![]() 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? Infinitely better quality work on the shrink work on the fan, and is just a far superior product.A question for the “stage” portion of the forum (live sound engineers): It's all neutrik, good quality belden multicore, and is easy to work with. I don't have any EWI snakes, so but have heard good things, and if EWI's bulk mic quad mic cable is any indication, is probably a very good product. If you're on a budget, go get a CBI or EWI if you can't afford the high end stuff. Thus far I haven't had any problems with it, but that's mainly because it doesn't really get "used" in the traditional sense (it never uncoils).įor a permanent install, they might be passible, but I certainly wouldn't use one in the traditional sense. I ring it out with a cable tester after every use. It'll hold up as long as you don't uncoil it, so in short, don't use their stage snakes as well, snakes, because the cable will probably fall apart after regular use. I drop it on the stage next to the FOH stage box, bring in my "real" snake and patch everything in one place. ![]() The only way I use this thing is to not uncoil it. The ends are passible but far from ideal. The cable is stupidly heavy (this thing weighs almost as my 32x8 150' CBI that has good quality lo-cap Belden, but only has 45' of multicore). The outer jacket is abysmal, it doesn't over under well at all, and you can feel the inner channels move around under the jacket when you manipulate the cable. It's got a ridiculous OD (for example, it's almost twice the OD Of my 40 channel "real" snake with only about half the channels). I knew it was a cheap POS going into it, and knew what I was getting into. I've got one of Seismic's 24 channel 15/30' splitter snakes.
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