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.
| 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 |
100 dB |
| 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 |
+16 dBu |
| 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 |
-97 dBu* |
| Residual noise level, aux and monitor TRS out connectors |
-95 dBu* |
| Main screen |
10.1" TFT LCD, 1280 x 800 px, capacitive touch |
| Main screen swivel, continuous adjustment |
15°- 60° |
| 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 |
| Custom controls | |
| Fully assignable rotary controls |
4 |
| Fully assignable backlit buttons |
8 + 8 |
| Variable rotary controls / buttons |
4 / 4 |
| Switch-mode power supply |
Auto-ranging 100-240 VAC (50/60 Hz) |
| Power consumption |
130 W |
| Standard operating temperatur range |
5°C – 40°C (41°F – 104°F) |
| Dimensions (HxWxD) |
201 x 870 x 575 mm (7.9 x 34.3 x 22.6") |
| Weight |
24 kg (52.8 lbs |
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.
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.
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.
Whole of our offer available at magnusmusic.eu website is subject to 24 months seller's warranty. During this period we also provide door-to-door service. All products in our store are also covered by the manufacturer's OR distributor's warranty.
Every repair covered by door-to-door service is arranged by authorized service points. If you have any problem with the bought product, please contact us at: orders@magnusmusic.eu to determine details.
