Shure ULXD4 Wireless Receiver
Shure·Model ULXD4·shure-ulxd4-g50
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Shure ULXD4
The Shure ULXD4 is a professional UHFThe TV-band radio range (roughly 470–608 MHz in the US) where serious wireless mics and IEMs live — better behaved than crowded 2.4 GHz. digital wireless receiver that delivers 24-bit audio quality with AES-256 encryption, making it suitable for high-profile touring and corporate events where audio security matters. 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. size and Ethernet port for networked management make it easy to integrate into organized rack builds. The ULX-D platform offers an excellent balance of performance and price between the entry-level SLX-D and flagship Axient Digital lines.
The ULXD4 is Shure's single-channel digital wireless receiver sitting in the middle of their professional wireless ladder — above the SLX-D in audio fidelity and feature set, below the Axient Digital in RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. management sophistication. In a live rig it's the box that takes the RF signal from a guitarist or bassist wearing an ULXD1 bodypack and hands a clean, 24-bit analog audio signal off to your console or direct box chain. The AES-256 encryption is a genuine differentiator for corporate and broadcast work where signal security is a contractual requirement, but it's equally at home on a touring stage where you simply want dependable digital audio night after night.
At 1RU 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. wide and 220mm deep, two of these sit neatly side by side in a standard rack tray — important to know if you're wiring multiple wireless channels. Power draw sits at a modest 12W nominal, so a four-receiver tray barely registers on your conditioner's load meter. The dual 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 support standard diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. setups, and the Ethernet port means you can pull this receiver into a Shure Wireless WorkbenchShure’s free RF-management software — scans the airwaves, calculates compatible frequencies, and monitors every receiver from a laptop. or ShowLink network for remote monitoring and frequency coordinationCalculating a set of wireless frequencies that won’t interfere with each other or local TV — the homework behind a clean RF night. from FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. — a real time-saver during a busy festival changeover when you can't physically reach the rack. 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 outputs give you flexibility in how you feed the signal downstream.
If you're running one or two wireless instrument channels on a mid-size touring rig or a high-end corporate show, the ULXD4 hits a practical sweet spot — professional RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. performance without the cost of Axient. Where it falls short is in dense RF environments with a large channel count; at that point the Axient Digital's ShowLink and RF Cascade features start earning their premium. For a single vocalist on a budget, the SLX-D makes more economic sense. But for a guitarist or keys player who needs reliable digital wireless with network manageability and their engineer wants confidence on a busy stage, this is the right tool.
In the rack
- Pair two ULXD4 units in 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. tray rather than leaving one floating — it keeps the rack tidy and makes antenna positioning symmetrical, which matters for consistent diversityA receiver with two antennas and two radio sections that continuously picks the stronger one — the difference between a dropout and a show. performance.
- Run the Ethernet port back to a network switch in the rack and keep Wireless WorkbenchShure’s free RF-management software — scans the airwaves, calculates compatible frequencies, and monitors every receiver from a laptop. open on a laptop at FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed.; you can monitor battery levels and RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. environment without touching the rack mid-show.
- BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. antenna placement is everything — use the rear BNC ports with quality coax to get your paddleA directional antenna (paddle, LPDA, helical) aimed at the stage — focuses coverage where the performers are and rejects RF from elsewhere. or helical antennas out to the stage edge or a clear line of sight, and keep the cable runs under 25 feet or budget for an active antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. amp.
- Set output gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip. at the receiver to hit your console's input at a healthy nominal level before the show, not during — the front-panel gain control is easy to bump accidentally, so note your setting and recheck it at every load-in.
ULX-D digital wireless single-channel receiver. 24-bit/48kHz audio. Pairs with ULXD1 bodypack transmitter for guitar.
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 A | BNC | input | antenna | — |
| Antenna B | BNC | input | antenna | — |
| Ethernet | RJ45 | bidirectional | data | — |
- Power (15V DC) (DC BARREL)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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