ART S8 is as good as most of us need and comes in 2-way and 3-way flavours. I’d definitely go for a box which can be put away when not needed and the extra XLR cables put back in the box.

You have a few more issues to consider than just a simple "splitter snake". That may be fine, depending.

#1) "Signals come from dynamic mics (wired and wireless), electronic drums and instruments."

Electronic drums, keyboards, acoustic guitars, etc., may be unbalanced Hi-Z devices using TS cables, which will be affected by distance. Also, a snake would have to have the ability to use them, as in 1/4" jacks, instead of only XLR. This all depends on how far away each are of the stage sources, the FOH mixer and the livestream mixer from each other.

With the mixer(s) way out in the audience at some distance, if you're trying to connect one of those devices, then you'd need a way to covert it to balanced Lo-Z, using either TRS or XLR connectors/cables to the input of the snake. You'd want them converted before going any distance. They may need some passive or active conversion devices to work adequately. Without knowing the setup, it's impossible to state with certainty what to use. A Hi-Z unbalanced signal going much distance will degrade the further it goes.

#2) "...a sound tech company for our live events".

Nobody in here knows for certain whether you are hiring just a tech to run a permanently-installed mixer you own, or if you are hiring the equipment AND tech? A good guess would be that they are bringing the equipment? Whether it's theirs or yours, depending on the mixer configuration, it might be possible to use direct channel outs of the FOH mixer connected to the Behringer for an independent mix for streaming.

Nobody knows what mixer they are using, so nobody knows if that is possible. If that mixer had pre-fade TRS direct outs for each channel, it would simply require a 1/4 TRS cable from each of those to the inputs of the Behringer, if both mixers were close to each other.

The problem with that, if it is their mixer that they bring in is that they'd need to be OK with it, and it will require extra setup time to connect your stuff after they have set up their stuff, which will lengthen their time.

#3) If the solution turns out to be a splitter snake, you'll need to determine which type would be best.

A simple passive single XLR input wired direct and split to two XLR outputs will have both outputs dividing the signal to each to their destination inputs, and that will degrade the signal to both mixers.

They also make transformer-coupled passive splitters that would be a step up from the former. I think the ART S8 mentioned is one of those? Those may run a direct signal through the primaries of the high-quality transformers of each channel to one set of outputs per channel, and use the transformers to decouple electrically, but the signal will be induced from the primary winding into the secondary to connect to the paired output of each channel. That keeps the direct signal from being split and weakened, while still providing an adequate signal for their paired outputs.

Then they make active mic splitters. Those must be powered, and are much more expensive for good ones. They are basically preamps, themselves, and will provide the strongest signal to the inputs of the mixers. A cavaet is that a lesser-quality one may degrade the signal going to any mixer that they may have higher-quality preamps, so you'd lose the advantage of those higher-quality preamps by feeding it a "cheap equipment" signal.

I just searched for info, and this S.O.S article explains it fairly well.

https://www.soundon…

There is ALWAYS more to consider. You may get even more-relevant answers to your particular situation if some of the holes in the info are provided.

Best of luck,

Kapt.Krunch