12/11/2023 0 Comments Seismic splitter snakeXLR / TRS 1/4" Combo Jacks on the box end. Rack Mountable 16 Channel Splitter Snake Cable.We also send a stage plot in advance, so they have a general idea of where they need to run power and cabling and get more done before we show up.16 Channel XLR TRS Combo Splitter Snake Cable Two 15' XLR trunks - Rack Mountable If it's different this year, I'll let you know.įor gigs where it's just us, the FOH guys always seem super happy because we have everything labelled and color coded with a giant sticker inside one of the lids with the channel assignments in large fonts. Plus, there is a DJ in between bands, so there's not a huge rush. The stage box wasn't an issue last year, but I would guess the FOH folks would rather run an extra set of cables for us, then have to deal with dialing in monitor mixes for 6 people. It just so happens that the event is this coming weekend. Of course, we haven't done a lot of the multi-band bills, except for this one annual event we play where we are kind of a cross between performers and guests. With drums, 4 horns, guitar, bass and keys the stage volume is high naturally so we want to eliminate wedges to cut it down, not to mention sound-checking that many players takes forever! If we can get everyone on IEMs and roll in 90% there, great!Īnother question: have you run into any FOH guys that were reluctant or outright refused this method? I've heard some don't want to unpatch/patch their stage snake on multi-band bills. That's exactly what we're hoping to get to. We play a song and a half to make slight adjustments in levels for our IEMs and we are good to go. Whether it's our regular sound company or house-provided, sound check is usually just working with FOH on general levels and EQ-ing drums and vocals. We are all on IEMs (all wireless but me) and the guitar and bass are ampless, so our stage is super comfortable volume-wise. We need all 16 channels, so we can't afford to lose one! (Well, we could, but then I'd have to run mono.) All good so far. Glad to be of help! We have it in a rolling rack case along with the XR-18 and the wireless IEM transmitters and we treat it with care. I've read some accounts of loose-fitting XLR connections - have you experienced that? Most importantly, have you lost any channels over the 80-90 gigs? How do you find the build quality? I guess if it's in a rack rather than on the floor it's out of harms way. We've looked at Seismic and were wondering about durability at that price point. The cost differential between direct wired and transformer-isolated splitters is substantial and I’m trying to determine if it’s worth the expense. This is for three reasons: consistency, lower stage volume, and to cut down sound-check time (it’s 7-8 piece band). In my case, the band wants to control their own in-ear monitor mixes and simply provide the venue with a tail for the FOH mix. I have found a few cases of ground loop hum, but it seems to be rare and easily fixed with in-line lifts or running both mixers off the same circuit. It seems the internet is full of “potential/theoretical” issues using phantom power with a direct wired split, but I can’t find any actual examples of mixers, mics, or equipment being damaged by doing so. I’m not looking for theory, but real-world experiences in venues or tours that use separate monitor/FOH positions. Has anyone had any issues using a NON-TRANSORMER-ISOLATED splitter snake to send signals from the stage to both a monitor mixer and FOH mixer? A question for the “stage” portion of the forum (live sound engineers):
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