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PLANET WAVES Modular Snake System


Jon Chappell

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If you’ve ever done live gigging in a large venue where the soundboard is remotely located (like in the center of the house, as opposed to on or next to the stage), you have no doubt encountered the device known as “the snake.” A snake is like a giant power strip and extension cord for audio signals. It connects your stage gear with the soundboard in a neat, rugged, and reliable fashion.

 

A snake consists of (starting at the stage end) a junction box (which is usually large, bulky, and ugly) with various jacks that accept all your stage-sourced outputs (mic cables, amplifier line-outs, direct box outs, etc.), gangs them together, and outputs the whole mess via a single, fat, multi-stranded “hose” that runs back to the soundboard. Once arriving at the back panel of the board, the separate cables “break out” into individual connectors (XLR, 1/4") to feed the appropriate mixer inputs.

 

Every live band who has their board and soundman in the audience or at the back of the house (where they should be) must come to grips with owning a snake at some point, because it’s a whole lot more sensible than running multiple and separate cables back to the board.

 

Serpentine Studios

For many of the same reasons, snakes have their place in the studio, too. They organize cabling and provide a single line to get the musicians to the board. Planet WavesModular Snake System http://planetwaves.com/ aims to bring the concept of the snake to the recording musician with an easy, inexpensive, and flexible system—concepts that are novel to the working realities of traditional stage-based snakes.

 

The system that Planet Waves has come up with is pretty ingenious, for anyone who’s struggled with those firehoses of large, live venues. In this Pro Review, we’re going to take a look at what the Modular Snake System has to offer the recording musician.

 

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Snakes in the grass: Planet Waves’ Modular Snake System consists of smaller, inexpensive cable-hookups that allow you to route cables from the studio to the control room or from the stage to the soundboard.

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As the name implies, the Modular Snake System is completely modular, so you buy only what you need, and according to your specific setup. Every setup, while different, must use at least three MSS components: a core cable, a mixer-side break-out cable, and a recording-side break-out cable.

 

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It Takes 3. Three components in the Modular Snake System (from left): a break-out cable (DB25-TRS), a core cable (10' DB25-DB25), a breakout DB25-XLR F).

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The core cable (available in various lengths, from 5' to 50') is what connects your mixer to the recording source (it's the coiled, thick cable in the middle of the photo below). Its length is determined by the distance between the mixer or interface and the sources.

 

The individual break-out connectors are specific to your setup, and you need one for each side of the core cable. For example, in a common setup, you might have the following (from control room to live room):

1. XLR Male to DB25

2. 10' core cable

3. XLR Female to DB25

 

That allows you to hook up a mixer or interface to 8 microphones. In the photo below, I’m using just 1 of the available 8. This particular interface, the M-Audio Fast Track Ultra, will accept up to four 1/4" or four XLRs, but the Modular Snake System gives me room for expansion should I upgrade to an 8-input interface.

 

(It should be noted that I could have just as easily used a 1/4" break-out for my interface, as the jacks are the Neutrik Combo connectors that accept either 1/4" or XLR. In fact, the 1/4" might be more versatile, but I'm an old-school analog mixer guy, so I just grabbed the XLR break-out on the mixer/interface side.)

 

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All set up. A simplified version of a typical studio setup: one break-out (XLR Male to DB25) connects the interface (in this case, an M-Audio Fast Track Ultra) to the core cable; another break-out (DB25 to XLR Female) connects the core cable to the mic.

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Now, what’s a DB25, you ask? Simple: that’s the industry-standard, trapezoidally shaped, multipin connector that you see on computer gear and some recording equipment (e.g., Tascam DA-88). It’s a very efficient way to gang together multiple lines of audio. Every Modular Snake break-out model has one of these at one end. What’s different is the other end—whether it’s 1/4" TRS, XLR male, XLR female, or AES/EBU (XLR, but with different wiring).

 

DB25 Flexibility

DB25's come in both sexes, so they're easy to mate. The core cables have males on both ends and the break-outs have females on one end. And if you ever find yourself in a situation with a DB25-configured piece of gear (like Tascam digital recorders), you can plug the core cable directly into the machine itself--no break-out needed--as Planet Waves adopts the industry standard/Tascam pinout configuration.

 

DSC_0105w.jpg

 

Close up with a DB. A DB25 is the standard plug for grouping together multiple and separate lines of audio or data. Keep in mind, this is a physical grouping. The individual lines are electronically isolated from each other through insulation.

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What I’m liking about working with the Modular Snake System so far is that it’s basically a cable form factor, not a big box with a firehose attached to it. Here’s what the snake looks like in perspective:

 

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I draped this over a small picture frame so you could see the 10' core cable length, plus the additional length provided by the break-outs. That's a pretty generous length in the break-out cables, dont'cha think?

 

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Here I am holding the cables, so you get that "human scale" factor. Dang, I gotta get out in the sun more!

 

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The cables are easily coiled and held in one hand--try doing that with a stage snake!

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All in all, pretty easy to wrangle.

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To get into the Modular Snake System you have to make two decisions:

 

1. What length core cable do I need—5', 10', or 25'?

2. What break-outs do I need?

 

Modsnake1w.jpg

 

Question #1 has to do with the physical dimensions of your recording studio. How long a cable to you need to reach the musicians from your board? (Be sure to leave enough slack to get around corners and such.) Question 2 is what kind of mixer or interface you have (does it take 1/4" ins or will you be going into XLR mic pre’s?), and what type of audio outputs will you be dealing with as source material (mic vs. line or XLR vs. TRS)? Of course, you may need more than one type of break-out solution, especially on the source side, which we’ll get into.

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Before we get into some more details, like the specific uses of the Modular Snake System, here’s a breakdown of the prices. These are the suggested retail prices; chances are (certain), you’ll find better deals with online retailers, such as Musician’s Friend. As with all vendors, YMMV. ;)

 

DB25-DB25 5': $29.99

DB25-DB25 10': $39.99

DB25-DB25 25': $39.99

DB25-TRS: $59.99

DB25-XLR Male: $99.99

DB25-XLR Female: $99.99

DB25-AES/EBU: $99.99

 

It should be obvious why certain configurations are more expensive than others: it’s the hardware on the TRS or XLR side of things that makes the difference.

 

A close examination of the connectors reveals quality workmanship, and Planet Waves reports oxygen-free connection technology. That means it won’t rust or corrode, which prevents the dreaded crackling sound that plagues inferior cabling.

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I started to write up the quality aspects of the connectors themselves, and decided to let Planet Waves do the talking here. This is what their press releases says regarding the Modular Snake System:

 

 

The Planet Waves Modular Snake System makes it easy to customize the cable configuration to your specific needs. The snakes feature interchangeable break-outs for easy and flexible wiring options utilizing industry standard analog pinouts. Planet Waves snakes are made with our proprietary multi-pair snake cable, featuring oxygen-free copper conductors and 100% shielding in a low noise, low signal loss construction. Additionally the snakes feature Amphenol gold plated connectors for optimal signal transference, corrosion resistance and strain relief.

 

 

 

It’s as easy as 1-2-3!

 

1. Choose the core cable length – 5, 10, or 25 Feet

 

2. Choose the proper break-outs for your audio connections

 

3. Plug in and experience high-definition audio

 

 

 

• Interchangeable break-outs for easy and flexible wiring options

 

• 7 Connection options make 24 possible Snake configurations

 

• Industry standard analog pinout

 

 

Note that "high definition" in point #3 has nothing to do with digital high-def; it just means that the mfr. asserts that the analog quality is superior. Also, the "7 connections" takes into account the three different lengths of core cables. It's not really 24 different connections. The unique connection types are these:

 

1. XLR F -> TRS

2. XLR F -> XLR F

3. XLR F -> XLR M

4. XLR M -> XLR M

5. XLR M -> TRS

6. TRS -> TRS

7. AES/EBU -> AES/EBU

 

 

(Any of the above can produce the reverse just by turning the cable around; e.g., #1 is also TRS -> XLR F.)

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I just learned from Planet Waves' Rob Cunningham that the Modular Snake System has two more additions in the offing: a core coupler (which allows you to connect together two different length core cables, like a 5' and a 10' for a total of 15') and a 50' core cable.

 

The MSS already has lengths of 5', 10', and 25', so with a coupler, you could create any length of cable that ends in a zero or 5.

 

If you like the idea of having a 50' cable with a continuous cable length (i.e., no connectors along the way), you can just wait till that's available. But a coupler makes a whole lot of sense, and it's less expensive (we don't know what the actual price will be yet) to connect two shorter cables you already have than to buy a single, longer cable.

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One advantage Rob Cunningham pointed out to me was that mics can stay connected to break-out semi-permanently, and you simply swap break-outs without ever having to unplug a mic.

 

For example, let's say you have a studio with a miked-up drum set. The mics you use for the drums never move. You never have to cannibalize the mics or the stands, because you've worked hard to get to that point. So these four or five permanent, dedicated drum mics all get plugged in to a Modular Snake break-out. Only the break-out sees any plugging and unplugging action.

 

So when it comes time to record a couple of guitars, you simply bring in new mics AND a new break-out. You never touch the drum break-out. This means that you're plugging and unplugging entire ensembles with one connection. You leave your drum mics plugged into their own break-out and your bring in an alternate break-out for other duties. The mic connections themselves never get touched, which is an advantage for "connector longevity" as well, in the form of less pin and joint stress and less exposure to corrosive elements.

 

There's one disadvantage to a modular system. You have these lumpy connectors at two points in the line (where the two break-outs meet the core cable). If you have, say, a 30' foot run under a floor and a 25' core cable, you wouldn't be able to, say, run a core cable through a 30' piece of PVC or conduit. Nor could you use a coupler. This is a small limitation, and you can find clever work-arounds, but if you're designing a studio, you should be aware of this.

 

What's interesting about this is that Planet Waves has a system for users to custom-create cables at any length, called the Cable Station. It's perfect for connecting pieces of gear together that require different cable lengths, all through a quick, easy, and solder-less process. The Cable Station should really appeal to people designing studios and pedalboards who are sick of using off-the-shelf-lengths and who want to use just the right length of cable--no more, no less. But for the Modular Snake, you have to strategize using lengths of cable with foot-increments that end in zero or five.

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The Planet Waves Modular Snake System makes it easy to customize the cable configuration to your specific needs. The system also features a proprietary multipair cable with oxygen-free copper conductors and two layers of impenetrable shielding. It has a low-noise, low-signal loss construction, and Amphenol gold-plated connectors for ideal signal transference, corrosion resistance, and strain relief.

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oliviaharis

Addiction Treatment

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Those definitely sound like a good investment for a touring band, because you never know when you might get asked to open for a bigger band. That just be your chance to shine, and you definitely don't won't to go to a big gig without the proper gear. Thanks for the tip John !! Merry Christmas!

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Those definitely sound like a good investment for a touring band, because you never know when you might get asked to open for a bigger band. That just be your chance to shine, and you definitely don't won't to go to a big gig without the proper gear. Thanks for the tip John !! Merry Christmas!

 

 

That's a good point -- carry gear that will allow you to "upgrade" to a bigger system. And that can often happen in a touring context, when the venue changes frequently and you're always walking into new situations.

 

That's why, as a freelance, hired-gun, jobbing guitarist, I bring along music stand, a wireless mic & receiver setup, a XLR/1/4" adaptor, and an extra mic stand, even when they tell me I won't be singing on the gig that night. You never know when you might be asked to "step up."

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Hi John...

 

Giving this a bit of a bump a couple of months after the fact. Any updates on how it's been working out for you?

 

I'm interested in this concept because my MOTU 2408's seem to have those DB25 connectors and I have no gear to interface them with. In theory, I could combine those connectors with the XLR or TRS ends and then make the appropriate connection to my micpreamps/DI's? I'm moving into a bigger studio space this summer and am working on redesigning my rig and upgrading components, so this looks like it could be a fantastic option if it would work!

 

Is it possible to just go TRS to DB25 into the MOTU without use of a breakout cable if I don't need that extra length?

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I'm interested in this concept because my MOTU 2408's seem to have those DB25 connectors and I have no gear to interface them with. In theory, I could combine those connectors with the XLR or TRS ends and then make the appropriate connection to my micpreamps/DI's? Is it possible to just go TRS to DB25 into the MOTU without use of a breakout cable if I don't need that extra length?

 

 

I'm not familiar with the MOTU, but isn't the DB25 connector for digital audio? If so, then you couldn't use the Modular Snake for what you describe, nor could you use any "straight cable" solution to connect an analog audio out (mic pre) to a digital audio in (dsub connection on 2408).

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I'm not familiar with the MOTU, but isn't the DB25 connector for digital audio? If so, then you couldn't use the Modular Snake for what you describe, nor could you use any "straight cable" solution to connect an
analog
audio out (mic pre) to a
digital
audio in (dsub connection on 2408).

 

Yeah, that's where I got confused. They look identical, but these are TDIF connections, meaning they're practically useless to me. I had hoped this would be a decent workaround, but obviously it's not. :(

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I was looking to see how many different standards used on these cables when I found this forum.

 

Here are the answers I found:

Analogue wiring is always the same.

Digital (AES3) wiring has 2 types:

1. Tascam / Digidesign

2. Yamaha

 

The Tascam chart is easy to follow, but has Tascam only:

http://cachepe.zzounds.com/media/DB-25_Pinout-08262df8df85fdf382d9c6b2771f5146.pdf

 

The Aviom chart has both Tascam and Yamaha

http://www.aviom.com/library/Technical-Resources/75_DB25-Pinout-Information.pdf

 

Mamba does a AES3 XLR breakout box for 4 connectors and wires them both ways. How clever.

ADB4.bmp

 

The only other thing to consider is there are both metric and imperial screws on different gear. Watch out for that one!

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i'm considering this as a solution for da conversion because i want 24 channels ad to my laptop but only need 8 da at a time, so i could plug 4x8 channels into my mixer's mix b and do mixdowns that way exept the total price for the snakes might be too high, still cool to consider..

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I am trying to make a quick connection to/from my rack gear to my pedal board. I was looking for a connector and cable with 20+ conductors. This seems like the ticket. I would just need the core cable and then I would build a custom breakout box into my rack and my pedalboard. However, all of my signals are unbalanced.

 

Do you know if each conductor is individually shielded? I am worried about noise and cross-talk with the unbalanced signals.

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