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The Behringer WING Ecosystem

The Behringer WING Ecosystem

Behringer’s WING is an absolute powerhouse — the company’s most formidable digital mixer to date. It’s jam-packed with 48 stereo channels, a robust feature set, and ultra-powerful DSP. It provides intuitive hands-on control via motorized faders, a capacitive touchscreen, and touch-sensitive rotary controls, while onboard MIDAS Pro mic preamps ensure top-shelf sound quality. But that’s just the beginning. This mixer’s insane level of digital I/O is where things really get interesting, supplying you with access to an ever-growing ecosystem of top-notch products. In particular, the WING’s three AES50 ports supply plug-and-play remote I/O connectivity for up to 144 input and output signals, which are compatible with Behringer and MIDAS digital stage boxes, personal monitoring systems, and more.

AES50 in a Nutshell

So, what’s AES50? Simply put, AES50 is an open-standard audio network protocol. It’s like MADI on steroids. A single AES50 port offers 48 channels of I/O with less than 0.5ms of latency, at sampling rates up to 384kHz — over a single Cat 5e cable. AES50 connections can also power connected devices via PoE, and the devices can be daisy-chained. Thanks to its three AES50 ports, the Behringer WING offers a staggering 144 channels of full-duplex I/O that will work with any AES50-equipped device.

WING AES50 Ports
AES50 ports on the Behringer Wing.

Add up to 144 Channels via Behringer or MIDAS Stage Boxes

On its own, the WING includes eight MIDAS Pro mic preamps and eight MIDAS Pro XLR outputs, which is plenty for a personal recording setup or small ensemble. But, if you find yourself itching for more I/O, the WING’s near-limitless digital expandability gives you enough flexibility to tackle any situation. Plug a Behringer S16 or S32 stage box into one of the mixer’s AES50 ports, and you’ll benefit from an extra 16 or 32 channels of plug-and-play remote I/O connectivity. These rock-solid stage boxes boast high-quality MIDAS-designed preamp, servo-balanced XLR returns, and additional digital I/O. Behringer SD8 or SD16 stage boxes are more streamlined options. MIDAS DL16 and DL32 stage boxes are also compatible, enabling you to add 16 or 32 MIDAS Pro preamps to your rig. No matter which stage box you choose, its I/O will be piped through a single, convenient Cat 5e cable. And as we mentioned previously, AES50-equipped devices can be daisy-chained. That gives you up to 144 channels of bidirectional I/O over the WING’s three AES50 ports.

Behringer S16 and S32

Behringer S16 Stage Box
Behringer S32IO Stage Box

Behringer SD8 and SD16

Behringer SD8IO Stage Box
Behringer SD16IO Stage Box

Midas DL16 and DL32

Midas MDL16 Stage Box
Midas MDL32 Stage Box

The MIDAS DP48 is Personal Monitoring Made Easy

Making hand gestures toward the monitor engineer when you need “more me” is passé. These days, each musician can take hands-on control of their own monitor mix with a digital personal mixer like the MIDAS DP48. The DP48 boasts 48 channels with 12 stereo groups, along with a clean, easy-to-navigate interface. And since it’s AES50 compatible, the DP48 is tailor-made for the Behringer WING. You can connect this feature-packed device to a stage wedge or use it to feed your in-ear monitors. If you’re using IEMs, you can add a touch of ambiance to your mix with a built-in microphone to ensure you don’t feel closed off from your audience and bandmates. And like most AES50-equipped devices, the DP48 can be powered remotely over a Cat 5e cable.

Midas DP48 Personal Mixer

More Than a Simple Digital Mixer

The Behringer WING is more than a simple digital mixer, it’s your all-access pass into an ultra-powerful, all-encompassing ecosystem that includes great-sounding remote-controlled I/O, convenient personal monitoring, and more. If you’re searching for a super-powerful live or studio rig, Behringer’s WING is a smart way to go. Give your Sales Engineer a call at (800) 222-4700 to get started!

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About Mac McDonough

Jeffrey “Mac” McDonough started studying classical violin at the age of nine, but his destiny changed significantly after he plugged an electric guitar into a distortion pedal for the first time — a Pandora’s box that his parents probably wish he hadn’t opened. Mac was bitten by the recording bug in the late 1980s while experimenting with a TASCAM Portastudio and a malfunctioning Shure SM58. He interned in several pro studios throughout the 1990s, after which he began tracking and mixing in an ADAT-based project studio. Aside from writing about gear, Mac currently works on freelance recording projects in his home studio, affectionately named “Mac’s Playpen.”
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