Shure AD4D Axient Digital Dual Mic Receiver
Shure·Model AD4D·shure-ad4d-mic
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Shure AD4D
The AD4D for wireless microphones provides the same flagship Axient Digital platform used for instruments, with Quadversity antenna combining for maximum dropoutA brief audio gap when the radio link fails — the thing diversity, distros, and coordination all exist to prevent. resistance and ShowLink for real-time remote control of transmitter parameters. This is the receiver that major tours and Broadway productions rely on for vocalist microphones where any wireless dropout is unacceptable. Dual DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. outputs with redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. networking ensure the audio gets to your console reliably.
The AD4D is Shure's flagship dual-channel wireless mic receiver, sitting at the top of the Axient Digital platform. Two channels 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. is the obvious headline, but the real story is what those channels come with: Quadversity antenna combining, ShowLink remote transmitter control, and dual DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. outputs with redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. networking. This is the receiver built for situations where a dropoutA brief audio gap when the radio link fails — the thing diversity, distros, and coordination all exist to prevent. isn't an inconvenience — it's a career moment. Major touring productions and Broadway houses use it precisely because the platform was engineered around that zero-tolerance standard.
At load-in, the 340mm depth is the first thing to plan around — this unit runs deep, so verify your rack has the clearance before the truck rolls. 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 feed Quadversity combining, which means you can run four antennas per receiver and let the system pick the best signal in real time, a meaningful edge in RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping.-dense festival or theater environments. ShowLink's SMAThe small threaded RF connector on bodypacks and half-rack wireless — hand-tight antenna connections that survive a gig bag. port lets you adjust transmitter gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip., mute, or frequency from your receiver position without touching the pack, which matters when a singer's pack is in a costume and intermission is two minutes. DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. primary and secondary outputs give you a redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. digital path to the console, so a single network switch failure won't kill a vocal.
If you're specifying a touring vocal rig, a theatrical production, or any high-stakes corporate event where the wireless budget reflects the consequence of failure, the AD4D makes sense at $6,499 per unit. If you're running a small regional venue, a rehearsal studio, or a rig where the wireless channels stay mostly static and nobody is monitoring RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. in real time, the cost is hard to justify — a well-set-up QLX-D or ULX-D system will cover most of those needs for considerably less. The AD4D earns its rack space when the full Axient ecosystem — ShowLink, Quadversity, DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. redundancyA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. — is actually in use, not as a prestige buy.
In the rack
- Plan your rack depth before committing: at 340mm this unit needs a proper touring rack or a deep credenza-style case — shallow utility racks won't close cleanly.
- Run all four antenna inputs for Quadversity combining; parking only two BNCsThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. leaves the receiver's primary dropoutA brief audio gap when the radio link fails — the thing diversity, distros, and coordination all exist to prevent.-resistance feature half-deployed.
- Wire both DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. ports to separate network switches from day one — redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. networking only protects you if the two paths are genuinely independent.
- Use ShowLink to set a conservative RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. power floor on transmitters before doors open; if you need to bump gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip. during the show when a pack shifts in a costume, you can do it from the rack without going on stage.
Axient Digital dual-channel receiver. Flagship wireless with Quadversity, ShowLink, and DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes..
I/O Ports (18)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| XLR Out 1 | XLR MALE | output | analog audio | — |
| XLR Out 2 | XLR MALE | output | analog audio | — |
| 1/4" Out 1 (-10dB) | TRS QUARTER | output | analog audio | — |
| 1/4" Out 2 (-10dB) | TRS QUARTER | output | analog audio | — |
| AES3 1&2 Out | AES3 XLR | output | digital audio | 2 |
| Antenna A | BNC | input | antenna | — |
| Antenna B | BNC | input | antenna | — |
| Antenna Cascade Out C | BNC | output | antenna | — |
| Antenna Cascade Out D | BNC | output | antenna | — |
| Dante Primary | DANTE RJ45 | bidirectional | digital audio | 2 |
| Dante Secondary | DANTE RJ45 | bidirectional | digital audio | 2 |
| Ctrl 1 (PoE) | RJ45 | bidirectional | data | — |
| Ctrl 2 (PoE) | RJ45 | bidirectional | data | — |
| ShowLink (retired — via AD610 on ctrl) | SMA | bidirectional | data | — |
| Word Clock In (BNC) | BNC | input | digital audio | — |
| Word Clock Thru (BNC) | BNC | output | digital audio | — |
- Power (IEC locking) (IEC C14)
- AC Power Cascade Out (IEC) (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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Guides from our library that cover planning around wireless mic gear.
Why sealed IEMs make you feel disconnected from the room — and exactly how to put the audience back into your mix with one or two well-placed mics.
Why your wireless mics and IEMs need a frequency plan, what intermodulation means in practice, and how to coordinate channels for a clean show.
When you need a combiner vs a distro, active vs passive, cable choice and length math, and how to scale a 4-pack rig into an 8 or 12-pack without intermod nightmares.