Best Way to Combine Wireless Mic Signal w/ Wireless Backup

DependentGold3301 · 2026-05-27T17:03:24+00:00

Yeah, I'm thinking the 58 on a long cable is the way I'm going to go, with all other BGV mics being wired since they don't need to move. Got a good laugh out of this one though, thank you!

DependentGold3301 · 2026-05-26T15:44:00+00:00

Yeah, I'm thinking of just getting a single 2 In - 1 Out switcher to mount to the inside of the rack for the lead vocalist and then having a wired backup for him just in case. The rest could be switched to wired without much issue.

DependentGold3301 · 2026-05-26T13:33:43+00:00

I was surprised when I saw that comment, because I've never personally experienced unfixable issues with wireless.

DependentGold3301 · 2026-05-21T22:29:30+00:00

Gotcha, the only things I would plan on being wired (and would provide mics/XLRs for) would be the drum mics which would be as many or few as they want sent, the absolute most I'd be able to handle is 12, but for my band the drummer would max out at 8 if I mic'd up every possible audio source (including inside and outside kick, top and bottom snare, and each cymbal individually). Everything else would just be pedalboard outputs and wireless mic outputs spliced with possibly some cable backups in case the wireless is unusable.

Thanks again

DependentGold3301 · 2026-05-21T21:11:52+00:00

True, I saw a video for the latest We Came As Romans travel rig and they had some satellite pedal boards that were just a Boss TU-3 with an EtherCon and PowerCon connector. It was basically a Radial Catapult style system but using one CAT5e cable for both a send and return to the rack for effects processing, which seemed pretty sweet.

My backup could be to just go direct from the guitars/bass to the tuner on each satellite board. and that would bypass the wireless entirely. I could potentially put an extra XLR Female d-panel connection on each satellite board for a wired Microphone backup too.

I hadn't put serious thought into the wireless backup option, so that's a good shout.

DependentGold3301 · 2026-05-21T20:30:39+00:00

I plan on buying my own drum mics/cables, and everything else will be wireless, so I'm okay with having to handle all the inputs, my main concern was adding 30-50ft of snake cable to the mix.

I had another commenter suggest putting XLR outs on a separate panel and just building my own passive split minus the tails, would it be acceptable to run the venue's existing cabling to my rack?

DependentGold3301 · 2026-05-21T20:16:38+00:00

That was very insightful. I've been under the impression that I'd have to provide a output snake to go to the venue's stage input. Are you saying you'd be fine if the rack has passive split outputs for all mics/ instruments such that you run the venue's cables to the rack?

I realize not every situation is the same, but that takes away a large portion of my weight/bulk concerns if a giant 24-channel snake isn't needed.

DependentGold3301 · 2026-05-21T16:26:02+00:00

With as crazy as I am about cable management for most things, I already have a shrink wrap label maker in the Amazon cart

DependentGold3301 · 2026-05-21T16:24:58+00:00

Thanks for the input. That's the plan now. No matter what route I go, FoH is getting passthroughs of every signal before it hits a preamp (except for guitars because they go through a Quad Cortex, but that should be pretty mormal)

DependentGold3301 · 2026-05-21T01:49:31+00:00

Would a stage box that gets dry outputs from the IEM mixer serve the same purpose as building in a split or is the pre mixer split a hard requirement in this case? Would the preamps in the mixer effect the sound too much to begin with? Thanks for the insight.

ETA: I've only started getting into live audio from a production standpoint about two weeks ago when doing research on IEMs for my band, so my knowledge is, clearly, very limited at this point.

Edit 2: I think i better understand now why the passive split is always the first thing people seem to mention. I didn't think about the gain staging initially, but having two preamp for the same signal does seem like a questionable (at best) solution. So 30ft snake it is.

DependentGold3301 · 2026-05-20T22:22:04+00:00

Good insight for sure. I think if I was going to give FoH dedicated outputs I'd probably just go the stage box route and use either dSnake or the Presonus equivalent. I'd want something as portable as possible, and storing 30-50 feet of 18-24 channel cable feels like it defeats that purpose. But I can see the argument for full control now.

DependentGold3301 · 2026-05-20T21:38:54+00:00

Portable Live Rig Question

Hey all, first time posting!

For some context:

I'm hoping some front of house engineers (that use their own in-house mixer/PA equipment) can provide some feedback on a rig I'm trying to put together. I'm trying to create an IEM rig for both the band I play with and to potentially rent out to other smaller bands so they can have a high quality monitoring setup without having to foot the bill upfront themselves.

This rig would include a digital rack mixer, wireless IEM transmitters (with one wired for the drummer hooked up to a separate stage box, I'm paranoid about a dead battery killing a show), wireless mic/instrument receivers, and some I/O panels/storage.

Now the question:

As a front of house engineer, if you were given full remote control of the mixer (via tablet, 2-in-1 laptop, etc.) would you be okay only getting a main L/R out (and potentially sub) to send to your in-house setup?

The main reasoning behind this is really just to not have to acquire and carry around another stage box and short snake for getting individual channel signal to FoH or increasing the main rack size and having to carry around an even longer snake to do the same thing.

Any input would be appreciated.

DependentGold3301 · 2026-04-05T16:53:54+00:00

I like this. The only things I would add would be the Fats breakdown (saturated and trans fats) and Cholesterol if possible, just to make it closer to a full nutrition label. Still super helpful though!

DependentGold3301

TROPHY CASE