Audio-Technica ATW-R5220 5000 Series Dual Receiver
Audio-Technica·Model ATW-R5220·audio-technica-atw-r5220
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Audio-Technica ATW-R5220
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 and native DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output in a full-rack form factor. It competes directly with the Shure ULXD4D and Sennheiser 500 series in audio quality and RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance. The Dante integration and dual-channel design make it space-efficient for productions that need professional-grade wireless without committing to the Shure or Sennheiser ecosystems.
The ATW-R5220 is Audio-Technica's answer to the dual-channel wireless receiver slot in a serious production rack. It pulls two independent 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. space, handles 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 on both, and gives you 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 plus a DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. port on the back — all from the 5000 Series, which is A-T's flagship wireless platform. If your rig has historically defaulted to Shure or Sennheiser for professional wireless, this unit sits squarely in that conversation on RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance and audio quality without requiring you to buy into either of those ecosystems.
At 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 250mm deep, this fits a standard rack without drama, and the 15-watt draw (20W max) is modest enough that a six-channel wireless build won't make your power conditionerFilters venue AC, clamps surges, and gives the rack one tidy inlet. Not a voltage regulator and not a battery — just cleaner power. sweat. The two BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. antenna inputs are shared across both receiver channels in the true-diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. scheme, so you're running one antenna pair for the unit — plan your combinerThe transmit-side twin of a distro: merges several IEM transmitters into one antenna without letting them intermodulate. and distribution accordingly if you're stacking multiple receivers. The DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output is a single EtherConAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. port, and it carries both channels over the network simultaneously, which is the feature that justifies this unit in a modern digital 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. workflow. 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. outs are still there if your console or split isn't Dante-ready.
This receiver belongs in a rig where you're already on DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. or actively building toward it, and where you need to keep rack space honest across a multi-channel wireless build. The dual-channel format halves your 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. count compared to running two single-channel units. If your whole show runs analog infrastructure and you'll never touch the Dante port, you're paying for capability you won't use — a mid-tier dual-channel unit would serve you just as well at lower cost. Equally, if your team is already deep in Shure ULXD infrastructure with antennas, combinersThe transmit-side twin of a distro: merges several IEM transmitters into one antenna without letting them intermodulate., and ShowLink management, migrating to A-T mid-tour is more disruption than it's worth.
In the rack
- If you're stacking two or more ATW-R5220 units, budget for an active antenna distributor — sharing one antenna pair across multiple receivers requires proper splitting to avoid signal loss and RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. noise.
- The single DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. port carries both channels as discrete network audio, so label your Dante flows clearly at patch time: channel 1 and channel 2 from this unit will appear as separate Dante transmitters and are easy to mis-route in a dense session.
- Run the 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 to a passive stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. or direct to console as your backup path, even in a fully DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. rig — if a network switch goes down during a show, you want analog already patched and routed.
- At 250mm depth, this unit will clear most standard rack rails without issue, but verify your road case interior depth before a first tour — shallow cases built around 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 can catch the rear panel connectors.
5000 Series dual-channel receiver. True diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. with DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output.
I/O Ports (9)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| XLR Out 1 | XLR MALE | output | analog audio | — |
| XLR Out 2 | XLR MALE | output | analog audio | — |
| Phones (front, 6.3mm) | TRS QUARTER | output | analog audio | — |
| Antenna A In | BNC | input | antenna | — |
| Antenna B In | BNC | input | antenna | — |
| Antenna A Out (cascade) | BNC | output | antenna | — |
| Antenna B Out (cascade) | BNC | output | antenna | — |
| Network (LAN; Dante on -DAN) | RJ45 | bidirectional | data | — |
- Power (IEC) (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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