Shure SLXD4Q Quad Receiver
Shure·Model SLXD4Q·shure-slxd4q
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Shure SLXD4Q
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 path to a four-mic rack without a distro. Guided frequency setup and rechargeable-friendly workflow carry the SLX-D pitch into density. The step below ULXD4Q at less than half the price.
The SLXD4Q is Shure's answer to a recurring real-world question: how do you get four channels of digital wireless into one rack space without spending ULXD money or wiring up a separate antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. box? The unit runs four independent SLX-D digital receivers 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. chassis with internal antenna distribution built in — two BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. inputs feed all four channels, so you walk in with two antenna runs and walk out with four mic lines. At $2,639 it sits well below the ULXD4Q in cost while sharing the same SLX-D digital platform, making it the density play for mid-tier production budgets.
Twenty watts nominal draw, 28 at max — that's light, and at 2.5 kg it won't upset a road case's balance. The 240 mm depth is standard enough to fit most standard rack drawers without shimming. 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. male outputs go directly to console inputs or a stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized.; no breakoutA cable that splits one multichannel connector (like a DB25) into individual plugs — the octopus that turns 8 channels into 8 XLRs. cables, no sub-snakesA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box., just four balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. lines. The internal antenna distroOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. means one good pair of active paddlesA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. covers the full quad without a passive splitter eating headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming.. What it doesn't give you is the deeper RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. toolset — no Wireless WorkbenchShure’s free RF-management software — scans the airwaves, calculates compatible frequencies, and monitors every receiver from a laptop. network control, no danteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes., no per-channel output trim over network — so what you see on the front panel is largely what you get.
This receiver belongs in a corporate AV rig, a house-of-worship install, a touring support act, or any situation where four channels of reliable digital wireless need to live in one 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. and the budget isn't ULXD. If you're running eight or more channels and need centralized RF coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. and network monitoring, step up to the ULXD ecosystem. If you only need one or two channels, the single-channel SLXD4 makes more sense. But for exactly four channels on a controlled budget, the SLXD4Q earns its space cleanly.
In the rack
- Run your two antenna feeds from a pair of active directional paddlesA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. positioned at ear level at the front of the stage — the internal distroOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. does the splitting from there, so invest in good antenna placement rather than more hardware.
- Map all 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 to consecutive channels on your 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 console patch before doors; labeling them at the receiver end and the console end saves the inevitable channel-hunt at soundcheck.
- Because the SLX-D system uses guided frequency setup, do your frequency coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. and sync with transmitters while the room is quiet — the system will find clean slots, but it works best before RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. environment gets crowded with other vendors' gear.
- 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 20W nominal, this unit stacks efficiently — if you're building a dual-quad wireless rack, two SLXD4Qs draw under 60W combined and leave you room above for a 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 a meter you can actually read from the stage.
Four SLX-D digital 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. — the value quad receiver.
I/O Ports (7)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Antenna A | BNC | input | antenna | — |
| Antenna B | BNC | input | antenna | — |
| Ch 1 XLR Out | XLR MALE | output | analog audio | — |
| Ch 2 XLR Out | XLR MALE | output | analog audio | — |
| Ch 3 XLR Out | XLR MALE | output | analog audio | — |
| Ch 4 XLR Out | XLR MALE | output | analog audio | — |
- Power (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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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.