Behringer XR18 Digital Mixer
Behringer·Model XR18·behringer-xr18
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Behringer XR18
The Behringer XR18 crams 18 input channels and six auxAn auxiliary mix output — each aux is its own independent blend of the channels, typically one per monitor mix or effects send. busesA path where multiple channels sum into one signal — mixes, groups, and mains are all buses. A 25-bus console can build 25 blends at once. into a tabletop stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. chassis with built-in WiFi for tablet control, making it one of the most space-efficient and affordable digital mixers available. The chassis is not a 19" panel — plan a rack-ear adapter kit or a shelf about three rack-spaces tall to secure it. It doubles as an 18-channel USB audio interface, which is useful for recording or virtual soundcheckPlaying a recorded show back through the console as if the band were on stage — dial in mixes before anyone plugs in. from your playback computer. An excellent starting point for budget IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rigs where you need mixing, routing, and USB multitrack in one compact box.
18-channel tablet-controlled mixer with WiFi. Compact 333 mm stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. chassis, racks 3UThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. on the ear kit.
I/O Ports (33)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Mic In 1 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 2 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 3 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 4 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 5 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 6 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 7 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 8 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 9 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 10 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 11 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 12 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 13 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 14 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 15 (XLR) | XLR FEMALE | input | analog audio | — |
| Mic In 16 (XLR) | XLR FEMALE | input | analog audio | — |
| Line In 17 (¼") | TRS QUARTER | input | analog audio | — |
| Line In 18 (¼") | TRS QUARTER | input | analog audio | — |
| XLR Out 1 | XLR MALE | output | analog audio | — |
| XLR Out 2 | XLR MALE | output | analog audio | — |
| XLR Out 3 | XLR MALE | output | analog audio | — |
| XLR Out 4 | XLR MALE | output | analog audio | — |
| XLR Out 5 | XLR MALE | output | analog audio | — |
| XLR Out 6 | XLR MALE | output | analog audio | — |
| Main Out L (XLR) | XLR MALE | output | analog audio | — |
| Main Out R (XLR) | XLR MALE | output | analog audio | — |
| Phones (¼") | TRS QUARTER | output | analog audio | — |
| Ultranet (P-16) | RJ45 | output | digital audio | 16 |
| MIDI In | MIDI DIN5 | input | data | — |
| MIDI Out | MIDI DIN5 | output | data | — |
| USB | USB B | bidirectional | data | — |
| Ethernet (REMOTE) | RJ45 | bidirectional | data | — |
- Power (IEC) (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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Step-by-step: linking aux buses into stereo pairs, pre-fader vs post-fader, routing buses to Ultranet vs physical XLRs vs AES50, and adding a bus-level limiter.
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