Snake Cable for Live Sound: Multicore Connections Explained

A snake cable bundles multiple audio channels into a single manageable cable run, simplifying the connection between stage and mixer position. Without a snake, each microphone and line input requires individual XLR cables running from stage to FOH—a tangle of dozens of cables that complicates setup and troubleshooting. Snakes consolidate these connections into organized, professional systems.

How Snakes Work

A multicore snake contains multiple individually shielded pairs within a common outer jacket. Each channel uses its own pair of conductors plus shield, maintaining signal isolation between channels. The outer jacket protects all channels from physical damage while keeping the bundle manageable.

The stage box (or stagebox) terminates one end with input connectors for microphones and outputs for monitor feeds or auxiliary returns. This fan-out typically uses XLR connectors for microphone inputs and may include quarter-inch returns.

The mixer end terminates with a fan of individual XLR connectors that plug into mixer inputs. These connectors are typically numbered to match stage box numbering, enabling easy tracing of signal paths.

Some snakes include return channels for sending signal from mixer to stage—useful for monitor feeds, effects sends, or other audio needing transport from FOH to stage.

Channel Count Considerations

Snake channel counts range from 8 channels for small systems to 48 or more for large productions. Common configurations include 8x4, 12x4, 16x4, and 24x8, where the first number indicates sends (stage to mixer) and the second indicates returns (mixer to stage).

Right-sizing the snake prevents both insufficient channels and unnecessary expense and bulk. A 24-channel snake for an 8-input band wastes money and creates an unnecessarily heavy cable. Conversely, running out of channels forces running additional cables.

Growth capacity justifies modest oversizing. A band currently using 12 channels might grow to 16. A 16-channel snake accommodates this growth without replacement. A 12-channel snake would require supplementation or replacement.

Returns matter for monitor mixing. Each monitor send from FOH needs a return to get signal back to stage. Active monitor mixes require corresponding return channels.

Quality and Construction

Cable quality affects both reliability and audio performance. Quality multicore uses oxygen-free copper conductors, low-capacitance insulation, and dense shielding. Cheap cables may use aluminum conductors, high-capacitance materials, and minimal shielding.

Shield coverage affects noise rejection. Braided shields provide excellent coverage but cost more. Spiral-wound shields offer good protection at lower cost. Foil shields with drain wires provide basic protection.

Connector quality matters as much as cable quality. Neutrik connectors represent the industry standard for reliability. Generic connectors may function initially but fail more quickly under road use.

Stage box construction determines durability. Metal stage boxes withstand gigging abuse; plastic boxes crack and break. Recessed connectors resist damage from impacts. Rubber feet prevent slipping on stage surfaces.

Popular Snake Options

Pro Co and Whirlwind manufacture reliable snakes across price ranges. Their mid-line products serve most band applications well, while professional lines meet touring demands.

Hosa offers budget-friendly options suitable for bands with modest budgets and less demanding use patterns. Quality falls below professional brands, but performance suffices for occasional use.

Livewire and Seismic Audio provide entry-level snakes at the lowest price points. These products suit bands exploring snakes without significant investment, though long-term reliability may disappoint.

Custom snakes from companies like Redco allow specifying exact configurations. Custom channel counts, lengths, and connector types address specific needs that stock products cannot match.

Deployment Best Practices

Route snakes safely away from traffic areas. Snakes crossing high-traffic zones trip people and suffer crushing damage. Cable covers or ramps protect snakes in unavoidable crossing situations.

Avoid sharp bends that stress internal conductors. Gentle curves maintain conductor alignment. Kinking creates stress points that lead to intermittent failures.

Keep snake runs away from power cables when possible. Parallel runs with power cables increase interference pickup despite shielding. When crossing power cables is necessary, cross at 90-degree angles.

Coil snakes properly for storage. Over-under coiling technique prevents twists that stress conductors. Forcing snakes into tight coils creates permanent memory that makes future deployment difficult.

Troubleshooting Snake Problems

Intermittent signal indicates damaged conductors or connections. Wiggling the cable while monitoring signal may reveal the failure location. Connector issues manifest at cable ends; internal breaks may be anywhere along the run.

Consistent noise on specific channels suggests damaged shielding or degraded connectors on those channels. Swapping stage box connections between channels helps isolate whether the problem follows the channel or the physical cable path.

Complete channel failure could indicate connector, cable, or internal stage box issues. Testing with known-good equipment on both ends isolates the failure location.

Crosstalk between channels suggests shield degradation allowing signal coupling. This problem typically worsens with age and physical abuse.

Digital Snake Alternatives

Digital snakes convert audio to digital format at the stage box, transmitting over lightweight CAT5/6 or fiber optic cables. Products from Allen & Heath, PreSonus, and Behringer provide this functionality.

Benefits include dramatically lighter cable runs, longer possible distances, and bidirectional multichannel capability over single cables. Digital mixers from the same manufacturer often integrate directly with matching digital snakes.

Considerations include the need for powered stage boxes, potential latency (usually negligible), and compatibility requirements between components. Digital snakes suit bands already using digital mixers from compatible manufacturers.