Behringer Shark DSP110

Easy to plug in to a system..

I dont like the idea for putting the mic gain control on the back of the unit... That is something I would like to get to in a live or studio (not reccomending for studio) situation...

The manual was decent... It came out of the box with the factory settings set to the highest limits of the system... Delay, Gate, and Low Cut were all engaged...

The unit was fairly noisy... But its Behringer, what do you expect?

I liked the idea of the speed control on the up and down buttons... If you want to go up faster you hold up and press down until you reach the speed you like the cursor to move...

I like the 'Gate Learn" function that automaticly sets the gate to what you need... ex. Gates on distortion guitar amps...

The feedback supressor wouldn't work even if the entire Behringer company depended on it... I let it feedback and it NEVER found the 6.3k freqency that was sticking out like a sore thumb... If I were a newbie engineer I could have trained myself to learn every frequency in audible spectrum and ring it out with a 1/3 octave before this "suppressor" thing would ever find it.

Sound quality (Please refer to Ease of Use)

I used an EV767, Mackie 2404 and, EV S-40 speakers that were sitting in our show room...

Over all not a great unit but it does work...

I wouldnt depend on it... Were talking about the same company that uses tape in their crossovers...

I wouldnt even bring it to a gig...

Havent tried I just sell the stuff

Ive been a studio and live engineer for three years now... I work for a very well respected studio/retailer... I have an A.A.S in Audio Technology...

I would NOT reccomend this product to professional users... If you are a small gig band it would work for the price...

Cryptic Non-Intuitive controls. Make sure you set aside an hour or so to pore thru the manual! As is typical with most Behringer products, the manual spends more time boasting about its' products features and less time on how to actually use the thing. German engineering at it's worst.

Terrible. Had to use EXTREME amounts of choppy noise gating to squelch the hiss. In order to get a substantial amount of compression for a PA setup, I had to crank the gain so high feedback ran rampant.
The Feedback Controller was very poor. Ran it in the setup mode (unit sends clicks thru the signal path to try to start feedback loops) and a minute later all feedback filters channels were used up and still got feedback. If found the SHARK totally unusable in a live situation in which the singer might go in front of a speaker, yet you still wish to apply limiting.
As stated above, the unit is very noisy.
I knew from reading the reviews how to eliminate the out of the box delay problem. Behringer should wise up an ship it with a useful default setting.

Seems sturdy enough. Has a "LOCK" mode to keep settings intact (until turned off).
The unit must have very poor components, as the unit got VERY hot after being on for an hour, and it was just sitting on a table!! So if you're gonna rackmount it, I'd recommend extra cooling.
Most of my previous Behringer products have had no problem.

I play hard rock and bought it to run sound for the lead vocal channel at a multi band show, as there is a lot of screaming/singing going on. I ran it thru a 8 channel 450 W Carvin PA head. The main problem lies in the fact that if you wish to employ compression/limiting you will have to endure feedback and choppy noise gating. My voice sounds better run straight into the channel. Since then I have used the Behringer Multicom between the mic and the PA's XLR input and it has worked beautifully.

I returned the SHARK after it failed testing. MNaybe I got a bum unit, but

Why is everything set at max out of the box? Delay, and Gate were all maxed. The gate gave me a very nasty surprise when I tried feedback testing. I turned up the volume and was happy that I could get the amp to 10 then I spoke and opened up the gate. Ouch loud feedback.

I use a wireless mike and once situated and learned the unit is great, clean and a audio swiss army knife. I am very happy with it.

Yes I am considering buying two more -- one as a spare and one for monitors.

as a guitarist/pro audio engineer I have encountered oversights in design but this one may take the darwin award !I have yet to meet a person that has not had trouble deactivating the delay that this unit comes out of the box with.furthermore there is not a clue how to do this in the manual anywhere.having had some experience with behringer I expect the sound will be pretty good..not great..if you spend a few hours locked in a room.using a behringer mixing board with guitar and vocal and then patiently compare it to a soundcraft spirit folio board with the ultra-preamps or to a tc elctronics preamp..you'll quickly see the difference between mcdonalds and a fine food restaurantfor a few hundred dollars more.for the money and options ...there fine..but if your serious professional and you care to get the best sound without going bankrupt go soundcraft,tc electronic,focusrite all have consumer lower price preamps of course more expensive than behringer..but you'll forget that 300-400 dollars difference when your in a car driving to vermont with stereo blasting...the extra price will be replaced by a wide smile and oh so much less ear fatigue..as a feedback destroyer i will reserve my opinion till i hear it working since right now it only does a wacky time line delay outta the box..ive been hearing as a feedback destroyer it works well..we'll see...a to behringer.."come on guys...a little more thought and ease of use will ya" ciao

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This device does require going over the manual mainly because of the multiple functions of each button as well as the push and hold options that are also used. The gain for the mic pre should be on the front instead of the back, but might have been placed on the back to prevent engineers from messing around once the device is in production in a live sound rig. At least there is always gain at the console.
The device comes with the delay set to maximum, making it not usable right out of the box. However, this is quickly resolved.

One person complained about this device's delay not being good for use as an effects unit. Well, that was because that individual could not figure out the difference between an inline device or mic pre and a devicee being used as an aux send. Used properly, this makes a nice delay.

The devices run hot/warmer than I would prefer. I have mounted my nest of 5 in an 8-space SKB older-style rack(pre Roto, no rear rails). I left space above and below the rack mount shelf in order to allow adequate ventilation. In my particular situation, this works out perfectly since some cabling in my lighting controller below the DSP110 nest needs a bit more space above it. Just be aware that you do need to give it some space to ventilate it and it is over 1 rack space high.

Overall sound quality is excellent. Behringer has been giving me quite good price/performance ratios and I have been happy with all Behringer gear purchased, and this is no exception. While not totally transparent, the device is after all a notch-filtering devicec. Even with the feedback filters disabled, there is a tiny amount of sound coloration. Considering this is a device intended for live applications, this is acceptable. The further sound modifications are due to the filtering and should not be factored into overall ratings.
The gate seems fairly good but I would like to see more features such as release times. Compressor works but again, would like to see more features such as threshhold, attack and release. I say this because I routinely patch a Behringer 1400 into each vocal channel and use the gate and compressor, so I'm trying to see about freeing up some outboard gear for other channels. However, comparing the gate and compressor section of the DSP110 to devices like dbx 1066, 166, 266 and even Behringer 1400 and 4400 is not a fair comparison as those are dedicated devicecs. Yes, I'll be getting a Behringer quad-gate soon.

The device has not been quite the "wonderbox" I had been looking for, but I am very happy with it and currently own 5 and am considering purchasing maybe another 15 of them. The DSP110 has allowed me to stop trying to deal as much with feedback problems, allowing me to deal with other mixing issues. The main problem that I personally have is that I run a large sound system and rarely are given the time to adequately not only set things up, but also run a sound check. During the sound check, I like to let the DSP110's learn the initial set of frequencies to filter out, but this rarely happens, so I leave the devices in "search mode" and that generally has given acceptable results. The main problem I have exists between performer and microphone. My main gig is doing "live band/karaoke", where the band plays and people come up and sing. They run up to the stage screaming their lungs out wanting to sing, and then once they get the microphone, they turn into "whisper singer". As a result, I have to keep not only increasing the fader, but often times increasing gain at the console just to get a usable level, then they whine when there is feedback. The DSP 110 will not be able to compensate for such performers that well. However, when I have used the device on professionals who actually show up during sound check, I typically have no problems that evening. I have 3 wireless mics hardwired through the DSP110's and that leaves me two DSP110's open for whatever I need them for, typically knocking out feedback in the monitors.

I have not needed to deal with customer support. I read manuals.

I have to say that this has been a fantastic little box. For the people who keep checking out the sound rig, it's got a lot of flashing and blinking lights and a neat little LED display to impress the uninformed. Heck, even my competition can't figure out my rig, which is fine because they are generally idiots, but I digress. I've using the device from anything from rock shows to conferences and the device has performed perfectly every single time. While I tend to mainly use it on vocals, I have had to use it to knock out feedback in monitor mixes and it has also worked excellent. I've also used it to deal with delay towers and having the distance conversion has been an absolute life saver. Sometimes I have had to use it as a gate, or an emergency compressor, so as far as being a multifunction device, it seriously has been a great tool to keep in the racks. I have even used it as a delay on an Aux channel just to fatten up or deliberately effect something. On the other side of things, for a traveling engineer, the devicecs are small enough to throw one or two into a small case and take along. The mid-line transformers are great as it does not hog up AC receptacles in my Furman rack units.

So much horsepower in a tiny little box at a really excellent price. As a working engineer who has worked with brand name acts, this device has so many applications and is one of the more multifunctional devices I've personally come across. Why dedicate an expensive EQ for a device that the DSP can do better? Rack space is at a premium and the DSP110 can pack a bunch of stuff into 2 rack spaces with 5 of them installed.

First of all, this little giant is not for everyone. You got to have knowledge about technical stuff. If you are a musician or a choral director, forget it! If you are a technician, you'll love it. Out of the box my unit had a delay, a gate and a compressor set. In three minuts I had them reset, so my unit was clean. The manual is very compactly written, also , I think, meant for a technician to read. So for me it's OK. Editing and using the unit is very easy (once you know it).

I hooked up the sharc between a transmitter mike and my desk. It has no influence on the sound or noise levels. The unit searches it's own feedback frequenties, I experienced overall an easier handling of the mike, I could turn up the volume more than before. Normally transmitter mikes are a nightmare, because people walk around with them in front of the speakers etc, know it's easier to manage the sound.

The nice thing is, when you use the Sharc, you tend to forget it, because it does its job VERY well. Thusfar, no problems at all!

I have no idea, 'cause all of my Behringer stuff works OK.

I think, every sound tech with his or her mind in the right place, should take one or two of these baby's with them on the road at all times. It is a very little unit, with a lot of functions. So if you pack a tourbag, pack a Maglite, a Leatherman, two Sharcs, a good book and a bottle of Bourbon, and have FUN!

The manual is tough to understand. Expect to take some time to master this unit. It's worth it.

I bought two units. One for vocals one for acoustic guitar. I play in small pubs etc., where they want high volume in tough conditions. This is a clean little box. The others who said it is noisy probably did not know how to set levels properly. It's got every possible I/O combination and gain setting. This is not a plug an play box. It's a real tool that real audio people can use.

Runs a little hot...but ok after six months.

They talked me through the initial menus. Seems they know the manual sucks.

This is a box I would not gig without. If you run the automatic exterminator and get the "Bad frequenies" notched, you can walk into most gigs with double the volume you would ordinarily get before any kind of feedback. If you're an acoustic guitar/vocal person, it's a clean, cheap solution.

First of all the manual is horrible. Second, this is not an easy set up device. I've been in the pro/audio video business for 20 years and after reading the manual, playing with the settings, I had to call tech support to ask what the functions do. Getting a technical writer to convert german to english seems to be a challenge.

Once you know what the buttons do. (good luck to the not technical) It works.

Once set up, (if you don't get the levels matched from your sources, you will get noise with any device) I found the unit to be very clean. I run one on the mic insert of my mackie 1202 for feedback reduction. If you can get in a room prior to a gig to run the automatic setup routine, it REALLY increases the levels you can achieve. This is perfect for a fixed installation PA with wireless systems. Put one of these on each insert and your life will be good.

I bought two for my gig rig doing acoustic guitar and vocals. They run a bit warm. Keep them ventilated and you should be ok.

The tech support guy was very helpful. I expected no support from a european company selling discounted gear in the states.

From the sounds of my conversation, they know the manuals are bad and are used to the calls to clarify operational issues

If you look at the versatility of this box, it's a steal at $69. Sabine feedback exterminator units are $400 and don't work any better. They don't have both line and balanced Inputs and ouputs...nice behringer. Then throw in a basic compressor, gate (it's slow ), Delay for speakers, 24 bit processing, very strong. Use the manual to line your bird cage, then call customer support and ask them how it works.

The manual could be improved with more step-by-step instructions, but I was able to get it to perform more than 75% of its functions with only a glance at the manual. It should be noted that this is not a device for people who are not accustom to working with gear that has multifunction buttons. If you are use to that type of gear, than accessing the edit functions will seem logical to you

I used it as an insert for a wireless hand held mic that was going to be used out in front of the speaker line. Distortion was easily remidied by adjusting the gain knob. There was no noticable added noise or tainting of the frequency response of the wireless mic and though there is limited editing capabilities for the gate and compressor functions it worked very well for my intended application.

I intend to compile a complete single rack mount of these (4 or 5. I forget) and use them as back ups for other processors as well as insertable problem solvers. I did not notice any extreme temperatures from the unit, though it was sitting in the open air with plenty of circulation.

I consider this device to be the "Gerber, Multi-tool" of processors. Like the Multi-tool, there are better individual tools, but it is not always expediant to carry your whole tool chest around in your pocket for every little fix-it job. At first I was afraid I had goofed by purchasing one after having read all of the frighteningly bad reviews. But I spent 5 minutes solving the little start up problems others had mentioned. And 10 minutes into the show I had set up some base line settings in time for the use of the wireless mic I had inserted it into. CAUTION though...do not try to use the feedback-Learn function in the middle of the show. I thought I was getting interferance until I realized that that is what the manual had talked about when it made referance to it's creating feedback to set the filters. I found that it worked faster than the method in which you set up Ssabine FB eliminators, but it was still a little embarrasing during the show. I am now very happy that I had won another auction for another one on eBay.

I bought it because I do not know a whole lot about sound equipment yet. I am a choral director in a public school. I am trying to build a nice audio setup. I bought mine at Mars for $69.

It would not work out of the box. There was a 3 sec delay on every sound going through the unit. I read and reread the instructions. The instructions are written VERY poorly. I could not get it to work.

I went back to Mars. They plugged it in. The fellow who was helping me is a pro musician. He has run sharks in over 60 gigs. He couldn't get it unlocked. It took him 15 minutes to figure it out. When he looked at levels and numbers it was set at, he found it came straight from the factory with settings that made it impossible to use. It took him 40 minutes total to get the thing working right. He deactivated everything except the auto-filters for feedback (which is the only reason I bought it). When I set it up for the concert, it did nothing to help. I disconected it and went straight from my AT condenser mic.

I will be returning this to Mars for a refund. I'm really glad they have a 30 day return policy. I cannot recommend this to anyone.

It wasn't good. I had to take it out of the mix.

I will not use one again. I cannot take the chance.

I'm not even going to try. I'm getting my money back.

I am a vocal/choral teacher in public High school and middle school. I do not make much money so I cannot afford to buy equipment that will not work. I will not buy this again. I'm returning it. (I have a Behringer 18x4 mixer and am very happy with it.)