Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Jay Barracato]

You might want to consider a separate drive snake just for the returns.  That way you can go directly to your amp rack(s) without running out of your stage box.  If you have 8 returns in the main snake, another 8 in the drive snake gives you some spares and routing flexibility.

Dang, looks like Mr. Rees beat me to this one.

I RARELY use the returns on the FOH snake except occasionally for a talkback mic to an in ear rig on stage.

I always use a separate drive snake when setting up my own system because the place where I want the snake head is rarely the same place I want my returns. Using a separate drive snake allows me to go directly to the amp rack or my breakout point for powered speakers without using 7 extra connectors (assuming L/R/sub + 4 monitors from FOH) from the snake head to the amp rack.

Face it, with a single stage box, you are either going to end up with a significant pile of cable on the mic end or on the amp end, because no one location is convenient to both. A separate drive snake is well worth the investment.

[Geoff Doane]

With the 24x8 I'd have 1 return left over, and another one if I really needed it on the spot (I could take the subs off of aux feed). Is it right to assume that if I encounter IEMs I can usually just run them from the FOH position? I don't often do them but I might have a couple of gigs where I'll see more of them soon.

With a couple turnarounds, you can also convert a send channel to a return on occasion if there are mic channels left over.  Ideally, IEM transmitters and wireless mic receivers should be on stage rather than FOH, but I've done it both ways (not in huge rooms) and got away with it.

If you're considering a Soundcraft SI, I'm a bit surprised that you're considering a "budget" snake.  Cables and connectors are still the components most prone to failure in our business, and the good stuff can be had for not a lot more money than the "bargains".  I have had some questionable connections with Neutrik knock-off TRS plugs on an EWI patch snake, so I'm a bit leery of connectors not from Neutrik or Switchcraft.

The separate return snake is a good idea, and even if you don't go with one, a fan-to-fan snake from the stage box to the amp rack will save you time and grief on the setups.  If you spec the splay correctly, you may not need any extra mic cables for the returns, so it could even pay for itself. 

When I started in this business, 30 years ago, I bought a used Whirlwind 12+3 snake.  That worked OK for the 8 channel mixer (and Shure M68 sub-mixer), left, right, and ONE monitor mix.  Later on when I expanded, another 12+3 snake made sense because I could use one for the backline, and the other for downstage inputs like vocals and horns.  The downstage returns sent signal to the, by now, mono 3-way PA.  2 monitor mixes came off the upstage snake.

As for the value of quality cabling, I still have, and use that 30+ year old Whirlwind.  It has been rebuilt a couple times after the original Switchcraft connectors got dented or lost setscrews, but the cable itself is still intact. 

GTD

[Samuel Rees]

There is definitely a big gap there, but its intentional. I don't have a huge rig I go out with, the overwhelming majority of my gigs are bringing the console to venues and HOW that already have systems. The PA I have for when I'm doing gigs all on my own power is not that big or expensive because I don't intend it it be - I just don't use it a lot. So, I don't want to spend to much money on gear that won't be getting me paid much, but I do want to make sure that when I do go out with it I at least have the right number of channels.

[g'bye, Dick Rees]

Dang, looks like Mr. Rees beat me to this one.

You probably have better things to do.  I'm in the slow season right now......

[George Friedman-Jimenez]

I would, however, much rather have a 150' snake than a 100 footer.

Some high quality snakes use 24 ga or even smaller gauge wire. Is there significant degradation of low voltage microphone signals with a 150' snake if the wire gauge is smaller than the 22 ga that EWI uses?

[TJ (Tom) Cornish]

Some high quality snakes use 24 ga or even smaller gauge wire. Is there significant degradation of low voltage microphone signals with a 150' snake if the wire gauge is smaller than the 22 ga that EWI uses?

No. Wire gauge is irrelevant electrically for high impedance signals.

[Matt Vivlamore]

I have a 32x8 - 150' EWI snake, its about 3 years old now and everyonce in a while I have to tighten the big ass nut at the stage box.

I only wish that EWI offered mass disconnects on the Fan end, I could use one.

[NickStone]

I only wish that EWI offered mass disconnects on the Fan end, I could use one.

You and me both!

[Geoff Doane]

I only wish that EWI offered mass disconnects on the Fan end, I could use one.

Sure.  That would only add about $1000 to the cost of the snake. 

GTD

[ProSoundWeb Community]