I really like this box!

I wasn't expecting much: I bought it as a throwaway unit, but it's now a main feature in my rack.

I have been spoilt sonically by using a Klark Teknik DN360 while working with another band as sound engineer. When the time came to go out with my own music to the same venues (smaller P.A. system), I went for this - with misgivings.

Here's the thing: Having done 8 or 9 gigs, I can say I am pretty sure that it is every bit as transparent as the Klark: which is always described as a very "musical" box. The Klark has to be better because it costs literally 10 times more, right? but I swear I can't hear the difference.

I wouldn't say the behringer is "musical" - but it doesn't interfere (my primary demand), and keeps things clean. Adjustment is precise, but (my only gripe really) the faders don't feel as "quality" as the Klark (1 point off for the scratchy feeling). On the other hand, though not as smooth, they are twice as long, which allows for finer adjustments.

It has a few other things the Klark doesn't have: The lit faders are a godsend when mucking around in the dark. I have no need for the sub woofer out, but I guess its handy as a poor man's filter.
The Feedback eliminator seems a bit gimmicky - but takes the guesswork out of finding problem frequencies (Sometimes sounds are so loud it's hard to judge them accurately: this solves the problem, and I'm glad of it). Actually I think my settings tend to be more accurate than with the Klark because there is less guesswork involved. This will definitely have a lot to say when playing "unknown problem venues".

An example: I did sound at a venue that has a boxed-in-sound and is a pain to mix correctly, (With LOTS of low mids and a concrete ceiling): I already had EQ notes for the Klark from a previous gig, so I brought it along and soundchecked the band thorough it instead of the Behringer. I then mirrored the curves on the Behringer (which can bypass, so I had chained it).
A/B'ing the boxes, I didn't see a major difference (even with DRASTIC EQ'ing for the room), except that I got feedback in one low frequency I had already corrected for: I thought it was now safe. The Behringer spotted the correct frequency and I damped it 5db. Problem solved - but with guesstimation on the Klark I had taken off about 7 db an octave too low!).

I guess a way to summarize it would be: If this box is less musical than the Klark (As I say I can't hear it) then it is also more accurate, which to my ear is far more important. Let the band be musical. I'll take clarity any day.

Other stuff: I think the limiter is a little agressive (easy to hear it cutting in) but has come in handy once when my levels were way too loud. I'm pretty sure it saved my own speakers from being blown, which means it already has paid for itself.


Summary:
A Graphic EQ is an essential piece of kit for a serious engineer. Whether it's live sound or in the studio, a GEQ is the butter on the bread of recording and live amplification. I would love to test this box in a studio: I am guessing this is where the "musicality" of the Klark would be more dominant.
Having said that: I also think the best test for a GEQ is live sound: At best a GEQ can shape your sound, and help you overcome (for example) problem frequencies in live locations. At worst it can introduce noise that, when amplified through a P.A. can destroy the very sound you are trying to get out there.
This EQ does a good job of getting my sound out, and doesn't interfere. Just for the convenience of locating frequencies I would have this alongside the Klark, even if the sound was inferior. But it's not, and the double sized faders make it more accurate: I wouldn't go back to the Klark, and thats pretty damn impressive.

There are plenty of "cheap" graphic EQs out there: Behringer, Alesis, DBX etc all occupy the "prosumer" end of the market. Without having tested any others, I am happy to say that for me this box does the job.