Seismic Audio 32 Channel Split

[Vicki]

Werealize that you want your Pro Audio Equipment yesterday. Here at Seismic Audio Speakers, we aim to ship items out immediately. If you place your order before 2:30 Central time, we will ship your pro audio equipment on the very same business day.

With this snake cable, each pair of heavy duty conductors is individually shielded, yielding crystal clear sound while rejecting extraneous noise. XLR connectors make this snake cable fit right in with professional power amps and mixing consoles without the need for converters or couplers. These snakes are your basic hardwired Y splitters. They each have a stage box and two hardwired short trunks with fantails. These splitter snake cables do not have splitter transformers, ground-lift switches, or multi-pin disconnects. These splitter cables are straight send snakes and do not have any returns. The cable ends on the fantails are all male XLR, while the stage box consists of all female XLR and 1/4" combo jacks. You can plug an XLR or a 1/4" in to the box end of the snake. Each stage box is well labeled and constructed from heavy duty steel. The Stage Box is rack mountable for convenience and ease of transport. Both fantails are well labeled and grouped by color

Seismic Audio offers 2 different kinds of Splitter Snake Cable, Standard and Rack Mountable! Splitter snake cables from Seismic Audio Speakers are available in a variety of sizes to meet your band's needs. Splitter snakes are available in 16 channel, 24 Channel and 32 channel configurations. Each model comes with... Seismic Audio offers 2 different kinds of Splitter Snake Cable, Standard and Rack Mountable! Splitter snake cables from Seismic Audio Speakers are available in a variety of sizes to meet your band's needs. Splitter snakes are available in 16 channel, 24 Channel and 32 channel configurations. Each model comes with the option of two 15 foot trunks or a 15 foot and a 30 foot trunk. Splitter snake cables feature the basic Y splitter setup. Buy splitter snake cables for the best connection between the stage and the mixer.

Rack Mountable Splitter Snake Cables have the Stage Box rack mountable for convenience and ease of transport. Both fantails are well labeled and grouped by color. Both the main trunk and split trunk are built with cable that is individually shielded pairs, 22 guage, high copper purity conductors with aluminum foil shield and trace wire. You will find strain relief at both the stage box and fantail end of the snake. There is a mesh hanger at the fantail end. The female XLR / 1/4" panel jacks on the box are locking coiled spring style with non metallic bodies. The fantail is built with male XLR shells.These snakes are your basic hardwired Y splitters. They each have a stage box and two hardwired short trunks with fantails. These splitter snake cables do not have splitter transformers, ground-lift switches, or multi-pin disconnects. These splitter cables are straight send snakes and do not have any returns. The cable ends on the fantails are all male XLR, while the stage box consists of all female XLR and 1/4" combo jacks. You can plug an XLR or a 1/4" in to the box end of the snake.

Splitter snake cables from Seismic Audio Speakers are available in a variety of sizes to meet your band's needs. Splitter snakes are available from 16 channel to 32 channels. Splitter snake cables feature the basic Y splitter setup. Each pair of heavy duty conductors is individually shielded, producing crystal clear sound while rejecting extraneous noise. XLR connectors make it easy to attach the splitter snake cable to amps and mixers without additional converters. Buy splitter snake cables for the best connection between the stage and the mixer.

This piece of audio gear is required for using a digital monitor board at live gigs (unless you bring your own FOH console). You need a way to split the audio feed from all the microphones on stage to go your monitor board and to go to the front of house mixing board.

There are many factors involved with purchasing a split snake. You need to be mindful of build quality, portability, if the unit is rack-mountable, as well the length of each XLR fan tail. Some snakes from certain companies will need to be made to order.

We have gone through two of these splitter snakes, but it was most likely because of other bands and stage crew accidentally stepping on the snake. I highly suggest you get a rack-mounted splitter snake.

You can set the foam underneath the splitter snake and that should alleviate any issues I just warned of. Aside from that issue, the XLR tails are of a solid quality; we have no issues in this regard.

Immediately, from plugging in just the kick out XLR, I could tell this was a much higher-quality splitter snake (at a much higher cost, mind you). The force required to plug the XLR in is much greater and these connectors are made from metal.

Are you considering buying one? Let me know if you have any questions below and I will get back to you as soon as I can with an answer. I have a fair amount of knowledge on split snakes, in-ear monitor setups, and digital monitor boards.

I just created my own 24 in ,24 out splitter for our band.

It also has the advantages of db25 connections straight into our monitor mixer rack from our source racks on stage.

Honestly it needed to be ultra compact and reliable. Made with 2 x 12 in 1 ru rack xlr ins with 2x 12 xlr outs underneath it.

has ability to ground lift all xlrs from FOH console and isolates all FOH mixer phantoms as we use the pahntom power on our ui24 unit.

This all lives in a 6 RU half rack case with ui24 as monitor mixer. Best thing ever.

I did have to make my own PCBs and circuits. i would send a pic if anyone interested.

I can't comment on using splitters in the field, because I haven't done that. I haven't even played live in a long time...but I wonder if it would be possible to configure a setup with an app like Waves' MyMon so people can control their monitor mixes via wi-fi? Also the PreSonus ecosystem is intended for wireless monitor mixes. A lot depends on the FOH mixer, and whether it could interface with a separate, software-driven monitor mixer, or have an option for wireless monitor mix capabilities.

Thanks, Craig. The band is using a Soundcraft Ui24R and players control their own monitor mix from their phone. Works great. In small venues with no FOH, a stereo out is fed to the house and mixed from the same Ui24R via an iPad. Pretty much set and forget. I'm trying to make it easy for FOH in larger venues or festival set-ups to patch in and mix the band while the band maintains their familiar monitor setup, hence a splitter snake.

My 6-piece uses the Seismic Audio SARMSS-16x515 snake in a stage box. The 5' side feeds an XR-18 to drive our individual IEM mixes that we control with our phones, and the 15' side goes to FOH. Never had an issue with it for 80-90 gigs, and we've used it on fixed and portable stages, indoors and out, from small to large. We bought ours in early 2021 for $179, but it looks like it now is $210.

Thank you! Really helpful. We've looked at Seismic and were wondering about durability at that price point. 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. 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?

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. 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.

It's been game-changing for us. We are all on IEMs (all wireless but me) and the guitar and bass are ampless, so our stage is super comfortable volume-wise. 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 play a song and a half to make slight adjustments in levels for our IEMs and we are good to go.

That's exactly what we're hoping to get to. 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!

I'm happy to say that we haven't. 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. It just so happens that the event is this coming weekend. 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. Plus, there is a DJ in between bands, so there's not a huge rush. If it's different this year, I'll let you know.

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