What is the purpose of mixing in the first
place? While considering the signal path of audio production for live or
studio applications, we were stunned to find that much of the
terminology is still driven by historical technical implementation,
rather than its actual purpose. Normally, consoles focus on input
numbers assigned to channels and auxes. WING is offering a substantially
different perspective by focusing on the Source as the reason for any
mixing, say a bass drum signal or the lead vocal. Inputs are therefore
given more properties than just a number. Sources can be in mono, stereo
or mid-side mode, own headamp parameters like gain and phantom power,
with specific source mute and metering. 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 channels are used for
processing or mixing.
The beauty of this is that you can label
Sources using our WING Co-Pilot app while patching on stage and no
matter if the signal is patched to a channel, to SD recording or to 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
renders the channel stereo, and its stereo imager stage provides
control over width from 150% stereo down to mono. The console does not
need a reboot to apply any mode changes. Their channel, bus and subgroup
configuration can be changed any time on the fly. See why it is a WING?
Alternatively to the excellent WING EQs and dynamics, all channels and
buses feature plug-ins for gates, compressors and equalizers, including
high-end simulations modeled after the most famous hardware 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.*
WING's innovative channel editing section is designed from the ground-up
for immediate channel status overview and flow of operation. It allows
working on the selected channel processing even when the main display is
used for something completely unrelated. Touch-sensitive rotary
controls allow the most relevant information to be displayed at your
A central section offers user-assignable controls, i.e. 4 rotary
encoders and 20 buttons with 2 LCDs. You decide whatever functions you'd
like to have within your reach, always. A big rotary wheel offers
fine-adjustments of up to 8 user parameters or can be used for DAW
remote control via USB MIDI. The control configuration also includes
pre-defined functionality for USB and SD card recorder transport, show
control and mute groups.
WING Input channels feature lo-cut and hi-cut filters, tilt-EQ, all-pass
or Sound Maxer, in addition to the 6-band parametric EQ. All buses,
matrices and mains even feature an 8-band parametric EQ. Alternatively,
WING offers 8 meticulous emulations of famous hardware equalizers for
use in each and every channel, whenever you need that special vibe on
The WING Premium FX rack boasts 8 true-stereo processors including
spectacular emulations of some of the industry's most revered reverbs,
original TC VSS3 algorithms, along with Lexicon, Quantec and EMT
emulations. Fantastic delays, voice doubling, chromatic pitch
correction, tape saturation and there is way more to it.
Another set of 8 true-stereo processors provides a wide array of
modulation, equalization, dynamics and non-linear effects, and even four
iconic guitar amplifiers with cabinet simulations. If push comes to
shove, a guitarist can just DI his guitar or pedals straight into the
stage box, which is especially useful on quiet stages and house of
With 374 inputs and 374 outputs, a lot of digital connectivity is
required. WING provides 3 AES50 SuperMAC audio networking ports for
connecting digital stageboxes or sharing up to 144 input and 144 output
streams with other mixing consoles. There are 48x48 channels of USB
audio and another 64x64 channels of Audio over IP (AoIP module
optional), plus AES/EBU stereo I/O. The WING expansion card slot,
featuring the LIVE SD recording card or accommodating option cards for
various standards, such as ADAT, MADI, DANTE, and WSG, offers another
64x64 channels of audio in/out.
The brand new Klark Teknik
StageCONNECT interface allows transmission of 32 channels 24-bit audio
with sub-millisecond latency, together with control data and 18 W of
power over a single standard microphone cable. Given its flexibility and
ease of use, this may well become the future of XLR. We are considering
opening our implementation to other developers, allowing them to create
their own projects featuring StageCONNECT.
While we have limited the number of local analog I/O, we have not
allowed for any compromise on their quality. Behringer is proud to
incorporate 8 original Midas
PRO-Series microphone pre amps and 8 XLR outputs with towering audio
quality for both live and studio environments. Find out more about Midas’
amazing legacy by visiting their extensive website. 8x8 TRS line
auxiliary ins and outs help bring in signals from media players or
computers. If that's not enough local analog I/O, the new StageCONNECT
interface allows connection of breakout boxes with up to 32 channels of
input and output, e.g. connecting the console to the side rack over a
single XLR microphone or DMX cable.
Automixing with 2 groups of gain sharing is available on any 16 input
channels. The dependable and fast algorithm automatically tracks which
microphone is receiving the highest levels, increases its channel gain,
while reducing the sum of gain for all other channels in the same group.
The ambient noise level will remain constantly low, while
intelligibility and gain before feedback are increased considerably. It
is the ideal tool for corporate events, panel discussions, house of
worship or broadcast applications with several speakers.
- MIDI In/Out plus additional 2x2 GPIO provide an interface for console event triggers and external show control.
- 40-bit floating point processing at 48 or 44.1 kHz, with 1 ms round-trip latency.
- Dual solo/monitor buses per channel for monitoring over phones/IEM and/or floor wedges and studio monitor speakers.
- Networked remote control supports binary and OSC communication and
allows console control from a distance. This is open to 3rd party
application development in addition to Behringer's cross-platform app,