Whirlwind Catdusa CT-M
Whirlwind·Model Catdusa CT-M·whirlwind-catdusa-ct-m
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Whirlwind Catdusa CT-M
The Whirlwind Catdusa CT-M breaks a Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. etherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. run out to four male 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. tails, turning one network cable into a four-channel analog drop. Dual etherCON IN/THRU jacks let you daisy-chain boxes down a stage, and with shielded Cat cable it passes phantom powerThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. — wired with 110-ohm cable so AES and DMX survive the trip too. A lighter, cheaper stage drop than copper multicore for IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. sends and playback feeds.
The Whirlwind Catdusa CT-M is a passive breakoutA cable that splits one multichannel connector (like a DB25) into individual plugs — the octopus that turns 8 channels into 8 XLRs. box that takes one Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. etherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. run and splits it into four male 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. Its job in a rig is simple and specific: replace a heavy copper multicore 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. for short analog distribution runs — IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter feeds, playback outputs to a stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized., or a small broadcast split drop. At 0.7 kg and $163, it sits at the affordable, lightweight end of what Whirlwind's Catdusa line does, and it asks nothing of your power distribution because it draws exactly zero watts.
The dual etherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. IN/THRU jacks are the feature that makes this genuinely useful at load-in. You can daisy-chain multiple CT-M units down a single Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. home run, dropping four channels wherever you need them without running separate cables to each position. Shielded Cat cable carries phantom powerThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. through the box, so condenser mics and active DIDirect Injection box — converts an instrument’s unbalanced signal to a balanced mic-level XLR so it can run long cables without noise. boxes on 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. tails will work as expected — just confirm you're using properly shielded Cat5e or Cat6, because the phantom pass-through depends on it. The 110-ohm wiring also means AES digital and DMX signals can share the same infrastructure if your system uses those alongside analog.
This box earns its place in IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rigs and playback setups where you're already running etherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. infrastructure for analog distribution and want a clean, lightweight stage drop without coiling a multicore. If you need more than four channels at a drop point, you'll want a larger Catdusa variant or a proper stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized.. It's also not a solution if your runs are long and unshielded — phantomThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. reliability and noise rejection degrade quickly with the wrong cable. Engineers who've standardized on etherCON analog infrastructure will find the CT-M an obvious, inexpensive piece of that system; engineers still running copper multicore everywhere may not have enough Cat infrastructure in place yet to use it.
In the rack
- Always use shielded Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. or Cat6 cable — unshielded runs will technically carry audio, but phantom powerThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. reliability drops and you'll introduce noise you won't easily trace during a rushed line checkThe quick pre-show pass confirming every input reaches the console, one line at a time. Not a soundcheck — just does it work..
- When daisy-chaining multiple CT-M units, label the THRU port's downstream cable at both ends before load-in; the IN and THRU jacks look identical under stage lighting and a wrong connection will kill the whole chain silently.
- 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 are male, so the CT-M sends signal out to female-input destinations — double-check your gender before ordering if you're dropping directly into a female-output device and need a turnaround.
- Mount or gaff the box securely at the drop point; at 0.7 kg with 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. cables pulling on it, an unsecured unit will migrate during the set and stress the etherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. connector on the home run.
4-channel Cat5eStandard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. etherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. fan to 4x XLRM tails; IN/THRU daisy chain; passes phantomThe +48 V a console sends up the mic cable to power condenser mics and active DI boxes — invisible to gear that doesn’t need it. on shielded Cat.
I/O Ports (6)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| etherCON In | ETHERCON | input | analog audio | — |
| etherCON Thru | ETHERCON | output | analog audio | — |
| XLR 1 | XLR MALE | output | analog audio | — |
| XLR 2 | XLR MALE | output | analog audio | — |
| XLR 3 | XLR MALE | output | analog audio | — |
| XLR 4 | XLR MALE | output | analog audio | — |
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