Shure ULXD4D Dual Wireless Mic Receiver
Shure·Model ULXD4D·shure-ulxd4d-mic-g50
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Shure ULXD4D
The ULXD4D dual-channel mic receiver packs two ULX-D channels into a single 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. with native DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output, streamlining integration into networked audio systems. Having two channels in one unit halves your rack space requirements compared to single-channel receivers, which matters in dense multi-mic deployments. The Dante output feeds directly onto your audio network, eliminating the need for separate analog-to-digital conversion.
The ULXD4D is Shure's dual-channel ULX-D receiver in a single 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 its job is straightforward: pull two RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. channels out of the air and deliver them cleanly to your system. What makes it worth serious consideration in a dense rig is the combination of that 2-in-1 footprint with native DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output alongside the two 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. For touring and install situations where you're running eight, twelve, or sixteen wireless channels, the difference between single-channel and dual-channel receivers stops being an abstraction and starts being four rack units you either have or don't.
At 18 watts nominal draw, this unit is light on your power strip, and at 220mm deep it sits comfortably in a shallow tour rack without fighting your cable management. 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 shared across both channels, so your antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. system needs only two feeds per ULXD4D — that's a real wiring simplification at load-in. The DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. port is the practical headline for networked rigs: you're routing both channels onto the network over a single EtherConAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. run, which means no analog snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. tails creeping back to 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. if your console or I/O lives on the same Dante network. The 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 remain available simultaneously, so hybrid rigs aren't locked out.
This receiver belongs in a rig where you're already committed to ULX-D transmitters or evaluating the full system together, and where DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. is either already in play or clearly on the roadmap. The price point — and the ecosystem lock-in — means it's not a casual purchase. If you're running two or three channels of wireless for a single artist with a conventional analog console, a simpler non-networked receiver is a more proportionate answer. But if you're building a multi-channel RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. rack for a touring production or a house-of-worship install where network audio matters, the density and the Dante integration make the ULXD4D a seriously efficient unit.
In the rack
- Pair each ULXD4D with a Shure antenna distributionOne pair of antennas feeding many receivers through an amplified splitter — replaces the forest of whips and keeps RF levels consistent. unit feeding the BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. inputs so all receivers on a shared RFRadio Frequency — the wireless part of wireless. RF planning is why big rigs scan, coordinate, and combine antennas instead of hoping. system draw from properly amplified, filtered antenna feeds — don't daisy-chain passive splitters across multiple dual-channel units.
- If you're using the DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output as your primary send, still cable 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 a patchbayA panel of front-facing jacks wired to everything behind it — re-route any signal with a short cable instead of climbing behind the rack. or spare console inputs during the build — having an analog fallback costs nothing at load-in and saves the show if the network has a bad night.
- Plan 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. before the rig ships: the ULXD4D's two channels share antenna infrastructure, so both channels on each unit should be coordinated together as a pair, not independently, to avoid intermodulationIntermodulation — ghost frequencies created when transmitters mix in each other’s electronics. Why multi-channel wireless is calculated, not guessed. problems at the receiver itself.
- 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 1.8kg, this unit is light enough that you should still rack-screw it fully rather than relying on friction — a touring rack with a loose receiver sliding on its ears will eventually pull a BNCThe twist-lock coax connector used for word clock and antenna runs — it locks, so it can’t be pulled out mid-show. cable at the wrong moment.
ULX-D dual-channel wireless receiver with DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. output.
I/O Ports (9)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| XLR Out 1 | XLR MALE | output | analog audio | — |
| XLR Out 2 | XLR MALE | output | analog audio | — |
| Antenna A | BNC | input | antenna | — |
| Antenna B | BNC | input | antenna | — |
| Antenna A Cascade Out | BNC | output | antenna | — |
| Antenna B Cascade Out | BNC | output | antenna | — |
| Dante/Ethernet Primary | DANTE RJ45 | bidirectional | digital audio | 2 |
| Dante/Ethernet Secondary | DANTE RJ45 | bidirectional | digital audio | 2 |
- 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.

