Shure SLXD4QDAN Quad Receiver (Dante)
Shure·Model SLXD4QDAN·shure-slxd4qdan
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Shure SLXD4QDAN
The Shure SLXD4QDAN adds DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. networking to the quad SLX-D receiver, putting four wireless mic channels directly on the audio network alongside the analog outs. For Dante-backbone rigs it removes four cable runs and a stage-box crossing in one box. The most affordable Dante-native wireless rack Shure makes.
The SLXD4QDAN is Shure's answer to a specific but increasingly common rack problem: you're running a DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. backbone, and you want your wireless channels living on that network from the moment they leave the receiver, not converted to analog at the rack and re-digitized somewhere downstream. It packs four SLX-D receiver 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. frame and puts them directly on the Audinate network via two EtherConAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. ports — primary and secondary — while still providing four 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 as a fallback or parallel feed. For Dante-backbone festival rigs, theater installs, or any touring IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. system already committed to networked audio, this is the tightest path from transmitter to console.
At 22 watts typical draw and 30 watts max, you're looking at an easy load for any standard conditioned rack strip — budget roughly one circuit outlet and you're done. The 240 mm depth is moderate, fits most shallow touring racks without issue. 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 per-unit, so in a multi-unit antenna-distroOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. setup you'll cascade or split upstream as usual. The dual DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. ports matter: primary carries the four audio channels, secondary gives you network redundancyA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. — critical if this box is the only path those four wireless channels take to front-of-houseFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed.. Dante Controller handles channel routing and latencyThe delay between sound entering and leaving a digital system. IEM rigs fight to keep the whole chain down to a few milliseconds. setting, so have a laptop ready at first network patch.
This receiver belongs in a rig where the DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. infrastructure is already committed and the person building the rack understands network audio discipline — managed switchesA network switch you can configure — VLANs, QoS, IGMP — so audio traffic gets priority. Dante rigs beyond a few boxes want one., correct QoSQuality of Service — switch settings that let time-critical packets (like Dante’s clock) jump the queue ahead of bulk traffic. settings, a real IP scheme. If you're still running analog stage boxesThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized., the Dante layer adds setup time without a workflow payoff; the standard SLXD4Q will serve you better for less money. If you occasionally need a quick standalone analog output — say, a hard-wired press feed or a monitor console that isn't on the network — the 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 mean you're not stranded. The $3,519 price reflects the Dante license and the integration work it replaces, not a premium for premium's sake.
In the rack
- Patch both EtherConAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. ports to separate switches or separate switch paths on day one — if you only use the primary and that link drops mid-show, the secondary saves you. Don't leave it unconnected as an afterthought.
- Label the 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 at the patch bayA panel of front-facing jacks wired to everything behind it — re-route any signal with a short cable instead of climbing behind the rack. even if you plan to route everything over DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes.; a guest engineer or sub will reach for analog first under pressure, and clear labeling prevents a panicked rewire.
- Set DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. latencyThe delay between sound entering and leaving a digital system. IEM rigs fight to keep the whole chain down to a few milliseconds. in Dante Controller before doors — 1 ms is fine on a local, well-managed gigabit switchA network switch you can configure — VLANs, QoS, IGMP — so audio traffic gets priority. Dante rigs beyond a few boxes want one., but if you're bridging across a larger festival network, bump to 5 ms and confirm with the network engineer before soundcheck.
- Place antenna distroOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. before this unit in your signal chain diagram; the SLXD4QDAN's 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 expect split, amplified antenna feeds when running more than one receiver frame, so account for a Shure PA411 or equivalent in the rack space above or below.
SLXD4Q with DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. — four wireless channels straight onto the network.
I/O Ports (12)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Antenna A | BNC | input | antenna | — |
| Antenna B | BNC | input | antenna | — |
| Dante 1 | DANTE RJ45 | bidirectional | digital audio | 4 |
| Dante 2 | DANTE RJ45 | bidirectional | digital audio | 4 |
| XLR Out 1-4 | XLR MALE | output | analog audio | 4 |
| Ch 1 Inst/Aux (TS) | TS QUARTER | output | analog audio | — |
| Ch 2 Inst/Aux (TS) | TS QUARTER | output | analog audio | — |
| Ch 3 Inst/Aux (TS) | TS QUARTER | output | analog audio | — |
| Ch 4 Inst/Aux (TS) | TS QUARTER | output | analog audio | — |
| Antenna A Cascade Out | BNC | output | antenna | — |
| Antenna B Cascade Out | BNC | output | antenna | — |
- DC In (15V) (DC BARREL)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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