Whirlwind DA-2 Distribution Amp
Whirlwind·Model DA-2·whirlwind-da2
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Whirlwind DA-2
The Whirlwind DA-2 is a simple, reliable audio distribution amplifier for splitting or combining balancedCarries the signal on two wires and cancels whatever noise both pick up — why mic cables can run hundreds of feet hum-free. audio signals. Use it to take a single stereo output from your playback rig and distribute it to multiple destinations, or to sum two sources into one feed. Its straightforward design and rugged build make it a dependable utility piece in any rack.
The Whirlwind DA-2 is a utility piece that solves a problem every playback and IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig eventually runs into: you have one signal and more than one place it needs to go, or two sources that need to land on one feed. In a 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. full-rack footprint, it gives you two independent inputs and four outputs, and can operate as a distribution amp — one source split to multiple destinations — or as a summing device combining two inputs. Whirlwind built their reputation on exactly this kind of unglamorous, reliable signal-routing hardware, and the DA-2 fits squarely in that tradition.
At 180mm deep and 1.4kg, this thing disappears into a rack without drama. The 10W nominal draw means it's barely a rounding error on your power budget, and the IECThe standard three-prong appliance power inlet on rack gear — the kettle lead. C13/C14 in spec-sheet speak. inlet keeps it compatible with any standard conditioner or PDU. What matters practically is the active distribution: because it's buffered rather than a passive split, each output sees a proper driven signal rather than a divided one, so you're not chasing level loss or impedanceOpposition to signal flow, in ohms. Low-impedance IEMs are easier to drive loud; mismatches shift level and tone. mismatches when you're running feeds to a click console, a broadcast hop, and a monitor desk simultaneously. That's the real reason to choose active over a passive spider at load-in.
This is the right call for a playback engineer who needs to distribute stereo or mono feeds to two or more destinations without sacrificing headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. or fighting ground issues, or for anyone who wants a clean active buffer between a delicate source and a long cable run to FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed.. It is not a multi-channel solution — two inputs and four outputs is the whole story, so if you're distributing six stemsSub-mixes of a session grouped by instrument (drums, keys, vocals) — how playback rigs run tracks with live control over each group. independently you'll need multiple units or a different tool entirely. At $349 it's priced like the workhorse it is, not a feature-laden router, and you should budget and plan accordingly.
In the rack
- If you're summing two sources into a combined feed, check your levels carefully before the show — the DA-2 will add those signals together, and mismatched gainsHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip. between Input 1 and Input 2 will show up immediately in the mix.
- Keep it away from the bottom of the rack if your cable runs are long; positioning it closer to 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. reduces the length of internal 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. needed to reach all four outputs and cuts down on cable management headaches at load-in.
- Label each output on the rear panel with a piece of colored gaff and a paint pen before the tour starts — in a dark stage right wing at changeover, knowing at a glance which 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. feeds the broadcast split versus the IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. system saves real time.
- Because the outputs are active and buffered, you can run this directly into a long stage 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. without a separate line driver — useful when your console or playback source doesn't have enough output headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming. to push a 50-foot run cleanly on its own.
1x2 or 2x1 audio distribution amp.
I/O Ports (7)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Input 1 (XLR) | XLR FEMALE | input | analog audio | — |
| Input 2 (XLR) | XLR FEMALE | input | analog audio | — |
| Output 1 (XLR) | XLR MALE | output | analog audio | — |
| Output 2 (XLR) | XLR MALE | output | analog audio | — |
| Output 3 (XLR) | XLR MALE | output | analog audio | — |
| Output 4 (XLR) | XLR MALE | output | analog audio | — |
- Power (IEC) (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
Related gear
Related articles
Guides from our library that cover planning around splitter gear.
A walking tour of the signal path from microphone to in-ear monitor, with what every box in the rack actually does to the audio along the way.
A plain-English guide to writing the input list, stage plot, and patch sheet that house engineers want — without the jargon, with examples, and with a free way to generate one.
How to split mic signals between FOH and your IEM rack: transformer-isolated splitters, phantom power rules, and where to place the split in the chain.




