Radial Catapult Rack RX: 16-Channel Cat5 Snake Guide 2026
Radial Catapult Rack RX: The 16-Channel Cat5 Snake Receiver, Explained
There's a specific kind of frustration that only happens on load-in day. You've got a 32-metre run from the stage to front of house, the venue has a beautiful conduit full of unused Cat5 cable, and you're standing there with a 40 kg analogue multicore because that's what the console needs. The cable in the wall is right there. It's just the wrong shape.
The Radial Catapult Rack RX exists for exactly that moment. It's a 1U rackmount receiver that takes four standard Cat5 cables and fans them out to 16 channels of balanced analogue audio — completely passively, with no power supply, no converters, no clocking, and no latency. It's not a digital stagebox and it's not trying to be. It's a smarter way to use cable you probably already have.
This guide covers what the unit actually does, how the Catapult system fits together, where it genuinely outperforms both traditional snakes and digital networking, and — just as importantly — where it doesn't. If you're weighing this against a Dante box or a copper multicore, the honest comparisons are further down.
What the Catapult Rack RX Actually Does
Strip away the marketing and the Catapult concept is beautifully simple. A standard Cat5e cable contains four twisted pairs. A balanced analogue audio signal needs exactly one twisted pair plus a shield. So one Cat5 cable can carry four channels of balanced audio — no encoding, no compression, no analogue-to-digital conversion. Just four separate signals travelling down four separate pairs.
The Catapult Rack RX is the receive end of that system, built into a single rack space. Four RJ45 ports on the unit each accept one incoming Cat5 run, and each of those breaks out to four XLR connections — 4 × 4 = 16 channels total. Feed it from Catapult transmit units at the stage end and you've replaced a 16-channel multicore with four thin, cheap, easily-replaced network cables.
The critical thing to understand is that there is no active circuitry in the audio path. There's nothing to power, nothing to fail, nothing to introduce noise, and nothing that adds even a microsecond of latency. It is, functionally, a very well-engineered set of solder joints in a steel box. That sounds like faint praise. It isn't — that passivity is the entire point, and it's why this design has stayed relevant while digital alternatives have come and gone.
The four-port detail most people miss
Here's a genuinely useful feature that rarely gets mentioned in spec sheets: the four RJ45 ports are completely independent of one another. They aren't a bonded 16-channel group.
That means one Catapult Rack RX can service four entirely separate stage positions simultaneously. Four channels from the drum riser, four from stage left keys, four from the podium at the front of house end of a conference room, four from an overflow room down the corridor — all landing in the same rack space, all on separate cable runs of different lengths. For corporate AV and multi-zone install work, that flexibility is worth more than the channel count on its own.
Specifications at a Glance
| Specification | Detail |
|---|---|
| Format | 1U 19-inch rackmount receiver |
| Channel capacity | 16 channels (4 channels per RJ45 port × 4 ports) |
| Signal path | 100% passive, direct-connect balanced wiring |
| Power required | None |
| Latency | None (analogue, speed-of-cable) |
| Cable type | Shielded Cat5e or Cat6 (STP strongly recommended) |
| Signal levels supported | Mic level and line level |
| Phantom power | Passes through the cable run |
| Port independence | Each RJ45 port operates as its own 4-channel run |
| Construction | Heavy-gauge steel chassis, Radial's usual tour-grade build |
| Warranty | Radial's transferable warranty (confirm current AU terms at purchase) |
A note on honesty: connector gender and layout on Catapult rack units are configuration-specific, and Radial has produced variants over the years. Before you order, confirm on the product page — or with the MusiconStage team — that the XLR orientation matches your intended signal direction. It's a two-minute check that saves an adapter panel later.
Want the current configuration and pricing? View the Radial Rx Rackmount Catapult specifications and Australian pricing.
TX and RX: Getting the System Pairing Right
This is where most first-time Catapult buyers get tripped up, so it's worth being blunt about it. The Rack RX is one half of a system. It does nothing on its own. You need a matching transmit unit at the other end of every Cat5 run.
Radial's TX/RX naming isn't describing electronics — there are no electronics. It's describing connector gender and workflow orientation. TX units are configured for the source end (where signal enters the cable), RX units for the destination end (where signal leaves it). Because the path is genuinely just wire, the direction audio travels is determined entirely by what you plug into each end, not by any logic inside the box.
| Deployment | Stage end | Rack end | Notes |
|---|---|---|---|
| 16-channel mic snake | 4 × 4-channel mic-level TX stage boxes | 1 × Catapult Rack RX | Classic FOH replacement for a 16-way multicore |
| Multi-zone corporate AV | TX boxes at four separate room positions | 1 × Catapult Rack RX | Uses the independent-port advantage |
| Rack-to-rack in permanent install | 1 × Catapult Rack TX | 1 × Catapult Rack RX | Cleanest option for machine-room to control-room runs |
| Line-level playback returns | Line-level TX unit | Catapult Rack RX | Line level is far more forgiving over distance |
The mistake to avoid
You cannot connect two RX units to each other, and you cannot plug a Catapult run into a network switch, router, or PoE injector. It carries analogue audio on Ethernet-shaped cable — it is not Ethernet. Plugging a Catapult run into a live network port at best does nothing and at worst pushes voltage somewhere it shouldn't go. Label your Catapult cable ends clearly, especially in venues where the patch panel also carries genuine network runs. A roll of coloured tape is cheap insurance.
Where the Catapult Rack RX Earns Its Keep
Houses of worship with existing structured cabling
This is the single strongest use case. Most Australian churches built or refitted in the last two decades have Cat5 or Cat6 running to the platform, the AV booth and the foyer — installed for data, often barely used. A Catapult system turns that dormant infrastructure into a professional audio snake without opening a single wall. The volunteer-operator angle matters too: there's no configuration screen, no IP addressing, no firmware. If a lead goes bad, someone swaps in a patch cable from the office cupboard.
Theatre and multi-position stage work
Theatre rigs sprawl. You've got orchestra pit inputs, a stage-left announce mic, foldback returns and a paging feed to the green room — and they're all in different places. Running one heavy multicore to a central point and then fanning out is often the worst answer. Four independent Catapult runs to four positions, all terminating in one rack space at the desk, is far tidier and far lighter to carry.
Corporate AV and conference work
Hotel ballrooms, function centres and conference venues are Cat5's natural habitat. Being able to arrive with a rack, four Cat5 drums and a handful of TX boxes — instead of a 16-way copper snake that takes two people to carry — genuinely changes what a single operator can load in and out in a day. For AV companies doing high-turnover corporate work across Sydney, Melbourne and Brisbane, that difference compounds over a year.
Broadcast and OB tie-lines
Where absolute latency matters and there's zero appetite for a converter in the chain, passive analogue transport still wins. No clock, no sync, no drift, no dropout risk from a misconfigured switch.
Drum sub-snakes and monitor world
A four-channel TX box on the drum riser feeding one port of the Rack RX is a tidy sub-snake solution. Same for a monitor engineer needing a handful of splits and returns without another multicore across the stage.
Practical Installation Notes
- Use shielded cable. This is not optional. Unshielded Cat5 at mic level, with a console preamp at +50 dB of gain, is asking for trouble — particularly near dimmer racks, LED walls and lighting distros. STP Cat5e or Cat6 is the baseline.
- Keep mic-level runs sensible. Line level tolerates long distances comfortably. Mic level is a higher-impedance, much lower-voltage signal, and the further it travels the more it picks up. Radial's system supports long runs, but if you're pushing well past 60–90 metres at mic level, test it in the actual venue before you commit to it for a show.
- Solid-core versus stranded matters. Solid-core Cat5 is for permanent install and performs better over distance. Stranded patch cable flexes and coils properly for touring. Don't use solid-core on the road — it work-hardens and fractures at the strain relief.
- Phantom power passes through, so treat it accordingly. Mute or pull down before hot-patching. The absence of active circuitry means there's nothing protecting anything from a phantom pop.
- Crosstalk is a cable property, not a box property. Because the unit is passive, isolation between channels comes from the twist rate and shielding of the cable you chose. Good cable, good isolation. Cheap cable, audible bleed on high-gain channels.
- Label everything at both ends. In a venue with a mixed patch panel, an unlabelled Catapult run is a future problem for whoever comes after you.
Ready to build the system? Shop the Radial Rx Rackmount Catapult with delivery across Australia and genuine Radial warranty support.
Honest Limitations
No product is right for everyone, and the Catapult Rack RX has real constraints worth knowing before you spend the money.
- You must buy both ends. The RX alone is half a solution. Budget for transmit units, and factor that into any price comparison against a digital stagebox that includes both ends in one purchase.
- No remote gain control. Every preamp stays at the console. If you want to trim a preamp from the stage or from a tablet, you need a digital system — that capability simply doesn't exist in a passive product.
- Four channels per cable is a low density. A single Cat5 running Dante can carry dozens of channels bidirectionally. If your channel count is climbing past 32, the cable-count maths starts working against Catapult.
- Analogue is still analogue. Long mic-level runs remain susceptible to induced noise and hum in electrically hostile venues. Passive doesn't mean immune.
- No redundancy or diagnostics. There's no status LED, no signal indicator, no network monitoring. When something's wrong, you troubleshoot it the traditional way — with a cable tester and patience.
- Fixed channel grouping. Channels are tied to their pair and port. There's no routing, no patching, no reassignment in software.
Catapult Rack RX vs the Alternatives
| Catapult Rack RX | Analogue multicore | Digital stagebox (Dante/proprietary) | |
|---|---|---|---|
| Power needed | None | None | Yes, both ends |
| Latency | None | None | Low but non-zero |
| Cable cost & weight | Very low | High | Very low |
| Channels per cable | 4 | Fixed by build | 32–64+ |
| Remote preamp control | No | No | Yes |
| Uses existing venue cabling | Yes | No | Yes |
| Failure recovery on site | Swap a patch lead | Difficult | Config-dependent |
| Learning curve | Minimal | Minimal | Moderate to steep |
| Console compatibility | Any console with XLR inputs | Universal | Must match the ecosystem |
The comparison that matters most is against a digital stagebox such as an Allen & Heath AB168 or similar. If you already own a digital console from that ecosystem, the digital box is usually the better buy — higher channel density, remote gain, and one cable does everything. Be honest with yourself about which situation you're in.
But if you're running an analogue console, or a digital desk from a different ecosystem, or you need something a volunteer can operate with no training, or you cannot tolerate a converter and a clock in the path — the Catapult wins those arguments outright. It's also the only one of the three that keeps working perfectly during a power outage on a generator-backed rig.
Against a traditional multicore, the Catapult is lighter, cheaper to cable, cheaper to repair, and infinitely easier to extend. The multicore's remaining advantages are that it's one connector instead of four, and there's no adapter box to lose.
Buying in Australia
A few AU-specific things worth factoring in:
- Radial is Canadian-built and well supported here. Radial Engineering products carry a transferable warranty, which matters if you buy through a business and later sell the gear on — confirm the exact current term with the retailer at purchase.
- Buy authorised. Grey-import audio gear is common and warranty claims on it are a headache. Purchasing from an Australian authorised dealer means local warranty processing rather than shipping a rack unit overseas.
- Budget for the full system. Price the RX, the transmit units and the cable together. That total is your honest comparison figure against a digital alternative.
- Source cable locally and buy quality. Shielded Cat5e/Cat6 is inexpensive and widely available in Australia. This is the one place not to economise — the cable determines your noise performance.
- Venue check first. If you're buying specifically to exploit existing venue cabling, verify the runs are actually shielded and terminated to spec before you commit. Plenty of "Cat5 in the wall" turns out to be unshielded and punched down carelessly.
Frequently Asked Questions
Can I plug this into a network switch?
No. It carries analogue audio over Cat5-shaped cable. It is not Ethernet and must never be connected to network equipment.
Does it pass phantom power?
Yes — the path is direct wiring, so 48V travels through to your condensers and active DIs. Mute channels before patching.
How long can the cable runs be?
Line level tolerates long distances easily. Mic level is more sensitive; sensible runs are typically well within 100 metres, but the real answer depends on your cable quality and the electrical environment. Always test in the actual venue.
Do I need a Radial TX unit, or will any Cat5 breakout work?
Third-party pin-to-pin Cat5 audio boxes exist and some follow compatible wiring. Radial's own TX units are guaranteed to match. Given the whole product is about reliability, mixing brands to save a small amount is a false economy.
Will it work with my analogue console?
Yes. It works with anything that has XLR connections — analogue or digital, any brand. That universality is one of its quiet strengths.
Does it affect sound quality?
There's no active circuitry to colour the signal. Any degradation over a run comes from cable capacitance and induced noise, not from the box itself. In practice, on a good shielded run, it's transparent.
The Verdict
The Radial Catapult Rack RX is a specialist tool that does one job extremely well. It converts cheap, light, ubiquitous Cat5 cable into professional balanced audio transport with no power, no latency, no configuration and nothing that can crash mid-show.
Buy it if you're running an analogue console, you have existing structured cabling to exploit, you need multiple independent stage positions landing in one rack, your operators are volunteers or generalists, or you simply want infrastructure that will still be working identically in fifteen years.
Look elsewhere if you need remote preamp control, your channel count is heading north of 32, or you already own a digital console whose matching stagebox does the same job with more features for comparable money.
What you're actually buying here is the absence of things — no power supply to fail, no firmware to update, no network to misconfigure, no converter in the path. In live audio, that absence is often the most valuable feature on the spec sheet.
Browse the Radial Rx Rackmount Catapult at MusiconStage — authorised Radial dealer, genuine stock, and expert advice on matching the right transmit units to your rig.