One thing I always tried to do when working with Kimock was run the board feed through the snake and record from the stage. This way the stage mics don't have to run through the snake. I would plug them direct into the recorder.
Just curious as to why?
Single cylinder answered while I was typing. More detail-
One example- Someone in another thread recently asked about running unbalanced Church Audio mics onstage and through the snake back to his preamp and recorder located at the board. I suggested that wouldn't work, that with appropriate adapters he could probably keep the preamp on stage with the mics since the output of the preamp would be better able to drive the run back to the recorder at the board, but by far the best solution would be to run the SBD patch from the board to the stage and keep the entire rig near the mics, limiting the length of the unbalanced run.
In Charlie's case, even though both are balanced and the mic bodies should be capable of driving that length of run, he may choose to do it that way primarily because the soundboard is line-level, where as the mic feed is mic-level. So that makes for less potential interference issues, less possibility of compromising the sonics of the mic feed with a less than great quality long snake run, and the line level SBD output is driven by an output circuit designed for driving long runs.