aye, we use the XR for live shows as well, and now MR in the studio. Gotta say, that XR served well for years as the studio interface.
Price spread is much higher now. X18 is $459 & M18 is $839 at Sweetwater - Still worth the upgrade for studio?
Yes, they dropped the XR soon after I made this video. Honestly, you'll never hear the difference unless you A/B them.
I've had the chance to use both the XR18 and the MR18 with the same band, in the same venue, with the same PA system and saved scene. Yes, you can hear the difference between the two.
However, that said, I have three XR18 mixers and no MR18 mixers. The silly reason? I don't like the locking inputs on the MR18. I try to find any way to tear down and load out as quickly as possible. The difference isn't enough for me to deal with the locking inputs. Plus, I got a great deal on each XR18 I purchased.
That's totally fair! I like both of these units.
Wow.
I can't see ever choosing 30-seconds more speed over security.
@G_handle what security? My mixers are not racked and sit on the stage. In the 8 years I've been using them, I've never once had a cable come loose. One band I work with has an XR18 for a monitor mixer in a rack. In the three years we've moved that rack from gig to gig in the back of a pickup, not once has a cable come loose from the mixer.
In my experience, the cables connect firmly in the inputs and have never had a "security" issue.
So it's really a non-issue.
Where I really notice the difference is in IEMs. When playing live, I often prefer the M32 over the X32 for this very reason. However, when I go out there as an audience member, the difference is subtle depending on the system it’s played on and size of venue.
Good to know!
I guess the choice gets a bit harder with the current prices over here: € 479 for the XR18 vs € 759 for the MR18.
Yes, they changed the pricing a few days after this video.
Hello ! this video helped me choose... or actually I don't know... because I thought that the MR18 was better for the studio (apart from the inputs). I want to buy it for my home studio, I have 4 synthesizers and 1 microphone, but the problem is that it is in Logic I have an average of 30 virtual instrument tracks... so I'm wondering how to master it on 16 channels. I would really like some advice. 🙋♂️ Greetings !
Good question. I personally would never mix in Logic by using the mixing function of any interface. Logic gives you a mixer and effects built into it. Use it that way. The MR/XR is an interface in a studio. Yes, it "can" mix from Logic, but it's limited to 18 channels of mono.
It is best used as a way to get hardware instruments and mics recorded into your DAW, then also to listen to the final stereo mix you create in your DAW.
Hope this helps.
@ So far, I have been using the Steinberg UR22 mk2 interface and it is tiring and pointless to constantly move cables from synthesizers, it has completely discouraged me. So I will change it. Midi messages from Logic to MR > Synthesizers > and audio return to MR. But I don't know how to solve it issue with virtual instrument tracks...
@@stevesrecordingtips7247 Or in the worst case scenario, I have to buy the Behringer MX32... 🤦🏼♂️I'm already lost.
@@NonExistingLibrary well, if you had 18 inputs, you would never need to swap audio cables around unless you had more than 18 signals.
Great video Steve. I have a pretty good stack of Behringer gear, and the reason is price. The difference in these is in the Sample rate is it not? I read the XR only goes to 48Khz and the MR will do up to 192. This is for windows, not sure about mac. That is not a deal breaker for me, but might be for others. Great comparison video, thanks for taking the time.
Oooo this is interesting
Thanks for the great comparison, Steve! But wouldn't your Null test be fairer if instead of comparing acoustic signals saturated by the room, you compared the pure line signal from the outputs from the consoles?
Well, my goal was to test the mic preamps, mainly. They're different on these units.
So, I tried to figure out a test that could do that.
So, a full-bandwidth song from a fixed position in a properly treated room using the best mic I own.
Since a test of the converters was not really important, I didn't just line in a recorded source.
You're right, it wasn't the perfect test. But it was the best way I could show the mic preamps were in fact different.
Great video bro. I want a behringer xr18. I don’t know why but I do
Sweetwater just put them on sale today. $280 off.
Love my MR. Probably the best single purchase I have made. Easy to control with Streamdeck. When I first got the MR I was suprised that it did not have hi-z inputs on channels 1, 2. What I found is that I can use any of the inputs for inst. level input. Can you confirm?
Yes, I never have issues with instruments on any of the inputes.
@@stevesrecordingtips7247 strange that they don't market this.
Really?
I know the X18 (not sure about the XR18) has instrument inputs on 1 & 2 and they Sound Different than all the other channels.
Found that out on a panel discussion with all matching mics.
@@G_handle I have not tested, but I have used instruments into more than 1/2 and they sounded good to me.
Hi Steve. Question about the mr18. You mentioned in the video your using a Mac. I’m thinking about buying the MR 18 to downsize my set up. the budget tight so I was hoping to use my Mac. Can you tell me how that works and how you can connect an older Mac got a 2012 MacBook Pro with OS Catalina version 10.15.7 as the budget allows, I’ll pick up a tablet, but I currently don’t own one so I was hoping that I could run the MR18 with this MacBook do you know if that’s possible? Thanks for your videos congratulations on # 100.
Ok, there are two things you need to know.
First, I use these as interfaces on my Mac. I can't comment on compatibility with older Macs.
This means the audio is going through the MR/XR, over USB, and being handled by the Mac.
That's a big job, btw. Older, slower Macs might have issues with tons of channels of audio. They might not have any issues. I really don't know.
Second, the MR/XRs allow for devices to control them. Like, the adjust volumes of the channels and so forth.
In a live show, for example, you may want to control the MR/XR using X Air Edit, or some other software. There's far less computing needed to do this. Like iPhones and Androids run this all day with no issues. I assume an older Mac can easily do this as well.
So, depending on your application, you may have an easy time or a harder time.
Happy to answer any questions.
I have a 2012 MacBook Pro and have been using this playing live and playing and recording live for a bit over a year now. The only problem I have encountered in this situation has been when I’ve had bad USB cables. Otherwise it has been very reliable and the MacBook Pro has been more than adequate to do everything that needs to be done. I actually picked up an Amazon fire tablet for under $100 and that works great to control it.
I believe you said it in the end..
The XR18 for the concert and
The MR18 for the studio. That extra 100$ may be useful in the studio when you said that the MR18 has more clarity if you boost the preamp.. for recording purposes.. at the concert I believe that extra 100$ doesn’t matter so much. 🤷♂️ that the conclusion for me, thank you !!
Happy to help, mate!
Great comparison between the two! thanks for making it!
By the way, there is a Midas product that compete in similarities with the Behringer x32 rack?
Aye, they have sister products for several mixers. The X32/M32 range is the upgrade from the mixers in this video.
Wondering who the recorded singer is?
The only way to really test this is to use both mixers in a real world situation, such as with a live band. Use a splitter and use identical mixes, eq, etc and then make a comparison. Chances are no one would be able to tell the difference in a blind test.
I wouldn't say that is the only way to test this. It would be one way, and different from my test for sure.
@@stevesrecordingtips7247 Though there are differences in mixers, given the normal operating environment of someone running a sound system with that level of mixer, it is highly unlikely that anybody would really notice a difference. Sure if some one was running those boards through high end touring speakers like an L Acoustic, Meyer Sound, etc... then perhaps it we be noticed.
While live sound is a normal use, its other normal use is in a recording studio as an interface.
In that capacity, we do often care a bit more about clarity, preamp coloration, noise floor, and so forth.
I use the XR18 for live and the MR18 as an interface in my studio.
You do make good points about testing, and I'd agree that most FOH engineers would not probably care if one sounded slightly better than the other.
Recording studios don't often think that way.
We commonly upgrade a mic that is perhaps 1% better than the last one.
Think of it like a race car driver chasing 1 more horsepower out of an engine.
Everyday driver would not notice it.
But it could be the difference that wins a race.
where we can find this song?
I'm wondering the same
Did you measure the accuracy of the output metering for each? ie when you're outputting at 0db from one of them, what's the meter reading on your daw? Since there's a 5db difference, I'm curious which one was actually accurate
Both units were gained identically. The variation was evident in the captured waveform. Boosting the wave by 4.8dB fixed the issue.
This test appears to be flawed by making two separate recordings in free air. The same reason two microphones will not record the same sound in the same place, or the same microphone won't record the same sound in the same place has to do with the chaos theory of movement. The same results would be expected if the test were repeated on just one of the 2 consoles as a control in the test, but this was not done. The correct test would be to use a Y splitter from the one microphone and split it to the 2 and record both consoles at the same time for both consoles to have the exact same input signal. Then the two inputs could be nulled against each other, instead of two different recordings compared to each other. This is the principal of scientific method. If the test had a control group of for example 3 recordings of the music on each mixer and all 6 recordings were compared, this would show the amount and type of difference in recordings on the same mixer and the recordings compared to the other mixer. With a sample size of one for each mixer, the result suggests a difference in recordings. The difference can not be isolated as a difference in recording time, or a difference in recording equipment.
I have only one of the 18 series mixers, so I can't run a valid test until I obtain access to the other mixer to run true difference tests with the same inputs at the same time.
If you don't understand this, please research chaos theory in the study of the repeatable path rising smoke takes above a smoldering cigarette. The flow is very predictable for a very short distance, then it bunches up and twists in a random direction which is unpredictable. Air flow from a speaker cone follows the same unpredictable path that makes the same sound recorded at two different times, not exactly the same.
This test did not address this issue or even acknowledge it. The difference is gain is a difference in the units and not a random chaos theory effect.
Flawed in the sense that there's no other way to test a mic preamp and a mic. The source and mic placement were identical.
@@stevesrecordingtips7247 To duplicate the signal, including the air chaos, use a mic splitting cable. use a 2nd DAW to record both mixers at the same time, so they have the exact same input. Otherwise, you will have chaos between recordings. This is why two identical mics, provide phase issues with the stereo recording, which was mentioned.
Test it for your self. Make that 3 recodings on the same mixer and test for the differences between the "Identical recordings" with nothing changed. They won't be identical, which is my point. They can't be identical due to air motion being chaos in the sound providing differences in the recordings. It's why non digitally generated pink noise, is never identical in waveform. A digital synthisised pink noise waveform can be identical as they are preporduced identically. True pink noise is truly random.
@@isettech I get your point, but splitter cables have a variable inductance. So, so pick your poison.
@@stevesrecordingtips7247 LOL Pseudo science trying to trump actual science on an electrical engineer. Please pull up any coaxial cable datasheet and see the inductance variation. Resistance changes with temperature. What property of coax changes it's inductance?
am i the only mr18 owner who has a headphone output volume difference between left and right channel ? i have used many different headphones already but the same bug at each
That's an anomaly, I'd guess. Is it under warranty?
The preamp level difference has zero to do with quality. Its simply circuit design. The Midas are objectively better, even if you have to push them harder (on the digital readout)for the same level.
Agreed.
The band I'm in uses an XR18 with X-Air software, which is pretty intuitive and easy to use, especially personal monitor mixes on iPhones. I bought an MR18 for my personal use because of the upgraded hardware and preamps but really don't like the M-Air software. The iPad version soft controls (especially for input gain) are frustrating and harder to use in a live mix and there is nothing for personal monitor mixes on the iPhone that compares with the X-Air software. Is there a better software package for using with the MR18? Mixing Station perhaps?
I still use the X-Air software with the MR18. I just swapped in the MR18 and used the same mixes and everything.
Is the MR still available?
Yes. XR18 just dropped in price at Sweetwater, though. They also have MR18s at normal price.
Whatever setting you got tracking you, zooming in and out, mercy. It's nauseating and adds nothing.
Yeah it's tracking on an iPhone cam. My hand gestures freak it out.
behringer xr18 nowadays in sweetwater, 460 dollars, midas keep costing the same 830
yeah they changed the pricing right after the video hit, lol!
@@stevesrecordingtips7247 now it is indeed a game changer at that price, most behringer equipment drop a lot in prices.
MR18 is something else !!!
It's a very cool mixer for sure 8)
@@stevesrecordingtips7247 yes it is, Midas MR 18 got 16 preamp"s Pro M series, they just sound amazing , but i understand why some people buy Behringer, money is always the reason,isnt it ? :)
The difference is currently $300 because behringer slashed the xr18. Now it’s DEFINITELY not worth it in my opinion.
Yes, they did this a day or two after I made the video, lol
@ I love Midas. In my studio my main desk is a Midas Verona 400 40ch analog console. I also run a Midas m32c and a dl32 stagebox from the direct outs of the Verona. Use a xr18 I just bought as a mobile recording interface and live mixer.
@@cdwhiley yeah, awesome gear 8)