Real-world rack components used in professional IEM and playback rigs. Every entry has full port definitions plus power and weight specs. Click a model to see ports, compatibility, and related gear, or jump straight into the planner to build a rig.
The Audio-Technica ATW-3255 puts 3000-series wireless engineering into in-ear monitoring: a half-rackThe 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. transmitter with wide 138 MHz tuning,
The Galaxy Audio AS-1200T is the working-band budget pick for wireless ears: a half-rackThe 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. stereo transmitter that ships with rack earsThe flanges that bolt gear to the rack rails. Desktop boxes without them need a shelf, tray, or drawer to live in the case., anten
The LD Systems MEI 1000 G2 is the European budget IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. standard: a half-rackThe 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. stereo transmitter with 96 selectable channels, limiterA compressor with a hard ceiling: nothing gets past the level you set. In an IEM rig it’s hearing protection as much as tone., and thr
Sennheiser's workhorse wireless IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter offers dependable UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. performance at a mid-range price point.
The Sennheiser XSW IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. SR brings Sennheiser in-ear monitoring under four hundred dollars: a half-rackThe 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. stereo transmitter with adjustable ant
The Shure ADTD is the dual-channel transmitter of the Axient Digital PSM platform: two stereo IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. channels of wideband digital RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. with DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes.
The Shure ADTQ packs four stereo channels of Axient Digital PSM into a single rack space - the densest IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmission Shure makes.
The flagship of Shure's IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. lineup, the PSM1000 delivers broadcast-quality wireless monitoring with exceptional RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance and audio fid
The PSM200 is Shure's most affordable wireless IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. system, providing a simple single-channel stereo mix in a half-rackThe 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. transmitter.
The PSM300 is the entry point into Shure's professional IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. ecosystem and a great option for smaller acts, worship environments, and rehears
The PSM900 sits in the sweet spot between the budget PSM300 and the flagship PSM1000, offering professional-grade audio quality and solid RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping.
The Wisycom MTK952 is a premium IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter favored on top-tier tours and broadcast productions where RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance is paramount.
The Wisycom MTK982 succeeds the MTK952 as the broadcast-grade dual IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists./IFBInterruptible FoldBack — a broadcast-style ear feed where a director can talk over the program audio when needed. transmitter: two stereo channels tunable across 230 MHz of spectr
The Xvive U4 is an ultra-compact wireless IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. system that plugs directly into a mixer or headphone amp output without any rack mounting requ
The EK IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. G4 bodypack is the receiver half of Sennheiser's mainstay analog IEM system.
The Shure ADXR is the bodypack half of Axient Digital PSM: true digital diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. reception across a huge 166 MHz window, with the audio qua
The P9RA is the diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. bodypack receiver paired with the PSM900 transmitter.
The P10R+ is the bodypack receiver that pairs with the PSM1000 transmitter, worn by performers to receive their monitor mix wirelessly.
The P3RA is the metal-bodied bodypack receiver for the PSM300 system.
The Wisycom MPR50-IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. is a touring-grade bodypack receiver with an exceptionally wide tuning range and class-leading RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance.
The Audio-Technica ATW-3212 is a single-channel receiver from the 3000-series wireless line, paired with the matching bodypack or handheld t
The ATW-R3210 mic receiver brings Audio-Technica's 3000 Series performance to wireless vocal and lavalier applications, with network-enabled
The Audio-Technica ATW-R5220 is a high-end dual-channel wireless receiver from A-T's flagship 5000 Series, offering true diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. reception
The Sennheiser EM 300 G4 is the half-rackThe 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. bodypack/handheld receiver in the Evolution Wireless G4 line — a single-channel receiver typically
The EM 500 G4 is the upgrade path from EM 300 G4: same half-rackThe 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. form factor but doubled switching bandwidth (88 MHz) and broader-range tuni
The EW 300 G4-865-S pairs a condenser capsule handheld transmitter with the G4 receiver platform, delivering the brighter and more detailed
The EW 500 G4-935 is Sennheiser's professional-tier wireless vocal system with the dynamic e935 capsule, known for its warm and natural soun
The Sennheiser EW-D 835-S brings digital wireless clarity to the handheld mic world at an accessible price, with ultra-low 1.9ms latencyThe delay between sound entering and leaving a digital system. IEM rigs fight to keep the whole chain down to a few milliseconds. tha
The EW-D EM is Sennheiser's digital wireless rack receiver, paired with EW-D handheld or bodypack transmitters.
The EW-DX 835-S set pairs Sennheiser's EM 2 half-rackThe 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. dual-channel digital receiver with two SKM-S handhelds carrying the workhorse MMD 835
The Sennheiser EW-DX EM 4 DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. is a four-channel digital wireless receiver with full Dante integration, the higher-end of the EW-DX line.
The Sennheiser XSW 1-835 brings Sennheiser vocal wireless under $350: a half-rackThe 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. receiver with an e835-capsule handheld, automatic frequenc
The AD4D for wireless microphones provides the same flagship Axient Digital platform used for instruments, with Quadversity antenna combinin
The AD4Q packs four Axient Digital receiver channels into a single 1UThe 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. rack space with full DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes., ShowLink, and Quadversity support, making
The Shure QLXD4 is the half-rackThe 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., single-channel sibling to the ULXD4 line — same Shure digital audio quality, but one channel at a time and
The Shure SLXD4 is an entry-level digital wireless receiver that delivers surprisingly good audio quality for its price, with digital transm
The Shure SLXD4D is a dual-channel digital wireless receiver that hits the sweet spot for theaters, regional touring, and houses of worship
The Shure SLXD4D puts two SLX-D receivers in a single full-rack unitThe 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., providing an efficient and cost-effective way to deploy two wireless m
The Shure SLXD4Q packs four channels of SLX-D digital wireless into one rack space with internal antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent., making it the value p
The Shure SLXD4QDAN adds DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. networking to the quad SLX-D receiver, putting four wireless mic channels directly on the audio network along
The ULXD4 wireless mic receiver delivers professional 24-bit digital audio with AES-256 encryption for secure wireless transmission in corpo
The Shure ULXD4D packs two full digital wireless channels into 1UThe 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., with DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes.-networked outputs in addition to analog 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. and 1/4" — rack tw
The ULXD4D dual-channel mic receiver packs two ULX-D channels into a single rack unitThe 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. with native DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output, streamlining integration int
The Shure ULXD4Q is a four-channel digital wireless receiver in a single rack space, doubling the channel density of the dual-channel ULXD4D
The ULXD4Q is the most space-efficient ULX-D receiver, fitting four wireless mic channels into a single 1UThe 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. rack space with native DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. outp
The Wisycom MCR54 is a premium quad-channel wideband receiver used in the most demanding broadcast and touring environments worldwide.
The Audio-Technica ATW-R3210 is a network-enabled true diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. receiver with DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output capability, making it a versatile option for
The Line 6 Relay G55 operates on 2.4GHz digital wireless, avoiding the increasingly crowded UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. spectrum entirely.
The Sennheiser EW 300 G4-CI1 is a solid mid-range wireless instrument system with true diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. reception and Sennheiser's well-proven
The EW 500 G4-CI1 steps up from the 300 series with enhanced RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. stability and extended operating range, making it better suited for larger s
The Sennheiser EW-D CI1 brings digital wireless to the instrument market at an accessible price point, with ultra-low 1.9ms latencyThe delay between sound entering and leaving a digital system. IEM rigs fight to keep the whole chain down to a few milliseconds. that is
The Shure AD4D is the pinnacle of wireless guitar reception, offering Axient Digital's full feature set including Quadversity antenna combin
The Shure GLXD4R+ is a rack-mountable digital wireless guitar receiver operating on dual 2.4GHz and 5.8GHz bands for enhanced reliability in
The Shure ULXD4 is a professional UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. digital wireless receiver that delivers 24-bit audio quality with AES-256 encryption, making it suitab
The Shure ULXD4D puts two ULX-D receivers in a single full-rack unitThe 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., halving the rack space needed for multi-channel wireless guitar or ins
The Audio-Technica ATW-DA49a distributes a diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. antenna pair to four receivers across a very wide 470-950 MHz range, covering the 3000/
The Professional Wireless GX8 is the gold standard for antenna combining on major touring productions, trusted by RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. coordinators worldwide.
RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. Venue's COMBINE4 is a brand-agnostic passive antenna combinerThe transmit-side twin of a distro: merges several IEM transmitters into one antenna without letting them intermodulate. that merges four transmitter outputs into one antenna feed.
The RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. Venue COMBINE6 HDR squeezes a six-input IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter combinerThe transmit-side twin of a distro: merges several IEM transmitters into one antenna without letting them intermodulate. into half a rack space, with high dynamic rangeThe span between a device’s noise floor and its clipping point — the room between the quietest and loudest sounds it can pass. RF stages built for
The COMBINE8 scales up RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. Venue's passive combinerThe transmit-side twin of a distro: merges several IEM transmitters into one antenna without letting them intermodulate. design to handle eight transmitter inputs, making it suitable for larger IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rigs.
The RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. Venue DISTRO4 is a full-width 1UThe 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. antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. system with four diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. receiver feeds plus cascade outputs.
The RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. Venue DISTRO5 HDR feeds five diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. receiver pairs from one antenna pair in half a rack space, with DC power distribution for the
The DISTRO9 HDR is RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. Venue's flagship antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. system, offering nine outputs with exceptional dynamic rangeThe span between a device’s noise floor and its clipping point — the room between the quietest and loudest sounds it can pass. that handles dense
The Sennheiser AC 3200-II is the touring-standard active combinerThe transmit-side twin of a distro: merges several IEM transmitters into one antenna without letting them intermodulate., putting up to eight IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitters on a single antenna with headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. de
The Sennheiser AC 41-US combines four IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter outputs onto one antenna, the standard move once an evolution wireless G4 monitor rack
The ASA 1/NT is Sennheiser's higher-capacity antenna splitter with eight outputs per side and built-in Ethernet for remote monitoring via Se
The ASA 214 is Sennheiser's entry-level antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. solution, designed specifically for their Evolution Wireless and 2000 series re
The Sennheiser EW-D ASA is the current-generation antenna splitter for Evolution Wireless Digital, feeding four EW-D or EW-DX receivers from
The AD616 is purpose-built for Shure's Axient Digital wireless platform, providing six-way antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. with integrated ShowLink sup
The Shure PA411 combines the RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. from up to four PSM 300 transmitters onto a single antenna, cleaning up the intermodulationIntermodulation — ghost frequencies created when transmitters mix in each other’s electronics. Why multi-channel wireless is calculated, not guessed. and antenna farm
The PA421B lets you combine up to four IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. outputs into a single antenna, dramatically reducing the number of antennas needed
The PA821A is the larger sibling of the PA421A, combining eight IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter outputs into a single antenna pair with active filtering to
The Shure UA221 is the simplest way to share one antenna pair between two receivers: a passive two-way splitter with no power required, sold
A compact and reliable antenna splitter for smaller Shure wireless deployments, the UA844+SWB distributes one antenna pair to four receivers
The UA845+SWB is the standard antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. unit for Shure PSM and ULX-D wireless systems, splitting a single antenna pair to feed up
The Wisycom MAT288 is a top-tier antenna matrixA routing grid that builds extra outputs from any mix of mixes or channels — fills, lobby, stream feeds — without touching the main mix. that combines and distributes RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. for both IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitters and wireless mic receivers simult
The CP Beam is a high-gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip. helicalA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. that folds flat like a camp chair — 9 dBd of directional punch that collapses into a rack drawer at load-
The DiversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. Architectural is RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. Venue's answer to rooms where a paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. on a mic stand is one tripod too many: a slim, paintable square tha
The RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. Venue DiversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. Fin is the shark-fin-shaped fix for dropoutA brief audio gap when the radio link fails — the thing diversity, distros, and coordination all exist to prevent.: instead of two identical paddlesA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere., it stacks a vertical LPDA and a horizo
The A 1031-U is Sennheiser's workhorse remote antenna: a passive omnidirectional blade that gets the receive point off the rack rear and up
The A 2003-UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. was the standard Sennheiser paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. for two decades — the flat directional antenna hanging over half the world's monitor rigs,
The AD 3700 is Sennheiser's flagship receive paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere.: a wideband directional antenna with the AB 3700 booster built into the housing, so long
The ADP UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. is the current Sennheiser passive directional — the paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. designed alongside Evolution Wireless Digital, with a huge 470–1075 M
The HA-8089 is the clear plastic corkscrew on every arena IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig: a helicalA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. antenna built by Professional Wireless Systems and sold through
The PA805SWB is the transmit half of a serious PSM rig: hang it downstage of the band, feed it from a PA821 combinerThe transmit-side twin of a distro: merges several IEM transmitters into one antenna without letting them intermodulate., and every beltpack on
The UA860SWB is the antenna you reach for when the rack lives backstage: a passive omnidirectional whipThe stock quarter-wave stick antenna that screws straight onto a receiver — fine for a channel or two in a small room. that moves the receive point out of
The UA874 is the standard Shure paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. for remote-mounting receive antennas: a directional log-periodic array with a built-in amplifier whos
The Allen & Heath Avantis is a 64-channel digital console that combines the SQ-series mix engine with a gigaACE network connection to A&H's
The Allen & Heath CQ-20B squeezes 96kHz mixing, sixteen preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., onboard SD multitrack, and Wi-Fi/Bluetooth control into a compact box that
The Allen & Heath dLive C2500 is the mid-size control surface in the dLive C-class line — 28 faders across 3 banks plus a 12" capacitive tou
The dLive DM48 is the touring-grade mixrack at the heart of a dLive system — 64 channels of XCVI processing, 64 mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., 32 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. outputs,
The dLive DM64 is the largest S Class MixRack: 64 mic/line inputs, 32 line outputs and the 128-input / 64-bus XCVI processing engine in a 10
The Allen & Heath dLive S5000 is the S-class flagship surface — 28 faders across 4 banks plus twin 12" capacitive touchscreens, on a heavier
The Allen & Heath SQ-5 is a professional-grade digital mixer with 48 channels, 36 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., and an intuitive touchscreen interface that handles
The Allen & Heath SQ-7 is the largest of the SQ-series consoles, with 32 motorized faders and the same 48-channel mix engine as its smaller
The Allen & Heath SQ-Rack puts the full 48-channel SQ processing core in a rack format: sixteen local preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., SLink for remote stage boxesThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized.,
The Avid VENUE S6L-32D is a 32-fader live console surface, the control layer for an Avid VENUE | S6L system.
The Behringer Wing Rack takes the Wing mixing engine — 48 input channels, 24 mix 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., 16 main buses — and packages it for a 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. rack slot w
The Behringer XR16 is the budget door into tablet mixing: eight Midas-designed preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., 16 inputs, built-in tri-mode Wi-Fi, and rack earsThe flanges that bolt gear to the rack rails. Desktop boxes without them need a shelf, tray, or drawer to live in the case. in
The full-size Behringer X32 brings 32 Midas-designed mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and 16 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. outputs onto the console itself, eliminating the need for a stag
The Behringer X32 Rack packs a full-featured 40-input digital mixer into a 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. rack-mount form factor, making it a popular choice for IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. mix
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
The DiGiCo Quantum 338 is a flagship-class digital console built for the largest touring productions.
The DiGiCo SD12 is the working-class flagship in DiGiCo's SD line — 72 inputs, 36 outputs, dual 17" touchscreens, and the Stealth Digital Pr
The DiGiCo SD9 is the entry-point to the SD ecosystem — 48 inputs, 16 outputs, single 15" touchscreen, and one MADIA pro digital format carrying 64 channels on one coax or optical cable. Point-to-point — one sender, one receiver, no network required. port (with an optical op
The Midas M32 Live is the full-size, 32-fader M-class console with all of the I/O on board: 32 Midas mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., 16 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. outputs, three AES5
The Midas M32C packs the full 40-channel M32 processing engine into 1UThe 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. with no local preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds.: all I/O arrives over AES50The Behringer/Midas console-to-stage-box link: 48 channels each way over one shielded Cat5e cable, with near-zero latency. from DL-series stag
The Midas M32R Live is the rack-mountable, 16-fader sibling of the flagship M32 console.
The Midas MR18 is essentially a premium version of the Behringer XR18 with upgraded Midas preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and build quality, fitting an 18-input mix
The PreSonus StudioLive 16R is a triple-duty 1UThe 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.: a 16-preampThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. digital rack mixer, an AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. 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. for a StudioLive console, and an 18x18 USB
The PreSonus StudioLive 24R gives a monitor rig 24 recallable XLMAX preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and full Series III DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. in two rack spaces, doubling as an AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. s
The PreSonus StudioLive 32R is the flagship R-series rack mixer: 32 preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., 64x64 USB, AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. networking, and onboard SD multitrack in 2UThe 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..
A 32-channel analog in-line console that sits on a desk or stand, not in a rack.
The Soundcraft Vi3000 is a touring-grade console with the Vistonics II rotary-knob-on-screen surface that's become signature to the Vi line.
The Yamaha CL5 is the flagship of Yamaha's CL series and a workhorse on touring ridersThe document attached to a booking that lists what the band needs — inputs, monitors, power, backline (and the green-room snacks). and theater installs.
The Yamaha QL5 is the larger of Yamaha's QL-series digital consoles, a long-running staple of touring and theater rigs.
The Yamaha CSD-R7 is the integrated, all-in-one version of Yamaha's Rivage PM flagship console — 144 inputs, 72 outputs, and the DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. engine
The Yamaha TF-Rack carries the TF series touchscreen workflow into a 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. rack: forty processing channels, sixteen recallable preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., and an
The Behringer U-Phoria UMC1820 is the budget workhorse of rack interfaces: eight Midas-designed mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., 18x20 total I/O with ADATOptical digital audio: 8 channels at 48 kHz down one Toslink lightpipe (4 at 96 kHz). The usual way to add more channels to an interface. expan
The Scarlett 4i4 is Focusrite's popular mid-range interface with four inputs and four outputs, offering reliable performance and solid pream
The PlayAUDIO12 is purpose-built for live playback rigs, offering dual USB host connections that automatically fail over between a primary a
The PlayAUDIO1U expands on the PlayAUDIO12 with a full 1UThe 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. rack-mount form factor and additional I/O.
The iConnectivity PlayAUDIO2U (2026) is the flagship of the failoverThe automatic switch to the backup when the primary dies — good failover is seamless enough that the audience never knows. playback line: a 2UThe 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. interface with 24 panel-reinforced 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. outputs, fou
The MOTU 112D is a digital routing powerhouse that bridges virtually every digital audio format in a single 1UThe 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. box: MADIA pro digital format carrying 64 channels on one coax or optical cable. Point-to-point — one sender, one receiver, no network required. (64 channels), thre
The MOTU 1248 strikes a balance between analog connectivity and digital expansion, offering four premium mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., six analog outputs, an
The Thunderbolt 4 generation of the MOTU 16A keeps the format playback rigs loved — sixteen balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. line ins and outs in 1UThe 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. — and moves the
The MOTU 16A is a flagship 1UThe 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. rack-mount interface offering 16 channels of premium analog I/O on DB25A 25-pin D-shaped connector carrying 8 channels of analog or AES audio in one multicore — the Tascam pinout is the de-facto standard. connectors alongside Thunderbolt/USB a
The MOTU 24Ai mirrors the 24Ao but focuses on inputs, providing 24 channels of analog input on three DB25A 25-pin D-shaped connector carrying 8 channels of analog or AES audio in one multicore — the Tascam pinout is the de-facto standard. connectors.
The MOTU 24Ao is purpose-built for output-heavy applications like IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rigs, providing 24 channels of analog output on three DB25A 25-pin D-shaped connector carrying 8 channels of analog or AES audio in one multicore — the Tascam pinout is the de-facto standard. connectors.
The 2024 MOTU 828 carries the most famous name in project-rack interfaces into the current line: 28-in/32-out over USB3 with two mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds.
The MOTU 828es is a versatile rack-mount interface that doubles as a word clockThe shared heartbeat keeping every digital box sampling in lockstep. One device leads, the rest follow — or you get clicks and pops. source and distribution point, making it useful in rigs wher
The MOTU 848 is the flagship of the current line: 28-in/32-out over Thunderbolt 4/USB4 with four mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., eight line ins and outs, dual
The MOTU 8A provides eight balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. analog inputs and eight balanced TRS analog outputs in a half-rackThe 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. enclosure.
The MOTU 8D is a digital-focused 1UThe 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. interface providing eight channels of AES3The pro standard for stereo digital audio over an XLR cable — balanced, so it runs much farther than consumer S/PDIF. I/O on four 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. pairs, plus Thunderbolt, USB, and AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile./TSN net
The MOTU 8M combines eight high-quality mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. with extensive digital expansion (ADATOptical digital audio: 8 channels at 48 kHz down one Toslink lightpipe (4 at 96 kHz). The usual way to add more channels to an interface., AES/EBUThe pro standard for stereo digital audio over an XLR cable — balanced, so it runs much farther than consumer S/PDIF.) and AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile./TSN networking in a 1UThe 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. rack.
The MOTU LP32 provides 32 channels of line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. analog I/O on four DB25A 25-pin D-shaped connector carrying 8 channels of analog or AES audio in one multicore — the Tascam pinout is the de-facto standard. connectors, making it the highest channel-count analog interface in
The MOTU M2 is a compact 2-in/2-out USB-C interface featuring the same ESS Sabre32 DACDigital-to-Analog Converter — the chip that turns digital audio back into the analog signal headphones and amps need. technology found in MOTU's flagship models, deliverin
The MOTU M4 punches well above its price class with best-in-class conversion quality and an ESS Sabre DACDigital-to-Analog Converter — the chip that turns digital audio back into the analog signal headphones and amps need. that rivals interfaces costing thr
The MOTU M6 expands on the M4 with added MIDI I/O and a second headphone output, making it useful for rigs that need to drive MIDI-controlle
The MOTU UltraLite mk5 packs a massive 18x22 I/O count into a half-rackThe 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. chassis, making it one of the most port-dense interfaces at its size
The RME Babyface Pro FS is a portable powerhouse with the same legendary driver stability and low latencyThe delay between sound entering and leaving a digital system. IEM rigs fight to keep the whole chain down to a few milliseconds. that RME is known for in their rac
The RME Digiface DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. puts a computer on a Dante network with RME driver stability: 64 channels of Dante plus 64 channels of MADIA pro digital format carrying 64 channels on one coax or optical cable. Point-to-point — one sender, one receiver, no network required. in and ou
The Fireface UFX III is RME's flagship USB interface, renowned for rock-solid drivers and ultra-low latencyThe delay between sound entering and leaving a digital system. IEM rigs fight to keep the whole chain down to a few milliseconds. that make it a favorite for live
The Apollo x16 is a high-channel-count Thunderbolt interface with exceptional conversion quality, making it ideal as the primary I/O for a M
The Apollo x16D swaps the x16's analog-only rear for DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. network I/O, putting UAD conversion and DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. directly on the audio network a moder
The UA Volt 476 brings a taste of Universal Audio's analog heritage to a budget interface, with a built-in 76-style compressor circuit on th
The Universal Audio Volt 876 brings the Volt line into the rack: eight vintage-mode preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., 24-in/28-out USB-C I/O with 32-bit convertersThe circuitry that turns analog audio into digital data and back (A/D and D/A). Converter quality sets a digital rig’s sound ceiling.,
The Allen & Heath AB168 puts sixteen preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and eight outs on a dSNAKE Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. run for Qu, SQ, and Avantis systems.
The Allen & Heath DT168 is a 16-input, 8-output DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. 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. that integrates seamlessly with Avantis, dLive, and SQ consoles via a single
The Allen & Heath DX168 delivers 16 boutique A&H preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. at the stage over a single SLink shielded Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. link — the A&H equivalent of AES50The Behringer/Midas console-to-stage-box link: 48 channels each way over one shielded Cat5e cable, with near-zero latency..
The Behringer S16 is the budget AES50The Behringer/Midas console-to-stage-box link: 48 channels each way over one shielded Cat5e cable, with near-zero latency. 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. paired with X32-series consoles.
The Behringer S32 brings 32 Midas-designed preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. to the stage and carries every channel — plus 16 returns — back to the console on a singl
The Behringer SD16 is a budget-friendly 16-input, 8-output AES50The Behringer/Midas console-to-stage-box link: 48 channels each way over one shielded Cat5e cable, with near-zero latency. 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. compatible with Behringer X32 and Midas M32 consoles.
The Behringer SD8 puts eight remote-controlled Midas-designed preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and eight returns on an AES50The Behringer/Midas console-to-stage-box link: 48 channels each way over one shielded Cat5e cable, with near-zero latency. run, in a compact chassis that lives on
The Midas DL16 puts 16 Midas mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. at the stage and hauls every channel back to the console over a single shielded Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. using AES50The Behringer/Midas console-to-stage-box link: 48 channels each way over one shielded Cat5e cable, with near-zero latency. —
The Midas DL251 is the top-of-line AES50The Behringer/Midas console-to-stage-box link: 48 channels each way over one shielded Cat5e cable, with near-zero latency. 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. — 48 Midas preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and 16 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. outputs, all multiplexed onto three AES50 links.
The Midas DL32 is the big-brother 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.: 32 Midas preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and 16 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. outputs at the stage, all travelling back to the console on a singl
The MOTU Stage-B16 is built for the road with a rugged 1UThe 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. chassis, locking combo jacks, and front-panel headphone monitoring.
The PreSonus NSB16.8 is the AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. 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. for StudioLive Series III systems: sixteen recallable XMAX preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and eight outs over a single Ca
The PreSonus NSB32.16 scales the AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. 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. to thirty-two preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and sixteen returns, feeding StudioLive Series III consoles and R-serie
The Yamaha Rio1608-D2 is the DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes.-network equivalent of Midas DL16 — sixteen Yamaha-designed preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. at the stage, carried back to a CL/QL/
The Yamaha Rio1608-D3 is the third generation of the touring-standard Rio 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.: sixteen premium preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., eight outs, redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. an
The Rio3224-D2 is the flagship Yamaha DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. 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. — 32 mic preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., 16 analog outs, and 8 AES3The pro standard for stereo digital audio over an XLR cable — balanced, so it runs much farther than consumer S/PDIF. digital outs for clean splits to broadcas
The Yamaha Rio3224-D3 is the current flagship Rio: thirty-two preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and twenty-four outputs with redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. and dual power supplies i
The Yamaha Tio1608-D2 is the affordable DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. 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. in the Yamaha line: sixteen recallable preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and eight outs with one-touch pairing
The API 3124V is four channels of API's signature 2520 op-amp + transformerA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed.-coupled preampThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. circuit — the punchy, fast, top-end-forward sound
The Avalon VT-737sp is a class-A vacuum-tube channel strip — discrete tube preampThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., opto-style compressor, and 4-band parametric EQAn EQ where you dial the exact frequency, width, and cut or boost — surgical control next to a graphic’s fixed sliders. in one un
The BAE 1073MP is a hand-wired Class-A clone of the legendary Neve 1073 mic preampThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. — Carnhill input transformerA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed., the Marinair-spec output, a
The Heritage Audio HA-73 EQ Elite is a hand-wired single-channel 1073-style mic preampThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. with a 3-band EQ — Carnhill input transformerA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed., Class-
The Rupert Neve Designs Portico II Channel is Mr.
The Allen & Heath ME-500 is a compact personal mixer that pairs with A&H consoles via Monitor Mixer or M-Series mode.
The Aviom A320 is a 16-channel personal mixer using Aviom's proprietary A-NetAviom’s personal-mixer protocol — channels ride Cat5 from a distributor to each player’s mixer. The original mix-your-own-ears system. protocol, offering musicians hands-on control of their monitor
The Behringer P16-M gives each musician independent control over their 16-channel monitor mix via UltranetBehringer’s personal-monitoring link: 16 channels down a Cat5 cable to P16 mixers, so players dial their own ears without using console outputs. digital audio over a single Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded.
The Aviom A360 is a professional 36-channel personal mixer that gives musicians extensive control over their monitor mix with dedicated per-
The Behringer Powerplay HA8000 is an 8-channel rack-mount headphone amp at a budget price point.
The Hear Back Mix Hub is a rack-mount distribution hub that takes eight channels of analog audio via DB25A 25-pin D-shaped connector carrying 8 channels of analog or AES audio in one multicore — the Tascam pinout is the de-facto standard. and distributes them to multiple p
The PreSonus HP60 is a 6-channel rack-mount headphone mixer with per-channel mix between a main stereo and a cue feed, giving each performer
The Rolls PM351 is a simple belt-clip personal monitor mixer that lets a musician blend up to three audio sources into their headphone or IE
The 64 Audio A12t is the custom-molded version of the U12t, built to your impressions for the best possible isolation and fit.
The 64 Audio U12t is the universal-fit flagship of 64 Audio's lineup, with twelve balanced armaturesA tiny hearing-aid-derived driver used in pro IEMs — fast and detailed, often several per ear, each covering its own frequency range. per side and the company's apex pressur
The Audio-Technica ATH-E70 is a triple balanced armatureA tiny hearing-aid-derived driver used in pro IEMs — fast and detailed, often several per ear, each covering its own frequency range. universal IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. aimed at the pro audio market.
The Empire Ears Legend X is a hybrid IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. combining dual dynamic driversA miniature version of a normal speaker (coil and diaphragm) inside an earphone — moves more air, so it’s the bass engine in hybrid IEMs. with five balanced armaturesA tiny hearing-aid-derived driver used in pro IEMs — fast and detailed, often several per ear, each covering its own frequency range. per side, giving it some of the most au
The Etymotic ER4XR is a single balanced armatureA tiny hearing-aid-derived driver used in pro IEMs — fast and detailed, often several per ear, each covering its own frequency range. driver IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. known for its remarkably flat and accurate frequency responseThe range of lows-to-highs a device reproduces and how evenly it does it — flat means nothing is hyped or missing., favored by audio
JH Audio custom IEMsIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. are molded to your exact ear impressions for a perfect, secure fit that provides maximum isolation and comfort during l
The Mackie MP-220 is a dual dynamic driverA miniature version of a normal speaker (coil and diaphragm) inside an earphone — moves more air, so it’s the bass engine in hybrid IEMs. universal IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. at a budget price point that punches above its weight class.
The Sennheiser IE 100 Pro is an affordable single dynamic driverA miniature version of a normal speaker (coil and diaphragm) inside an earphone — moves more air, so it’s the bass engine in hybrid IEMs. IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. aimed at working musicians who need reliable monitoring on a tight budg
The Sennheiser IE 400 Pro is a step-up universal IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. built around a single broadband dynamic driverA miniature version of a normal speaker (coil and diaphragm) inside an earphone — moves more air, so it’s the bass engine in hybrid IEMs..
The Sennheiser IE 500 Pro is the flagship of Sennheiser's pro IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. line, with a refined single-driver design and an extended frequency respon
The Shure SE425 is a dual balanced armatureA tiny hearing-aid-derived driver used in pro IEMs — fast and detailed, often several per ear, each covering its own frequency range. universal IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. that hits a sweet spot between price and sound quality.
The Shure SE535 is a long-running triple-driver universal IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. that's become a staple for performing musicians on a step-up budget.
The Shure SE846 is a flagship universal-fit IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. with four balanced armatureA tiny hearing-aid-derived driver used in pro IEMs — fast and detailed, often several per ear, each covering its own frequency range. drivers per side, delivering exceptional detail and low-end exte
The UE 5 Pro is Ultimate Ears' entry-level custom-molded IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists., built from your ear impressions for a perfect fit.
The UE 7 Pro is a triple-driver custom IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. with a dedicated low-driver for solid bass extension.
The Westone AM Pro X30 is designed specifically for performing musicians, with ambient sound ports that let in a controlled amount of stage
The Westone Audio MACH 30 is a triple balanced armatureA tiny hearing-aid-derived driver used in pro IEMs — fast and detailed, often several per ear, each covering its own frequency range. universal IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. with a balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free., full-range presentation that musicians love for its e
The Westone Audio MACH 50 is a five balanced armatureA tiny hearing-aid-derived driver used in pro IEMs — fast and detailed, often several per ear, each covering its own frequency range. universal IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. aimed at performers who want premium detail and dynamics without going t
The Radial Catapult Mini RX converts four channels of audio carried over a single Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. cable back to individual 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. outputs, making it the r
The Radial Catapult Mini TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. puts four balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. 1/4-inch TRS connectors on the Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. system, matching the jacks found on rackmount inte
The Radial Catapult Mini TX is the transmit side of a Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. analog snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box., converting four 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 to a single Cat5 cable for lightweight l
The Radial Catapult Rack RX is a 1UThe 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. passive receiver that carries 12 channels of analog audio from three shielded Cat 5/6 cable runs to 12 X
The Radial Catapult Rack TX is the send-end partner to the Catapult Rack RX: a 1UThe 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. rack-mount transmitter that takes 12 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 sends
The Radial Catapult RX4 is the receive end of Radial's modular Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. system, breaking one shielded Cat5 run back out to four 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. output
The Radial Catapult RX4L is the isolated receive end of the Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. system, with line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. transformersA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. on each of its four 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. outputs
The Radial Catapult RX4M is the mic-optimized isolated receive module of the Catapult family, adding transformer isolationA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. on each channel t
The Radial Catapult TX4 is the transmit end of Radial's modular Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. system, collecting four 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. feeds onto a single shielded Cat5 run
The Radial Catapult TX4L adds line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. isolation transformersA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. to the Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. system, letting you split playback tracks or console outpu
The Radial Catapult TX4M is the mic-optimized isolated transmit module of the Catapult family, providing ground-lifted audio transmission ov
The Whirlwind Catdusa CT-F is the collect side of the Catdusa system, taking four sources on female 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. tails onto a single Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. etherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. r
The Whirlwind Catdusa CT-M breaks a Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. etherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. run out to four male 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. tails, turning one network cable into a four-channel analog drop
The ART S8 gives you eight passive Y-splits in a single rack space.
The ART S8-3WAY splits eight mic channels three ways in one rack space: a direct output plus two transformer-isolatedA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. feeds per channel, wit
The Behringer MS8000 is a budget-friendly 8-channel mic splitter that provides both direct and isolated outputs for each input.
Black Lion Audio's 8-channel passive splitter with their hand-selected transformerA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. pairs — sits between the budget Seismic / ART tier and th
The Radial JS3 is a premium single-channel mic splitter with Jensen transformer isolationA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. that cleanly splits one microphone signal to three
The Radial SW8 is a cornerstone of redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. playback rigs, automatically switching between two stereo sources so that if your primary playb
Sixteen channels of transformer-isolatedA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. splitting in a 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. chassis — enough to fan a full drum kit + backlineThe band’s on-stage instrument gear — amps, drums, keys. What a venue or festival sometimes supplies so you can travel light. into a separate monitor worldThe side-stage domain of the monitor engineer — console, IEM racks, and everything feeding the band’s ears instead of the audience.
Twenty-four channels of transformer-isolatedA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. splitting in a 4UThe 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. chassis.
Thirty-two channels of transformer-isolatedA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. splitting in a 5U chassis.
A budget-tier 8-channel mic splitter with transformer isolationA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. on the secondary outputs, providing ground-loop immunity between the FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. con
The Whirlwind DA-2 is a simple, reliable audio distribution amplifier for splitting or combining balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. audio signals.
The BSS AR-133 is a long-running active DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. that runs on either phantom powerThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. or a 9V battery, making it convenient for stages where phantom
The Countryman Type 85 is one of the most trusted active DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. boxes in professional audio, known for its exceptional headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. and transparent
The Radial J48 is a phantomThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it.-powered active DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. that excels with piezo pickups and other high-impedanceOpposition to signal flow, in ohms. Low-impedance IEMs are easier to drive loud; mismatches shift level and tone. sources that passive DIs struggle with
The Radial JDI is a reference-grade passive DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. box with a Jensen JT-DB-E transformerA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed. that delivers transparent, noise-free signal conversion
The Radial ProDI is a reliable passive DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. box that delivers clean signal conversion at a more accessible price point than the JDI.
The Behringer PX3000 provides 48 TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. patch points in a single rack unitThe 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. at an unbeatable price, with switchable normallingA patch bay default path: the top jack feeds the bottom with nothing plugged in. Inserting a cable breaks (full) or taps (half) that path. modes that give y
A blank patch bayA panel of front-facing jacks wired to everything behind it — re-route any signal with a short cable instead of climbing behind the rack. you can fully configure per placement.
A purely passive 1UThe 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. rack panel with 16 Neutrik feedthrough 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. connectors — one side on the rack face (labeled stage patch points), the othe
The 24-port sibling of the 16-port panel.
A 32-port 2UThe 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. feedthrough panel — enough stage patches to 1:1 map every input of a 32-channel 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. (DL32 / S32 / Rio3224).
The Neutrik NZP1RU-12 provides a clean row of 12 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. pass-throughs from front to rear panel, making it easy to present organized connections
The Redco R196 breakoutA cable that splits one multichannel connector (like a DB25) into individual plugs — the octopus that turns 8 channels into 8 XLRs. panel converts a single DB25A 25-pin D-shaped connector carrying 8 channels of analog or AES audio in one multicore — the Tascam pinout is the de-facto standard. connector on the rear into eight individual 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. connections on the front, which is esse
The Samson S-patch Plus offers 48 TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. patch points with per-channel switchable normallingA patch bay default path: the top jack feeds the bottom with nothing plugged in. Inserting a cable breaks (full) or taps (half) that path., giving you a flexible and affordable patching sol
The Switchcraft MMVP is a professional-grade TTTiny Telephone — the slim bantam plug pro patch bays use to fit 48+ points into a single rack space. (bantam) patch bayA panel of front-facing jacks wired to everything behind it — re-route any signal with a short cable instead of climbing behind the rack. offering 48 patch points in a single rack unitThe 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..
The dbx 160A is the spiritual successor to the legendary 160 series — a single-channel VCA compressor that has been on more touring lead-voc
The dbx 266xs is the compressor that shows up in more racks than any other: two channels of OverEasy compression plus gating for under three
Drawmer's DL241 is a two-channel auto-compressor with their signature musical, transparent character — engineers who don't want to think abo
The Empirical Labs Distressor EL8-X is the one hardware compressor that still tours: a digitally controlled analog design whose Nuke and Bri
The BSS FCS-960 brings dual 30-band graphic EQAn equalizer with one fader per fixed frequency band (31 on a pro unit) — fast broad tone-shaping, classic for ringing out monitors. with BSS's Frequency Conscious filter shapes — narrower Q on cut, wider on boost — that make
The dbx 231s is the graphic EQAn equalizer with one fader per fixed frequency band (31 on a pro unit) — fast broad tone-shaping, classic for ringing out monitors. that still ships new: two channels of 31-band correction with the constant-Q filters and build quality that m
The Klark Teknik DN360 is the reference graphic EQAn equalizer with one fader per fixed frequency band (31 on a pro unit) — fast broad tone-shaping, classic for ringing out monitors. for live touring — a stereo 30-band on 1/3-octave centers with the smooth, musical filter
The Eventide H9000 is the flagship of Eventide's 40-year reverb/delay/multi-FX legacy — 16 stereo effect engines running in parallel, with f
The Lexicon PCM92 is the touring continuation of the Lexicon legacy that gave the world the 224, 480L, and PCM81 — lush, lead-vocal-defining
The Neural DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. Quad Cortex is a floor-based guitar and bass modeler with quad-core processing that captures and reproduces amp tones with re
The Quad Cortex MK2 builds on the original with improved DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. horsepower and enhanced connectivity options, allowing for more complex signal
The TC Electronic D-Two is the touring delay that monitor engineers and FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. engineers both keep on hand — multitap rhythmic patterns for lea
The dbx DriveRack PA2 is the budget loudspeaker management workhorse — stereo input, six outputs, AutoEQ for room tuning, AFS (Advanced Feed
The Lake LM 44 is the touring-grade loudspeaker system processor — the box that sits between FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. and the amplifier rows, doing crossoverSplits audio into frequency bands so each speaker only gets what it can handle — lows to the subs, highs to the horns., li
The Crown DCi 4|600N is the touring + install workhorse from the DCi line — four channels of 600W @ 4Ω, onboard DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. for crossoverSplits audio into frequency bands so each speaker only gets what it can handle — lows to the subs, highs to the horns. and limiti
The Crown DCi 8|600N doubles the channel density of the DCi 4|600N — 8 × 600W @ 4Ω in the same 2UThe 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. footprint.
The Crown I-Tech 12000HD is a two-channel 4500W-per-side touring amplifier with onboard BSS Omnidrive HD DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. — crossoverSplits audio into frequency bands so each speaker only gets what it can handle — lows to the subs, highs to the horns., alignment, EQ, and
The Crown XLi 3500 is the no-nonsense two-channel power amp that has been the entry point to "real touring power" for two decades.
The Lab.gruppen PLM 12K44 is the apex of touring amplification — 12,000W of total power across four assignable channels, onboard Lake DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. fo
The Powersoft X4 is a four-channel touring amplifier with 8000W of total output, integrated DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. audio networking, and Armonia DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. for cros
The QSC PLD4.5 is a workhorse four-channel touring amplifier with FlexAmp — assignable power across channels so 4 × 1125W or 1 × 4500W are a
The QSC PLD8.0 is the bigger sibling to the PLD4.5 — same FlexAmp assignable-power architecture, same Intrinsic Correction DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once., but with 800
The Cisco SG110D-08 is a step up from consumer-grade switches with Cisco's reputation for reliability, while still being unmanaged and plug-
The Cisco SG350-28 is a managed gigabit switchA network switch you can configure — VLANs, QoS, IGMP — so audio traffic gets priority. Dante rigs beyond a few boxes want one. that is well-proven in DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. audio network deployments.
The Luminex GigaCore 12 is designed from the ground up for professional AV networking, with firmware pre-configured for DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. and AES67The interop standard that lets different audio-network flavors (Dante, Ravenna, Livewire) exchange streams on the same network. traf
The Netgear GS308 is another solid budget option for simple networking needs in a small audio rig.
The TP-Link SF1008P provides Power over Ethernet on four of its eight ports, which is useful for powering DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. endpoints like the Audinate
The TP-Link SG108 is an inexpensive unmanaged gigabit switch that works well for simple DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. or control network setups where you just need
The ASUS RT-AX86U Pro is a popular mid-range WiFi 6 router with strong range, 2.5 Gbps WAN/LAN, and a solid signal even when stuffed into a
The Cradlepoint IBR900 is a ruggedized router with built-in cellular modem, WiFi access point, and Cradlepoint's NetCloud management — the c
The GL.iNet GL-AXT1800 is a pocket-sized WiFi 6 travel router that's become a favorite for fly-date musicians and engineers.
The Netgear Nighthawk RAX50 is a familiar consumer WiFi 6 router that punches well above its weight for tablet-control rigs.
The Peplink Balance 20X is a touring-grade router with built-in WiFi and a slot for a cellular modem, giving the rig internet access even wh
The TP-Link Archer AX21 is a budget-friendly WiFi 6 (AX1800) router that's become the default cheap pick for tablet-control rigs.
The UniFi Dream Router is Ubiquiti's integrated WiFi router and security gateway.
The AVIO analog input adapter takes two line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. 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. sources onto a DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. network from anywhere a Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. run reaches — a playback rig output
The Audinate AVIO adapter is a compact DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. endpoint that converts two channels of Dante audio to analog 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. outputs, powered entirely over
The Audinate AVIO USB adapter is the cheapest way to get a computer onto a DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. network: two channels each way over a USB-A connection, no
The DirectOut EXBOX.DANTEThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. is a Swiss Army knife format converterThe circuitry that turns analog audio into digital data and back (A/D and D/A). Converter quality sets a digital rig’s sound ceiling. that bridges between MADIA pro digital format carrying 64 channels on one coax or optical cable. Point-to-point — one sender, one receiver, no network required., Dante, ADATOptical digital audio: 8 channels at 48 kHz down one Toslink lightpipe (4 at 96 kHz). The usual way to add more channels to an interface., and AES digital audio formats.
The RedNet A16R MkII is a DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes.-networked analog I/O unit that bridges your audio network to the analog world, providing 16 inputs and 16 ou
The RedNet A8R provides eight channels of DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes.-to-analog conversion with redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. networking and power, making it a reliable workhorse for
The RedNet D16R bridges between AES3The pro standard for stereo digital audio over an XLR cable — balanced, so it runs much farther than consumer S/PDIF. digital audio and DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. networking, handling 16 channels in each direction with word clockThe shared heartbeat keeping every digital box sampling in lockstep. One device leads, the rest follow — or you get clicks and pops. I/O for sync
The EXBOX.BLDS is a two-input MADIA pro digital format carrying 64 channels on one coax or optical cable. Point-to-point — one sender, one receiver, no network required. redundancyA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. switch with Buffer Loop Detection.
The RME ADI-648 converts between MADIA pro digital format carrying 64 channels on one coax or optical cable. Point-to-point — one sender, one receiver, no network required. and ADATOptical digital audio: 8 channels at 48 kHz down one Toslink lightpipe (4 at 96 kHz). The usual way to add more channels to an interface. formats, handling up to 128 channels across two independent MADI streams.
The Antelope Audio OCX HD is the current standard-bearer master clock: oven-controlled oscillator stability, eight word clockThe shared heartbeat keeping every digital box sampling in lockstep. One device leads, the rest follow — or you get clicks and pops. outputs, and r
The Antelope Trinity is a high-precision master clock with an atomic rubidium oscillator and GPS disciplining that provides the most stable
An iPad running AUM (Audio Unit Mixer) can serve as a surprisingly capable playback host for smaller shows, offering a touch-friendly interf
The Mac Mini with Apple Silicon is the most compact and power-efficient Mac option for a playback rig, drawing minimal power while deliverin
The Mac Studio with Apple Silicon offers desktop-class performance in a compact form factor that fits on a 2UThe 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. rack shelf, making it an excel
Rack-mounting a MacBook Pro gives you the full power and screen of a laptop inside your rack, which is useful when you need direct visual ac
The Intel NUC is an ultra-compact Windows PC that fits easily on a rack shelf alongside other half-rackThe 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. gear, offering a low-power, small-fo
A custom rackmount PC gives you maximum flexibility in component selection, allowing you to spec exactly the CPU, RAM, and storage needed fo
The Ableton Push 3 is the definitive hardware controller for Ableton Live, offering deep integration for launching clips, triggering scenes,
The Behringer FCB1010 is a full-featured MIDI foot controller at a budget price, offering ten footswitches and two expression pedals in a pe
The iConnectivity mio 10 is a full-width 19-inch 1UThe 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. MIDI interface providing ten 5-pin DINThe round 5-pin connector classic MIDI uses — the original way synths, pedals, and playback rigs talk to each other. input/output pairs with programmable routing and
The iConnectivity mio XL is a professional MIDI router and interface with 16 MIDI ports (10 DINThe round 5-pin connector classic MIDI uses — the original way synths, pedals, and playback rigs talk to each other. + 6 USB), Ethernet MIDI for long cable runs,
The iConnectivity mioXM is a compact half-rackThe 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. 4x4 MIDI interface that combines classic 5-pin DINThe round 5-pin connector classic MIDI uses — the original way synths, pedals, and playback rigs talk to each other. MIDI with USB and Ethernet connectivity.
The Keith McMillen 12 Step is a chromatic MIDI foot controller designed for hands-free triggering of clips, scenes, or program changes durin
The Morningstar MC8 is a highly programmable MIDI foot controller favored by guitarists and keyboardists who need precise, customizable cont
The Furman M-8Dx offers basic power conditioning with the added benefit of a front-panel digital voltmeter that lets you verify incoming pow
The Furman M-8x AR adds Automatic Voltage RegulationActively holds the output at a steady 120 V while venue power sags or spikes — a step beyond filtering, one short of a battery. (AVR) to the standard power conditioning package, continuously correcting incoming volt
The Furman M-8x2 is the most affordable rack-mount power conditionerFilters venue AC, clamps surges, and gives the rack one tidy inlet. Not a voltage regulator and not a battery — just cleaner power. in Furman's lineup, providing basic surge protection and EMI/RFI filter
The P-1800 PF R is Furman's premium power conditionerFilters venue AC, clamps surges, and gives the rack one tidy inlet. Not a voltage regulator and not a battery — just cleaner power. with Series Multi-Stage Protection (SMP) and Linear Filtering Technology (LiFT) that d
The Furman P-8 PRO C is rated for 20-amp circuits, making it the right choice for racks loaded with power-hungry gear like multiple IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. tran
The Furman PL-8C is a no-frills power conditionerFilters venue AC, clamps surges, and gives the rack one tidy inlet. Not a voltage regulator and not a battery — just cleaner power. with pull-out rack lights that is a staple in live audio racks of all sizes.
The Furman PL-Plus DMC is a rack staple that cleans up your AC power while giving you real-time voltage and current monitoring via its front
The Panamax MR4300 provides clean power with automatic voltage monitoring that alerts you to power issues before they become problems.
The APC BR1500G provides 1500VA of battery backup with automatic voltage regulationActively holds the output at a steady 120 V while venue power sags or spikes — a step beyond filtering, one short of a battery. that keeps your equipment running through brownouts and
The CyberPower CP1500PFCLCD provides pure sine wave output, which is important for audio gear that can behave erratically on the simulated s
The CyberPower OR1500LCDRM1U provides battery backup in a slim 1UThe 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. rack-mount form factor, ensuring your playback computer and critical gear
The Eaton 5SC1500 offers 1500VA of line-interactive UPSUninterruptible Power Supply — a battery that rides the rig through brownouts and generator hiccups so computers never reboot mid-song. protection in a form factor that converts between tower and rack-mount configuration
The Furman P-1800 AR is a voltage regulatorActively holds the output at a steady 120 V while venue power sags or spikes — a step beyond filtering, one short of a battery. that actively corrects incoming AC voltage to a stable output, protecting your gear from the wil
The Gator GR-6L is a lightweight molded polyethylene rack case that provides 6U of rack space for compact IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. or playback rigs.
The Gator GRW-WOOD8U is an 8U open-frame wood laminate rack designed for studio and stationary installations rather than touring.
The Pelican 1510LOC is a carry-on compliant hard case with a laptop organizer insert that is widely used by touring musicians and engineers
A half-width 1UThe 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. rack shelf designed for mounting compact desktop interfaces and small devices in a standard rack.
A standard 1UThe 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. vented rack shelf that lets you mount desktop audio interfaces, small network switches, and other non-rack gear in a standard
The SKB 1SKB-R8U is a rugged roto-molded rack case providing 8U of space, which is enough for a full IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. and playback rig with power conditi
The Gator 1UThe 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. rack drawer provides secure, lockable storage for essential tools, adapters, spare cables, and other small items you want to ke
The Gator 2UThe 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. rack drawer provides more vertical clearance than a 1U drawer, accommodating larger items like wireless bodypack receivers, pow
The Gator 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. rack drawer offers substantial storage space for larger accessories, spare equipment, or personal items that need to travel wit
The Gator 4UThe 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. rack drawer is the deepest in the standard Gator range, providing enough space to store significant amounts of equipment, tools
Penn Elcom's 1UThe 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. rack drawer offers vented construction that allows airflow to pass through, which is important when it is positioned between
The Penn Elcom 5U rack drawer provides generous storage capacity for rigs that need to carry substantial spare equipment or accessories with
The Penn Elcom 6U rack drawer is the largest standard drawer option, offering maximum storage capacity for production teams that need to kee
The SKB 1UThe 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. rack shelf doubles as a sliding drawer, providing a flat surface for mounting non-rack gear or storing accessories.
The AC Infinity CLOUDPLATE T7 is a smart 1UThe 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. rack fan panel with built-in temperature sensing and an LCD display that shows real-time thermal
The AC Infinity CLOUDPLATE T9 is a 2UThe 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. smart fan panel with six fans and temperature-based automatic speed control, providing strong cooling
The Middle Atlantic QFP-1 is a quiet 1UThe 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. fan panel designed for audio racks where fan noise could be picked up by nearby microphones.
The Middle Atlantic UFP-2 provides high-capacity 2UThe 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. active cooling with six fans for racks that generate significant heat from densely packe
A 1UThe 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. vented rack panel covers unused rack space while allowing passive airflow through the rack, preventing hot spots around heat-generating
A 2UThe 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. vented panel fills larger open spaces in your rack while maintaining airflow for thermal management.
A 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. vented panel covers a substantial open area in your rack while still allowing passive air circulation.
The Clear-Com HelixNet HMS-4X is a four-channel digital intercom main station running over a single shielded Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. to all the beltpacks on t
The RTS BP-325 is a two-channel beltpack on RTS's analog partyline standard — clip it to a belt, plug a headset in the front, and you're on
