Shure ULXD4Q Quad Receiver
Shure·Model ULXD4Q·shure-ulxd-ulxd4q
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Shure ULXD4Q
The Shure ULXD4Q is a four-channel digital wireless receiver in a single rack space, doubling the channel density of the dual-channel ULXD4D. AES-256 encryption, 24-bit / 48 kHz uncompressed audio, and DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. optional output make it a touring-grade option that's become a default on broadcast and rental shop ridersThe document attached to a booking that lists what the band needs — inputs, monitors, power, backline (and the green-room snacks)..
The ULXD4Q is Shure's answer to channel density in a single rack space: four independent digital wireless receivers, each accepting a bodypack or handheld transmitter, all packed into 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. at 305mm deep. It doubles the channel count of the dual-channel ULXD4D and has become a standard line item on broadcast and touring ridersThe document attached to a booking that lists what the band needs — inputs, monitors, power, backline (and the green-room snacks). precisely because it stops you from burning rack space on separate single-channel receivers. If your show has a band plus presenters, or a theater production with multiple cast mics, this is the unit that lets you build a complete wireless solution without the rack growing out of control.
At load-in, the cascade antenna ports are what save you time. A single pair of paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. antennas can feed multiple ULXD4Q units chained together, so you're not running separate antenna distributionsOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. for every box — though you'll still want to respect the cascade limits and signal levels when you start stacking more than a few units. The DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output is genuinely useful: all four channels appear on the network simultaneously, giving you a clean, labelable digital feed to your console or stageboxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. without touching 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. At 30W typical and 40W maximum draw, four channels for roughly one amp on a standard circuit is reasonable overhead. AES-256 encryption is there if you're working corporate or broadcast and someone on the production side asks about RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. security.
This unit belongs in a rack that already has ULXD transmitters or is committing to that ecosystem — it does not pair with ULX or QLX series gear. If you only need two wireless channels and budget is a real constraint, the ULXD4D is the honest alternative. If you're running eight or more channels regularly, two ULXD4Q units with cascaded antennas is a cleaner build than mixing receiver form factors. The $6,950 price positions this firmly in the touring and rental tier; a regional theater or house-of-worship rig with occasional wireless needs should weigh that honestly against total channel demand before committing.
In the rack
- Use the Antenna Cascade Out to feed a second ULXD4Q rather than splitting your antenna feed passively — you preserve signal integrity and keep the chain organized at load-in.
- Assign all four DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. channels at the start of the day and label them in your Dante Controller session before soundcheck; if you also run 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 to an analog split, you'll have a fallback path without any rewiring mid-show.
- At 305mm deep, the ULXD4Q sits flush in a standard shallow tour rack — verify your rack depth before assuming you can fit it in a shallow utility case with cable management behind it.
- Use Shure Wireless WorkbenchShure’s free RF-management software — scans the airwaves, calculates compatible frequencies, and monitors every receiver from a laptop. over the control Ethernet port to scan and coordinate frequencies before you touch a transmitter; doing RF coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. on the unit's front panel alone across multiple boxes wastes time and invites mistakes.
4-channel digital wireless receiver — pairs with ULXD bodypacks/handhelds.
I/O Ports (13)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Antenna A (BNC) | BNC | input | antenna | — |
| Antenna B (BNC) | BNC | input | antenna | — |
| Antenna Cascade In (retired — no such jack) | BNC | input | antenna | — |
| Antenna A Cascade Out (BNC) | BNC | output | antenna | — |
| Antenna B Cascade Out (BNC) | BNC | output | antenna | — |
| Audio Out 1 (XLR) | XLR MALE | output | analog audio | — |
| Audio Out 2 (XLR) | XLR MALE | output | analog audio | — |
| Audio Out 3 (XLR) | XLR MALE | output | analog audio | — |
| Audio Out 4 (XLR) | XLR MALE | output | analog audio | — |
| Dante/Ethernet Primary | DANTE RJ45 | bidirectional | digital audio | 4 |
| Dante/Ethernet Secondary | DANTE RJ45 | bidirectional | digital audio | 4 |
| Ethernet (retired — control rides Dante ports) | RJ45 | bidirectional | data | — |
- Power (IEC) (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.

