Receivers

Single, dual and quad-channel wireless microphone receivers, from the entry Sennheiser EM-XSW1 and Shure BLX4R through EW-D and EW-DX units to the SLXD4Q+ and ULXD4Q four-channel rack frames, plus portable camera-mount receivers like the EW-DP EK, the EKP AVX-3 and the MoveMic MV-R for content and field work.

The band code rule applies here as everywhere in wireless: the receiver’s frequency variant must match your transmitters exactly. After that, think channel density. Dual and quad receivers save rack space and power outlets on multi-mic jobs, and a quad frame with proper antenna distribution behind it is a far tidier rig than four singles with eight whips. Rack-mount models suit fixed installation and touring racks, while camera-mount receivers ride hot shoes and bag rigs for ENG and content production; the AVX camera receiver has the advantage of running in the licence-free 1.9 GHz band. Once more than two receivers share a rack, plan antenna distribution properly rather than as an afterthought; the paddles, splitters and boosters live in the antennas and distribution subcategory.

Transmitting halves are under handheld and body worn transmitters, and complete pairings are in sets.

Wireless Receiver FAQs

Single, dual or quad receiver? Rack space and budget: four channels in one SLXD4Q+ or ULXD4Q frame beats four single units for any fixed rig. Camera-mount portables (EW-DP EK, MoveMic) serve content and field work.

The band code rule? Same as everywhere in wireless, the receiver’s frequency variant must match your transmitters exactly, or they will not link. Then plan antennas: past two receivers, see antennas and RF distribution.