How it works in the path
The I/O math is what makes it work as a monitor brain: 16 local XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. inputs and 8 XLR outs cover a small stage directly, and the two AES50The Behringer/Midas console-to-stage-box link: 48 channels each way over one shielded Cat5e cable, with near-zero latency. ports each carry 48 channels both ways — add an S16 or SD16 stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. and you're running a full band's inputs plus every IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. mix down one Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. run. The UltranetBehringer’s personal-monitoring link: 16 channels down a Cat5 cable to P16 mixers, so players dial their own ears without using console outputs. port feeds Behringer's P16 personal mixer system the first 16 channels without burning any of your XLR outs, and the USB interface gives you a 32×32 record/playback path to a computer for virtual soundcheckPlaying a recorded show back through the console as if the band were on stage — dial in mixes before anyone plugs in..










