Behringer
Couldn't load pickup availability
Digital mixer featuring 48 channels, 28 busses, a control surface with 24 faders and a 10″ touch screen.
The WING control surface uses a large touchscreen with touch-sensitive knobs for easy operation. Three separate slider sections and the Custom Controls section are easily and intuitively customizable. Whether you need a specific rail, a dedicated channel always at your fingertips, or even space sharing with two engineers, WING can be configured to take production to a new level. You can even replace and customize the massive wooden armrest with something more functional if you wish.
What is the purpose of mixing? When considering the audio production signal path for live or studio applications, we were amazed to find that most of the terminology is still based on historical technical implementation rather than its actual intended use. Usually consoles focus on input numbers assigned to channels and auxes. The Behringer WING offers a completely different point of view, focusing on the source as the cause of any mixing, such as a bass drum or lead vocal signal. So inputs have more properties than just a number. Sources can be mono, stereo or mid-side, have their own headamp parameters like gain and phantom power, with specific mutes and source indicators. They can also be given a color, icon, name and several tags for grouping and filtering purposes. All of this describes the actual source first before the channels are used for processing or mixing. The beauty of this is that you can tag sources using our WING Co-Pilot app when patching on stage and whether or not the signal is being patched to channel, SD recording or any other output, you will always see and refer to that source.
All 48 input channels and 28 bus mixes can be used for mono, stereo or mid-side sources. Assigning a stereo source to any channel automatically reproduces the stereo channel, and the stereo imager stage gives you control over the width from 150% stereo to mono. The console does not require a reboot to apply any mode changes. Their configuration of channels, buses and subgroups can be changed at any time on the fly.
As an alternative to WING's excellent equalization and dynamics, all channels and buses feature plug-ins for gates, compressors and EQs, including high-end simulations modeled after the most famous devices such as Pultec EQ, SSL Bus Compressor and Gate/Expander, SPL Transient Designer, Neve EQ, Compressor and Gate, Focusrite ISA and D3, DBX160, LA-2A, 1176, Elysia mPressor and Empirical Labs Distressor.
The center section offers user-assignable controls, i.e. 4 rotary encoders and 20 buttons with 2 LCD displays. The user decides what functions he would like to have always at hand. The large knob allows fine tuning of up to 8 user parameters or can be used to remotely control your DAW via USB MIDI. The control configuration also includes predefined functions for USB and SD card recorder transport, show control and mute groups
.
The WING Premium FX rack features 8 stereo processors, including spectacular emulations of the industry's most respected reverbs, original TC VSS3 algorithms, as well as Lexicon, Quantec and EMT emulations. Fantastic delays, voice doubling, chromatic pitch correction, tape saturation and much more...
With 374 inputs and 374 outputs, a large number of digital connections are required. WING provides 3 AES50 SuperMAC audio network ports for connecting digital stage boxes or sharing up to 144 input and output streams with other consoles. There are 48×48 channels of USB audio and a further 64×64 channels of Audio over IP (optional AoIP module) and stereo AES/EBU I/O. The WING expansion card slot, equipped with a LIVE SD recording card or option cards for various standards such as ADAT, MADI, DANTE and WSG, offers a further 64×64 channels of audio I/O. The new Klark Teknik StageCONNECT interface allows the transmission of 32 channels 24- sub-millisecond latency, along with control data and 18 watts of power over a single standard microphone cable. Due to its flexibility and ease of use, this could be the future of XLR. We are considering opening our implementation to other developers, allowing them to create their own projects using StageCONNECT.
While we have limited the number of local analog inputs/outputs, we have not allowed any compromise on their quality. Behringer is proud to feature 8 original Midas PRO mic amps and 8 XLR outputs with high sound quality for both studio and live environments. TRS aux 8×8 line inputs and outputs help input signals from media players or computers. If that's not enough, the new StageCONNNECT interface allows you to connect breakout boxes with up to 32 input and output channels, e.g. connecting the console to a side rack with a single XLR or DMX cable.
2-group auto-mixing with common gain is available on any 16 input channels. A reliable and fast algorithm automatically tracks which microphone picks up the highest levels, boosts the channel gain while reducing the sum of the gain for all other channels in the same group. The ambient noise level will remain consistently low and the intelligibility and gain before feedback will be significantly increased. It is the perfect tool for corporate events, panel discussions, houses of worship or multi-speaker broadcasts.
MIDI In/Out plus an additional 2×2 GPIO provide an interface for console event triggers and external show control
40-bit floating point processing at 48 or 44.1 kHz with 1ms round-trip latency
Dual solo/monitor buses per channel for monitoring via headphones/IEMs and/or wedges and studio speakers
