Shure GLXD4R+ Wireless Guitar Receiver
Shure·Model GLXD4R+·shure-glxd4r-z2
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Shure GLXD4R+
The Shure GLXD4R+ is a rack-mountable digital wireless guitar receiver operating on dual 2.4GHz and 5.8GHz bands for enhanced reliability in congested RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. environments. Its 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 lets you pair two in a single rack space for guitar and bass, or combine it with another half-rack device. The digital transmission ensures transparent audio quality with no compandingCOMpressing-exPANDing: analog wireless squeezes audio’s dynamics to fit the radio link, then mirrors them back out. Done badly, it breathes. artifacts, which is critical for guitarists who are particular about their tone.
The GLXD4R+ is Shure's rack-mounted answer to the guitarist who wants reliable digital wireless without dedicating a full rack space to it. Operating across both 2.4 GHz and 5.8 GHz simultaneously, it pairs with either the GLXD1+ bodypack or the GLXD6+ pedalboard transmitter and gives you a clean, companderCOMpressing-exPANDing: analog wireless squeezes audio’s dynamics to fit the radio link, then mirrors them back out. Done badly, it breathes.-free signal path — meaning what goes into the transmitter is what comes out 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. or quarter-inch on the back. At 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. width, it's genuinely designed to share a 1U slot with a second unit, which makes it a natural fit for a guitar-and-bass wireless pair in a single space.
Five watts typical draw and 200 mm depth mean this sits comfortably in even a shallow utility rack. The dual-output on the back — both 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 quarter-inch are live simultaneously — gives you flexibility at patch time without adapters: go XLR to a 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. or direct to a DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. channel, or run the quarter-inch straight into an amp head sitting on the shelf above. The dual SMAThe small threaded RF connector on bodypacks and half-rack wireless — hand-tight antenna connections that survive a gig bag. antenna inputs support a remote antenna setup if you need to move the receive points further upstage, which matters on wide stages where a rack sitting in the wings would otherwise struggle. The GLXD system handles channel coordination automatically, which shortens RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. check at load-in considerably.
This receiver is the right call for a touring or theater rig where RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. real estate is tight and you want a set-and-forget system that won't demand a spectrum analyzer before every show. The 2.4 and 5.8 GHz bands are unlicensed worldwide, so there are no frequency coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. headaches crossing borders or moving venues. That said, if you're running more than two or three wireless channels, or working in a venue with extremely dense Wi-Fi saturation, you'll want to evaluate whether the GLXD system's automatic coordination scales to your channel count before committing. For a straightforward one- or two-channel guitar wireless in a compact rack, it's hard to argue with the combination of size, simplicity, and audio transparency.
In the rack
- Mount two GLXD4R+ units side by side 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. slot using Shure's rack mount hardware — guitar on the left, bass on the right — and label 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 clearly on the rear panel before the rig goes out.
- If the rack lives in a side stage pocket or behind a amp wall, run the SMAThe small threaded RF connector on bodypacks and half-rack wireless — hand-tight antenna connections that survive a gig bag. antennas out to a remote paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. position with a low-loss coax extension rather than relying on the built-in antennas pointing into a metal enclosure.
- Use 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. output when feeding FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. or a 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., and reserve the quarter-inch output for a local amp feed — both outputs are active simultaneously, so you can run both paths without a splitter.
- At load-in, power the receiver up before the transmitter so the GLXD system completes its band scan and locks a channel before the performer walks on — the automatic coordination is fast but it needs the receiver online first.
Digital wireless guitar receiver, 2.4GHz + 5.8GHz dual-band. Pairs with GLXD1+ bodypack or GLXD6+ pedalboard transmitter.
I/O Ports (6)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| XLR Out | XLR MALE | output | analog audio | — |
| 1/4" Out | TRS QUARTER | output | analog audio | — |
| Antenna 1 | SMA | input | antenna | — |
| Antenna 2 | SMA | input | antenna | — |
| FW Update (USB-C) | USB C | bidirectional | data | — |
- Power (15V DC) (DC BARREL)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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