You've got an impossibly tall order to fill here. All is not lost. All is not easy.
First question, 16 radio microphones? Why? Do you understand anything about today's RF conundrum? This ain't Radio Shack we're talking about here. Don't even think of it.
In what application is this? Is this a church performance? Is this an actual auditorium? Your entire orchestra is in a little box downstairs, underneath the stage and not in a pit? What? And what kind of microphones do you think you are going to be using? Microphones that are not the 16 radio RF microphones? Is this a high school show?
You'll plug those 16 radio microphones into that 01 V. How close are the receivers going to be to the performers with the wireless microphones? Don't believe for a minute the specification of 300 feet. And your loom is referred to as your snake. Of which 16 are designed to go from the stage to the mixer. It can also be back fed with the mixer feeding stuff down to the stage box. And you will be running into ground loops without XLR reverse barrels and ground lifters.
While you've given us the way out of this production, and what professional capacity is the demographics of this particular production? Mommies and daddies? Raucous teenagers? Well mannered God-fearin' folk? How close is the drum set to a choir? What kind of microphones do you have that aren't radio RF microphones? Who's can be handling the RF microphones while you are engineering? Have you done this before? There's a lot of stuff going on here. You might need to rent an additional XLR microphone snake? I don't think you want to be running individual cables all over hell and back? Somebody's going to trip. One's going to get cut or mangled. So if they can afford 16 radio microphones they can afford to rent another 16 input snake. Let's get real here. You can't be expected to do this without any kind of a budget. What's the budget? What part of the world are you in? What sound companies are in your area?
It's called preproduction. Precisely why people have preproduction meetings before these gargantuan events. Some things take a lot of money and/or extra hands to accomplish. Sound companies have the guys mixing and the guys plugging in the microphones at this stage and then the guys that are doing the monitor mixing with the separate monitor mixer. And you are the chief cook and bottle washer with all the right stuff but not enough of the right stuff. And what to do for something that's nearly impossible? You have to have a production plan. You don't have a plan because there is no right answers.
While you're console has 6 auxiliary sends, which is good, but also most likely has direct outputs of each one of those 32 inputs? And where necessary, those can be used individually such as for a queue speaker of one particular microphone for the conductor per se. The mixer also has other subgroup outputs other than just left and right. Most likely it has 4-8 subgroup outputs that can also be used to feed the different places you need this sound to go such as amplifiers which are connected to speakers wherever they happen to be. Some of which may also need external equalizers for different acoustical areas and to help prevent feedback. And this is why industrial sound companies install stuff. And you are asking where do I plug it in? As you can tell, there is no easy plan other than your own. And we can always accomplish the impossible because it's not possible. Sometimes it requires a lot more money and equipment and personnel and a plan.
A single pair of microphones over that orchestra sounds like a school production. Junior high school. And 16 radio microphones without a radio microphone operator will mean that nothing will work properly, guaranteed. 16 different channels that won't be interfered with ain't easy to find these here days. Or that are actually legal to use at all? You wouldn't want to keep an ambulance from saving someone's life would you for a poorly planned production? Would you? I hope not? In fact I myself was called in at the last moment after doing NBC-TV's Nightly News for a special television production for Howard University Hospital or something like that? They had 16 radio RF microphones (when it was far easier to manage than it is today with a new FCC rulings) and he was a specialist. He was to give me a single feed of these 16 closely balanced radio microphones. The idiot was actually the assistant. The main guy was out with the flu. The audio guide showed up, vomited, passed out and was taken to the hospital. All of those radio microphones were all on the same channel!!! OMG! What an incredible, all horrible, completely screwed up, screwup that was by a guy that specialized in working with that many radio RF microphones that were all on at the same time. And I'm helpless behind the console in the video truck unable to do a thing about it. And that's because a job like that can't be done by a single person. And even when you have to people if they don't understand radio microphones, that's what you're going to get, a whole lot of nothing. Won't make you look good either.
You've got lots on your plate. Better pass it around.
Mx. Remy Ann David