Radial Catapult Mini TRS
Radial·Model Catapult Mini TRS·radial-catapult-mini-trs
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Radial Catapult Mini TRS
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 interfaces and playback rigs. Use it at the rack end to lift four interface outputs onto one Cat5 run to stage, with a Mini RX or RX4 breaking out to 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. at the other end. Passive, compact, and interchangeable with every other Catapult module.
The 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. is a passive, four-channel Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. interface module that converts balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. quarter-inch TRS connections onto a single RJ45 run. Its job is simple and specific: you have a rack full of interface outputs or playback device sends on TRS jacks, and you need to move those signals across the stage without running four individual cables. One Cat5 does it. On the far end, a paired Catapult receiver — a Mini RX or RX4 — breaks the signal back out to 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. for drive racks, splitters, or wireless systems. No power, no transformersA magnetic coupling that passes audio between two windings with no wire contact — isolates splits and kills ground-loop hum, no power needed., no latencyThe delay between sound entering and leaving a digital system. IEM rigs fight to keep the whole chain down to a few milliseconds..
Four bidirectional 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. jacks and one RJ45 is the entire port count, which tells you exactly what this thing is and is not. Passive means signal integrity lives or dies on cable quality and run length — Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. or Cat6 in good condition over stage-reasonable distances behaves well, but this is not a digital system and it is not immune to noise pickup on a long or poorly shielded run. At one kilogram and zero rack unitsThe 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 Mini TRS is meant to live on the back of a rack shelf, zip-tied to a rail, or mounted in Radial's own Catapult rack frame rather than eating a rack space of its own. Power draw is zero, which matters when you're budgeting a conditioner.
If your playback rig or IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rack uses an interface with 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. line outputs — an RME, MOTU, or similar — and you need those signals to travel any real distance to stage, this is a clean, affordable answer. The interchangeability across the Catapult system is genuinely useful: you can mix TRS and 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. modules at each end depending on what the destination gear requires. Skip it if your interface already has XLR outputs, since a standard Catapult XLR module covers that without any adapter chaining. Also skip it if your run is very long or in a high-RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. environment — a 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. will serve you better there.
In the rack
- Mount the 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. directly on the back of your rack's top or bottom shelf using Radial's Catapult rack frame — keeping it mechanically secure prevents TRS cables from wiggling the RJ45 seat loose mid-show.
- Label both ends 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. run with the same color tape before load-in; the RJ45 connection is not keyed for direction, and grabbing the wrong end in a dark wing is a real risk.
- Use the bidirectional nature intentionally — if your interface needs to receive a cue feed from FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. on two channels and send playback on the other two, 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. run with this module at the rack handles all four in one cable.
- Always carry a spare patch-length Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded.; if the 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. goes quiet, the cable is the first suspect and swapping it takes thirty seconds.
4-channel Cat5Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. module with 1/4" 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. — for line-levelThe strong signal that runs between pieces of gear (about a volt) — hotter than mic level, far below speaker level. interface I/O.
I/O Ports (5)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| TRS 1 | TRS QUARTER | bidirectional | analog audio | — |
| TRS 2 | TRS QUARTER | bidirectional | analog audio | — |
| TRS 3 | TRS QUARTER | bidirectional | analog audio | — |
| TRS 4 | TRS QUARTER | bidirectional | analog audio | — |
| Cat5 | RJ45 | bidirectional | analog audio | — |
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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