Behringer WING With WING-DANTE Expansion Card And Midas DL32 32Channel Stage Box
Behringer WING With WING-DANTE Expansion Card And Midas DL32 32Channel Stage Box
48-Channel, 28-Bus Full Stereo Digital Mixing Console with 24-Fader Control Surface and 10\ Touch Screen"
8 award-winning Midas PRO mic preamps and 8 Midas PRO outputs onboard
24 motorized 100 mm faders in 3 separate, fully configurable sections
"Plug and play" remote I/O connectivity for up to 144 input and output signals over 3 AES50 ports featuring Klark Teknik's SuperMAC technology for ultra-low jitter and latency
Large main display with capacitive touch screen and adjustable display swivel
Unique touch-sensitive channel editing section with 11 rotary controls and dedicated color TFT for staying on top of all channel properties
Optional module for 64x64 channels of audio over Ethernet supporting WAVES SoundGrid Technology* or Dante/AES67 Technology*
48 x 48 channel USB 2.0 audio interface onboard with DAW remote control emulating HUI* and Mackie Control*
Dual-SD card live recorder/player with up to 64 tracks and markers for identifying song positions
Additional 4-channel control section with rotary controls, buttons and parameter display for permanent access to mains, matrices or "money-channels"
Premium FX rack with 8 true-stereo processors and world-class TC algorithms, Lexicon*, Quantec* and EMT* emulations
Standard FX rack with 8 true-stereo processors for a wide array of modulation, EQ, dynamics etc. also allows blending outboard effects to the mix
5 variable plug-in processing slots for all 40 stereo input channels, featuring the most iconic vintage analog equalizers and compressors, plus insert FX slot and 4-band parametric EQ for all 8 stereo aux channels
Custom Controls offering 16 latching or momentary buttons and 4 rotary controls, easily being configured for preferred functions
4 main, 8 matrix and 16 aux stereo buses, featuring dual inserts, 8-band parametric EQ's, stereo imager and full dynamics processing
2 Ethernet ports with integrated switch for networked remote control
Built-in expansion port for optional audio interface cards or digital networking bridges, MADI* and ADAT/WC
StageConnect 32-channel low-latency interface for personal monitoring or analog I/O boxes, AES/EBU stereo digital in- and outputs on balanced XLR, 8x8 balanced TRS auxiliary line in- and outputs, 2 TRS phones connectors, MIDI I/O and 4 GPIO ports
The Personal Mixing Console
The WING control surface utilizes a large capacitive touchscreen interface with touch-sensitive rotary controls for a new ease of operation. Three separate fader sections and a Custom Controls section can be tailored easily and intuitively to meet your personal requirements. No matter if you need a specific bus send fader next to the corresponding channel fader, or a dedicated “money” channel always at your fingertip, or even sharing the surface with two engineers - WING can be configured to elevate your production to a new level. You can even replace and customize the massive wooden armrest with something funkier if you like. The technical drawing can be found in the Downloads section of the product page.
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?
Legacy Built In Every Channel
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 fingertips.
Even More Custom Controls
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.
Perfect Balance and Ultimate Tone Shaping
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 your signals.
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 worship applications.
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 XLR cable. Given its flexibility and ease of use, this may well become the future of XLR. For optimum performance and long cable runs 110 Ohm DMX-Cable is required.
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 via a single XLR 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.
RC and OSC
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, WING CO-PILOT.
|Frequency response @ 48 kHz sample rate, 0 to -1 dB (any gain setting)||
10 Hz - 20 kHz
|Dynamic range, analog in to analog out (typical), XLR / aux||
111 dB* / 108 dB*
|A/D dynamic range, preamplifier and converter (typical), XLR / aux||
112 dB* / 110 dB*
|D/A dynamic range, converter and output (typical), XLR / aux||
118 dB* / 112 dB*
|Crosstalk rejection @ 1 kHz, adjacent channels||
|Output level, XLR connectors (nominal / maximum)||
+4 dBu / +21 dBu
|Output impedance, XLR connectors (unbalanced / balanced)||
75 Ω / 75 Ω
|Input impedance , TRS connectors (unbalanced / balanced)||
20 kΩ / 40 kΩ
|Non-clip maximum input level, TRS connectors||
|Aux output level, TRS (nominal / maximum)||
+4 dBu / +16 dBu
|Aux output impedance, TRS (unbalanced / balanced)||
150 Ω / 300 Ω
|Phones output impedance / maximum output level||
500 mW @ 75 Ω / +18 dBu
|Residual noise level, XLR out 1-16 connectors, unity gain||
|Residual noise level, aux and monitor TRS out connectors||
10.1" TFT LCD, 1280 x 800 px, capacitive touch
|Main screen swivel, continuous adjustment||
|4-channel group LCD screen with RGB color strip per channel||
320 x 48 monochrome
|Channel editing screen||
2.4" TFT LCD, 320 x 240 px
|Main stereo meter||
18 segment (-60 dB to clip)
|100 mm motor faders||
12 + 8 + 4
|Touch-sensitive rotary controls||
3 + 7 + 11 + 4 + 4
|Fully assignable rotary controls||
|Fully assignable backlit buttons||
8 + 8
|Variable rotary controls / buttons||
4 / 4
|Switch-mode power supply||
Auto-ranging 100-240 VAC (50/60 Hz)
|Standard operating temperatur range||
5°C – 40°C (41°F – 104°F)
201 x 870 x 575 mm (7.9 x 34.3 x 22.6")
24 kg (52.8 lbs
*A-weighted noise and dynamic range figures
32 Input, 16 Output Stage Box with 32 Midas Microphone Preamplifiers, ULTRANET and ADAT Interfaces
32 award-winning Midas PRO microphone preamplifiers with switchable 48 V phantom power
16 electronically balanced low impedance line level outputs
ULTRANET personal monitoring system connectivity for in-ear applications
Digital audio and control connectivity for Turbosound speaker systems with ULTRANET networking capability
Dual AES50 SuperMAC ports for cascading additional DL16 stageboxes no merger or router required
Automatic AES50 stage-split mode when connected between Midas M32 Series FOH and monitor consoles
Dual ADAT outputs providing 16-channel digital output on two optical TOSLINK* connectors
2 AES-3 ports (AES/EBU), for directly connecting PA system controllers with digital inputs
Remote operation via shielded CAT5e cable up to 330 ft / 100 m length
Mute All function for quietly patching any inputs on stage
MIDI In/Out for bidirectional communication between Midas M32 Series console and on-stage MIDI devices
Features Neutrik etherCON* AES50 and ULTRANET network ports
Rugged 3U rackmount chassis for durability in portable applications
Auto-ranging universal switch-mode power supply
Digital mixing has revolutionized virtually everything in the live-entertainment production workflow. The DL32 is the perfect solution for connecting the onstage talent with your Front of House (FOH) console, and the rest of the world – the I/O packed and highly affordable DL32 digital stage box. The DL32 provides 32 Midas PRO Series remote-controllable mic preamps, plus 16 balanced analog XLR returns at the stage end – and all it takes is a single Cat 5e cable. While Klark Teknik, the industry-leader in high-end digital audio processing, invented the AES50 SuperMAC technology that made it all possible – our superb scale of production makes the DL32 so very affordable.
MIDAS - The Legend in Sound Quality
Ever since our formation in the 1970s, we have had a long history of innovation and leadership in the world of audio mixing consoles. Employed by the most famous touring acts and installations worldwide, legendary consoles, such as the XL4 and Heritage H3000 have quickly become industry standards.
We have earned an impeccable reputation due to our no-compromise approach to audio and build quality, and in particular for our Award-winning Mic Preamps, which are considered by industry experts as the industry’s best-sounding designs. Building on this legacy, the XL8 and PRO Series of Live Mixing Systems continue this great heritage of Award-winning audio quality.
When used as part of a complete M32 system, two DL32 Stage Boxes can be cascaded via the built-in AES50 ports, providing connectivity for up to 64 mic/line inputs, 32 balanced outputs and the ULTRANET port allows direct connection to Turbosound iQ Series loudspeakers and the Behringer POWERPLAY P-16 Personal Monitoring System – which can feed up to 48 individual monitor mixers. We also included 2 optical ADAT sockets and AES-3 (AES/EBU) for connecting to outboard devices, a convenient USB port for system updates via your PC – plus MIDI I/O for lighting systems and sound module control.
Ecosystem and Beyond
The DL32 was initially designed with our M32 Digital Mixing Console in mind, but any mixingboard with AES50 networking capability can still tap directly into the DL32’s powerful feature set.For instance, a DL32 and M32C could be jointly utilised to create a remote controlled digital mixingsystem in only 4U. Another prime application might include the M32C providing independentmonitor mix duties, while also relaying and sharing all I/O with the main console – an M32, or anyother digital mixer that supports MADI, Dante, ADAT or AES50 I/O. Reasonably priced option cards to replace the standard 32 x 32 channel USB interface are separately available for that exact purpose.You can even mix the complete show from the onstage M32C via dedicated remote control apps. And since the DL32 and M32C communicate via AES50, they can be separated by CAT5 cabling, should that be more convenient for the venue.
ULTRANET – Seamless Integration
The world-renowned engineers at Klark Teknik, Midas, Turbosound and Behringer have all come together to create something truly innovative that will change your live and studio workflow forever – welcome to ULTRANET. This revolutionary technology seamlessly transmits up to 16 independent channels of 24-bit digital audio and control data via a single CAT5 cable between compatible digital devices – including mixers, I/O stage boxes, powered loudspeakers and personal monitoring systems. Advantages realized through ULTRANET digital networking, versus traditional analog methods include: audio signals are impervious to Radio Frequency Interference (RFI); signal crosstalk is eliminated, and ease of use translates directly into a significant amount of time saved during show setup or installation. ULTRANET effectuates a powerful digital eco-system, which we call “Acoustic Integration”, providing unparalleled control over every element of your audio production environment from one convenient location.
KLARK TEKNIK AES50
Klark Teknik SuperMAC (AES50-Compliant) technology gives the DL32 its high-capacity, ultra-low latency digital interconnectivity, as well as superbly simple deployment and ease of use. Klark Teknik engineers worked hand-in-hand with Midas to ensure the DL32 meets, or exceeds, the requirements of live entertainers and their professional audio engineers. Some of the outstanding features are:
- 48 bidirectional audio channels over Cat 5e cable (48 kHz)
- Single cable duplex interconnection for audio and sample clocks
- Ethernet physical layer audio data transmission
- High channel count and ultra-low deterministic latency
- Accurate phase-aligned clock distribution.
- Comprehensive error detection and management
- Provision for redundant networking
- Minimal configuration – total ease of deployment and use
- Ethernet TCP/IP protocol-compatible auxiliary data channel
- Royalty-free implementations available as Xilinx FPGA cores
- OEM modules available from developer partners
As you can see, the DL32 is an extremely versatile 32 x 16 digital stage box solution with our remote-controllable mic preamplifiers, Klark Teknik’s AES50 connectivity and a wealth of other professional-grade features – all at a price anyone can afford. Built tough enough to withstand the rigors of the road, the DL32 only takes up two rack spaces and connects to FOH with a single, inexpensive CAT5 cable.
Now you can have the missing link between the stage and FOH at a fraction of the cost of competing systems – and we back it up with a comprehensive warranty program.
Low Cost Studio Monitors
Our professional monitors are designed from the very beginningto
reporoduce the sound signal without any alteration. These monitors
will meet the needs of the biggest studios as well as the smalles ones.
'Listen to your music, not to your speakers!'