4 Channel 3-Pin XLR Snake Multi Network Snake Receiver to Single Ethercon Cable XLR Snake Box Extender for Stage Lighting and Recording Studio- XLR/AES/DMX Channel Over Cat5E/Cat6/Cat7 Ethercon Cable

I have a broadcast studio where I needed to feed four channels of audio across the building. Normally that would require fishing up to four cables through the ceiling. This guy saved the day.I plugged one end into an ethernet jack, then jumpered it to another jack at the other end of the building (it's not IP, so DON'T run it through your router!) and boom! Audio where I need it to go!The box is well constructed out of aluminum and feels solid, and the XLR cables are nice and long.I'll definitely be buying more of these!

Works great

Any movement of the RJ45 cable results in signal short. This could be the PCB shorting on the side of the chassis or simply bad solder joints??? Either way these others work perfectly and have nice black cables:https://www.amazon.com/dp/B0DFMHWZKB?ref=ppx_yo2ov_dt_b_fed_asin_title

This is very cool. I was wondering if this kind of cable could handle the rigors of multi 3-pin XLR and so far it does great. I don't know if this is a viable solution for live shows/traveling, but in my studio they work great and save so much space and trouble using suck small cables to connect them. Theese are study boxed and the XLR ends are durable and sturdy.

I do some work with local community theatre groups, occasionally well enough to take on the title of Technical Director. Usually, our shows are in smaller theatre spaces where lights and sound aren't always available and we have to pack in the gear we want. While I'm more involved with scenic design, props and lighting than I am with sound, I know that we've got enough DMX cables for everything that being able to convert some of it over to ethernet is lighter and cheaper (and it doesn't hurt that I used to work IT and am comfortable making ethernet cables as needed). So while I can't speak much about how well this snake will be for your audio hookups, all 4 channels seemed to handle the lighting DMX commands without issue. All my testing was with a RGB LED parcan connected to one of the snake adapters, though an off-the-shelf cat 6 cables (picture of the shorter cable, but tested with a 30ft cable as well) with the controls using Luminair on an iPad and transmitted over wifi to a wifi to dmx adapter connected to the receiving side of the snake. Not the nicest most professional solution, but it's pretty close to what we've been using for our shows and enough to test out the snake.I can understand why some people may have some issues with the shorter DMX cables connected to the interface boxes, the connectors on them seem solid and include a metal locking mechanism so if paired with some decent quality DMX cables, I don't think you would need to be too worried about connections coming loose on any extensions you may need.While the $100 price can be a bit high for a small developing community theatre group if we need to run a few long lines, this can easily start offsetting the cost of decent quality DMX/XLR cables while also making our setups go a little faster.

This is essentially an audio/data "snake" used to carry four discrete analog or digital signals from one XLR device to another via either a RJ45 standard-issue network cable or an "Ethercon" cable. The latter is just a more robust connector for the RJ45 cabling, designed to prevent audio "accidents." I have tested the system with Ethercon cables and with standard network cabling. It works great with both.The primary reason you'd use a system like this instead of a standard multicore audio "snake" is convenience and expense. Network cabling is just a lot cheaper at extended lengths, and so long as you are sending a balanced audio or a digital signal, you won't experience issues. And a network or Ethercon cable is dramatically smaller in diameter, so it's just way more practical to string between the two XLR input/output units.Would I use these on a live music stage installation? In some cases, yes. But the use-case for music in live/studio applications would probably be more within someone's personal rig rather than patched into the primary PA/studio inputs. The individual breakout boxes are made of aluminum with some plastic parts--but the most exposed parts are aluminum, and there's very little exposure to damage for the plastic parts!But that's OK. That's why we have really overbuilt gear for those purposes. This is quite a high-value system, compared to what these cost in years past, and for an individual user I think they'd hold up to expected wear and tear.The breakouts are professionally constructed with "Neutrik-like" connectors, and the strain-relief heatshrink is labeled with the channel number. At the box, there's a grommet to prevent "pull outs." Quite well done.Five stars for value.

The pinouts/routing are correct, so it has that going for it. The cable "gland" passthrough isn't great, and has no additional protection for the wires getting damaged from bending. It does not appear that it would be repairable if the passthrough were to be damaged. The XLR connectors are actually pretty nice. The soldering and assembly are what I would consider to be below an acceptable quality to leave the factory. The connectors have nice, clean, smooth, plated solder cups to place the wires in, yet the assembler inexplicably chose to tack the wire to the outside, rounded surfaces on many of them. It is as though not only were they never trained, but had also never seen one that was done correctly. I will need to re-do them before I would be comfortable trusting them in a working environment.