[NoiseBert69]

Behringer evolved from a "cheap unusable shit" to very solid gear and a company that listens to their users.

If you want to enter the market you must beat their stuff price/quality wise. That's not easy in 2025.

The entire audio/venue biz is heavily driven by mouth-to-mouth propaganda and personal networks. A friend of mine knows Uli Behringer personally - if one of his mixing console hangs itself during a concert you know who's getting a very angry call at 1:00 o'clock. If people stop losing trust in your stuff nobody will buy the rotten product (or worse entire product series) anymore.

It's the same for the video production scene. It will make you very rich if your product is very good - if it blocks a production or even worse destroys a recording you'll be beaten out of the market with fists. And the people will track your records down if you change your legal name if you are trying to back in.

The scene loves and hates with a lot of passion. And they have a memory like elephants and never forgive.

[CaptainOfCoit]

> If you want to enter the market you must beat their stuff price/quality wise

Yeah, if the market you're talking about is "price/quality", but most musical gear doesn't sit in that market, but a wildly different one, and in that one you don't have to beat Behringer to be successful, and granted your stuff is high quality and actually innovative enough, you can almost set the price freely.

[virgil_disgr4ce]

I don't understand. What is the "wildly different" market that "most musical gear" is in? Do you have a citation for "most musical gear?"

[starkparker]

> It will make you very rich if your product is very good - if it blocks a production or even worse destroys a recording you'll be beaten out of the market with fists.

I remember working support for a video production data storage company and it being straightforward problems most of the time (9 times out of 10 just walking PAs or AEs through documented steps for swapping a drive in a RAID) but executed under some of the wildest circumstances (a producer calling from a helicopter during a shoot, or hearing an A-list filmmaker yelling at the AE in the background, or security so tight that I'd get confirmation of each step as a photo of the server's screen taken on a phone that's then walked to a place that gets a signal).

In other industries I've worked in, most of those requests never would've made it to a rep's phone, but the table-stakes expectation was that someone was always available to ensure it was done right and to satisfaction, or you lost the client immediately.

When it really was a serious issue and we got shipped out on-site to a client, we were effectively told not to bother coming back if we couldn't diagnose and fix it.