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Behringer Wing 48-Channel Digital Mixing Console Touchscreen — main product image
Behringer Wing 48-Channel Digital Mixing Console Touchscreen
Behringer Wing 48-Channel Digital Mixing Console Touchscreen
Behringer Wing 48-Channel Digital Mixing Console Touchscreen
Behringer Wing 48-Channel Digital Mixing Console Touchscreen
Behringer Wing 48-Channel Digital Mixing Console Touchscreen
Behringer Wing 48-Channel Digital Mixing Console Touchscreen
Behringer

Behringer Wing 48-Channel Digital Mixing Console Touchscreen

★★★★★4.2 (12 reviews)

48 channels, 28 buses, and Midas PRO preamps in a touchscreen console that rewrites what mid-market digital mixing sounds like.

$3,299.00*
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*Price sourced from Amazon.com. Last updated:Jun 19, 2026.Price and availability are subject to change.

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Overview

The Behringer Wing is a 48-channel, 28-bus digital mixing console built around 8 onboard Midas PRO mic preamps — the same circuit heritage found in consoles that have anchored major touring rigs for decades. Those preamps define the Wing's sonic character: a wide, clean noise floor with genuine headroom before saturation, and a top-end transparency that doesn't harden under pressure. The 28-bus architecture (stereo pairs plus dedicated mono buses) gives live and studio engineers the routing flexibility to run complex monitor worlds, broadcast splits, and recording feeds simultaneously without compromise. Three AES50 ports using Klark Teknik's SuperMAC technology extend that I/O to 144 channels bidirectionally over standard Cat5e at sub-1ms latency, making the Wing a genuine hub for large-scale touring, theater, or fixed installation work.

The surface is built for fast, tactile control under pressure. Twenty-four motorized 100mm faders are organized across three independently assignable banks, allowing engineers to build a desk layout that mirrors their specific workflow — inputs, DCAs, effects returns, or any combination. A dedicated channel editing section with 11 rotary controls and a per-channel TFT display keeps hands on hardware for routine adjustments, while the 10" capacitive touchscreen with adjustable swivel handles routing, scene management, and deep parameter access without forcing the engineer away from the mix. The processing runs on dedicated DSP hardware, meaning effects load, scene recalls, and routing changes carry no latency penalty — a non-negotiable requirement for IEM-heavy live productions where timing consistency directly affects performer confidence.

Key Features

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

Specifications

Channels
48
Buses
28 (Full Stereo)
Faders
24 Motorized 100mm
Main Display
10" Capacitive Touchscreen (adjustable swivel)
Onboard Mic Preamps
8 Midas PRO
Onboard Outputs
8 Midas PRO
Remote I/O Connectivity
3 × AES50 (up to 144 I/O)
AES50 Technology
Klark Teknik SuperMAC (ultra-low jitter/latency)
Brand
Behringer
Model
Wing

Pros & Cons

👍 Pros

  • Midas PRO preamps deliver a noise floor and headroom characteristic well above the Wing's price point, with a sonic signature that holds up against consoles costing multiples more.
  • Three AES50 ports with SuperMAC technology enable 144 I/O channels at sub-1ms latency over standard Cat5e, eliminating the need for separate clocking hardware in touring or install rigs.
  • Three independently configurable fader banks let engineers build a surface layout that matches their specific workflow without compromising access to any signal path.
  • Fixed DSP architecture ensures consistent, predictable latency regardless of internal effects load — critical for in-ear monitor mixes.
  • Per-channel TFT display with dedicated rotary section keeps hands on knobs rather than navigating touchscreen menus during fast-moving live sessions.

👎 Cons

  • At 48 channels, the Wing's input count may require expansion via AES50 stage boxes for very large festival or broadcast setups, adding cost and infrastructure complexity.
  • The depth of feature set — 28 buses, configurable routing matrix, custom fader layers — carries a steep learning curve for engineers migrating from analog or simpler digital consoles.
  • Physical preamp count is limited to 8 onboard Midas PRO inputs; most serious applications require AES50-connected stage boxes to reach full channel capacity, which are sold separately.
  • The console's physical footprint, while smaller than legacy analog boards, is substantial for mobile single-operator rigs where desk space is constrained.
  • Firmware maturity, as with many feature-dense digital consoles, has historically required several update cycles before all advanced features reach full stability.

Frequently Asked Questions

The Midas PRO preamps are the same circuit heritage used in consoles that cost five to ten times more. In practice this means a lower noise floor, more usable gain before saturation, and a warmer, more open top end than the brittle transparency typical of budget digital preamps. At moderate gain settings the headroom is generous; pushed hard, the breakup is musical rather than harsh.
Each of the three AES50 ports on the Wing carries 48 channels bidirectionally at low jitter, giving you up to 144 inputs and outputs routable to remote stage boxes without additional clocking infrastructure. SuperMAC keeps latency under 1ms over the network, which is below the threshold of audible comb filtering even in acoustically live rooms. For touring or install work, this means running a single Cat5e snake to the stage rather than a bundle of analog cables.
Yes. The 24 faders are divided into three independently configurable sections, each of which can be assigned to any combination of input channels, buses, DCAs, or effects returns. A live engineer can have inputs on the left bank, mix buses in the center, and DCA masters on the right — all moving simultaneously when scene changes are recalled.
The Wing runs its processing on dedicated DSP hardware rather than a general-purpose CPU, so effects load does not degrade system stability or introduce variable latency. Internal latency through the console is fixed regardless of processing load, which is essential for in-ear monitor mixes where timing consistency matters.
The 10" capacitive touchscreen is designed as a supplement to physical control, not a replacement. The dedicated channel editing section with 11 rotary controls and a per-channel TFT display means most routine adjustments — EQ, dynamics, aux sends — are handled with knobs, not taps. The touchscreen accelerates routing, scene management, and setup tasks where deliberate interaction is expected.

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