This article explains how to use Waves plugins with the Behringer Wing mixer through USB audio and Ableton Live. It covers setting up the Wing for USB output, configuring Ableton Live for audio processing, implementing Waves plugins, and routing processed audio back to the Wing. The article highlights two methods for this routing: direct patching and using an external effects rack, each with its implications for sound output.
The article outlines the functionalities of buses, matrices, and mains on the Behringer Wing mixer. Buses are used for creating submixes and effects processing; matrices combine buses or mains for additional processing but cannot directly mix channels; and mains, uniquely on the Wing, function like buses, allowing for diverse routing options. This understanding is essential for sound engineers to effectively use the Behringer Wing for complex audio setups.
The article explains the functionalities of the ‘Save’ and ‘Update’ buttons in the Behringer Wing mixer’s snapshot management system. ‘Save’ captures the entire mixer’s settings but recalls only the defined scope, ideal for major changes. ‘Update’ modifies an existing snapshot but is limited to its current scope, suitable for minor adjustments. The article also highlights the ability to edit the scope of a snap, providing flexibility in managing different board settings.
This article provides a step-by-step guide to setting up multitrack recording using the Behringer Wing mixer with a Dante card and Adobe Audition. It covers the setup of Dante routing on the mixer, the use of Dante Controller and Virtual Sound Card on a computer, and the configuration of Adobe Audition for recording multiple channels. This setup allows for the recording of up to 64 individual tracks, offering extensive control and flexibility for audio recording and production.
The article discusses an advanced routing technique for using Behringer P16 personal mixers with a large band setup through the Behringer Wing mixer and multiple stage snakes. This setup allows for the optimal use of P16’s 16 channels by creating different mixes for vocalists and the band, using independent connections from the Wing to each stage snake. This method ensures that all musicians have access to the necessary parts of the mix, despite the limited channel availability of the P16 mixers.
Optimizing In-Ear Mixes: Navigating the Behringer Wing’s Processing Chain Equipment Links Behringer WingBehringer S32 Stage Snake Introduction For live sound engineers and musicians, understanding the processing chain of a mixer like the Behringer Wing and its impact on in-ear monitoring is…
The article outlines the Behringer Wing’s capacity to manage 48 stereo channels, with each channel capable of handling mono or stereo inputs. Additionally, it highlights the mixer’s auxiliary inputs, ability to connect to 96 inputs via AES50 ports, and expansion possibilities with Dante and USB. The Wing’s advanced routing capabilities, including scene management with “snaps”, are also discussed, showcasing its versatility in various audio scenarios.
This article discusses the methods of connecting multiple S32 stage snakes to a Behringer Wing mixer and the resulting routing configurations. Two primary connection methods are explored: cascading, which allows for a total of 48 inputs and 16 outputs; and independent connections, offering full access to all inputs and outputs on each snake. The article also covers the routing for P16 personal monitors and the benefits of each setup, especially in terms of flexibility and expanded routing options for stereo inputs and monitor mixes.
The article discusses the method of sending a bus from the Behringer Wing to a P16 personal monitoring system, focusing on situations where there are more input channels than the P16 can handle. It highlights grouping multiple inputs, like drum mics, into one channel on the P16 using a bus on the Wing. The process involves selecting a bus, adjusting levels, ensuring the channels are pre-fader, and then routing this bus to the appropriate channel on the P16, effectively consolidating inputs and simplifying the monitoring process.
This article provides a comprehensive guide on how to set up and route Behringer P16 personal monitors using the Behringer Wing mixer in conjunction with a Behringer S32 stage box. The process begins with connecting the Wing mixer to the S32 stage box, and then linking the P16 monitors through the Ultranet port of the S32. The routing on the Wing for P16 monitors is distinct, involving specific output channels. The first 16 outputs in the AES50 A configuration correspond to the stage box’s outputs, while channels 33 to 48 are dedicated to the P16 monitors. Each output channel from 33 to 48 on the Wing corresponds to a channel on the P16, allowing for precise and individualized control over the audio each performer hears in their personal monitor. The article walks through the process of routing each channel, emphasizing the importance of this setup for live sound engineers in creating tailored audio experiences for performers.