No offense but teaching someone the wrong way to do something is not really helping. It just cuts into your reputation. I have been a fan of Lewitt but when someone who is an engineer comes on in a video and shows "the right way to roll a cable" and it's wrong, makes me question the whole brand. I would strongly encourage you to make a new video apologizing and showing the correct way. Obviously that's up to you. Credibility is paramount in the modern market. Just saying.

@@pvalenti Thanks for taking your time to comment. You're absolutely right. We'll fix that.

​@@pvalenti This was clearly an honest oversight, and while it's terribly annoying to cable-coiling geeks like us it's hardly the kind of mistake that would cost Lewitt any credibility as a mic manufacturer. They'll throw a card up and post a new video. No big deal. I'm still a fan and so are you.

@@pvalenti Relax. It was a joke.

I've been rolling up my XLR cables like you did in the vid for years. Why do you believe the over-under technique is better? Don't they both have the same outcome?

You're absolutely right, we just thought we show beginners how to destroy everyone's enemy first: the elbow technique.

@@LEWITT-audio The elbow wrap is worse than the over-over wrap, I'll give you that. :)

@@LEWITT-audio i only do this for extension cables, but there's a trick.... figure 8 between the hand and the elbow.

Awesome! Thanks for watching

EXACTLY RIGHT!

HA! The instant she coiled two 'overs' I screamed (internally) and dove for the comments. Looks like you beat me to it!

Thank you for your nice comment! We're glad you enjoyed the video 😊

I guess those of us who use over/under will never have the respect of audio engineers!? 😭

@@torosuave I toured with the 80's Invasion Tour (Danger, Danger; Bang Tango, and E'Nuff Z'Nuff), and was the A1 at a destination bar and grill with 5 stages. Also owned a live sound company (until Covid). Pro is whatever you make of it. But if a stagehand had wrapped cables the way it's done in this video, I would have sent them home and told the vender not to send them back again. If you say you did this and your cables are messed up you didn't do it correctly!

Sounds like “Snake oil” if you ask me

I visited a Gypsy in a tent once and she had me coil a cable for my fortune.

@@torosuave fair enough

Agreed. Different metal conductors absolutely give different tones. Thus a gold connector will absolutely sound more colorful than a nickel or other metal connection. I ONLY use MOGAMI in my studios. Period.

Thanks for the comment. We'll definitely check them out. What is it exactly that makes them "better"?

@@keithjames6638 I've made many MANY cables over the last 25 years for use in my own studio and others. My experience tells me that the audible differences between high-end cables are basically nil. I count Mogami (2549, 2791, 2534, 293x), Canare (L-4E6S, MR202) and Gotham (GAC-3), all of which I have used extensively. As far as I'm concerned, the biggest difference in the cables is their ease of prep and termination, EMF/RFI rejection, mechanical properties, hand feel, and 'memory'. Canare is my old favorite. It's the hardest to terminate but has incredible hand feel and coils wonderfully with zero memory. Best noise rejection. Great construction. Incredibly durable for stage or studio. Gotham is my new favorite. It also has fantastic hand feel and easy coiling. It's thinner than the Canare and Mogami and has three separate insulated conductors for pin termination and two spiral shields. Great cable for studio use. Mogami is my first love. They make many different models which vary in hand feel, ease of termination and noise rejection, but they all coil nicely and otherwise exude top-notch quality. You really can't go wrong with any of these, unless your application has specific requirements. There are also many other brands with excellent cable products. Belden comes to mind, as well as several European brands whose names escape me at the moment. In my 20's I used to spend hours conducting fidelity comparisons but the results were always inconclusive. There are simply too many factors and not enough differences. Even between store-brand cables and the high-end stuff. The only thing I would say is to avoid _cheap_ cables because those are a *pain in the ass*. Poor construction. Birdcaging. Coil memory. Lousy hand feel. Poor shielding. Excessive handling noise. If your cable exhibits any of these characteristics it can ruin a session. Otherwise don't sweat it too much because the audible differences are _tiny_ if they even exist. Also: Watch Dave Ratt's videos on sending mic signals down CAT6a. Really fascinating.

@@Hermiel Canare L-4E6S fan here, for sure. I outfitted a church with custom cables using this stuff, and rewired my studio using it exclusively.

After having some discussions here, the over/under method is the pro way to do it ;)

@@LEWITT-audio It certainly sparked a more "energetic" response in the comments than I anticipated 😁

"If one were to attempt to connect a balanced TRS cable to a phantom power source, hypothetically assuming the phantom power source allowed a TRS connection, the phantom power source would be shorted out" I've borne witness to these problems in a studio with a vintage console with always-on phantom power and a MT (very similar to standard 1/4" connectors) patch bay for mic signals. The patch bay should have been made with XLRs.

Glad it was helpful!

Thank you, great to hear it was helpful! 😁

We're happy to help!

100% agreed

Agreed, and of course, we had this discussion before making this video. We just thought this might be the best first step to denoobify your cable rolling technique when you're a beginner, to finally destroy the common enemy - the elbow rolling technique.

@@LEWITT-audio Understood. But whether you choose the this first step or the over-under, if you do either wrong, you defeat the purpose. On the other hand, your cables will last for a long time if you do either one correctly.

I just can’t understand why people can spend decades perfecting an instrument or craft, but absolutely refuse to spend 20 minutes learning to over-under wrap a cable which could save them thousands of dollars over a career.

It also bends the cable in the exact same spot every single time, creating weak spots in the cable. And I don’t like my cables zigzagging on stage.

@@TheGamesurfer98 actually it doesn't. First you don't bend tightly. Second there is no way to bend in the same direction every time because every time you pick up the cable it's in a different orientation. If you marked the cable with a line, set the cable with the line up every time then folded it tightly then you'd have the problem you cite.

@@L.Scott_Music If you bring the ends together and keep folding in half as you described then you’re folding in the same spot.

@@TheGamesurfer98 Never exactly and never in the same direction. Cables are meant to be flexible. Try it, in practice it's isn't as you say. On paper it is, not in practice (unless you try.) But that's OK, you don't have to use this tip. Twisted and tangled cables are worse, in some peoples opinion. I'm just offering an alternative.

@@L.Scott_Music I have worked with a company that stored cables like this, that’s why I’m pointing out the problems with your method. But hey, if it works for you...

You're welcome!

Good points here, in that better quality cables may be more durable, reliable, and less prone to interference which can diminish the sound quality. Your mileage may vary depending on the manufacturer though, and in most cases a decent bread and butter cable will work the same as an expensive one.

I thought the point of the over-under method was so to improve the accuracy when you try and hit the drummer in the head when throwing the cable.

@@rossdickson1657 That's an extra advantage!

Pro Co and Hosa Edge series are a good bet! For low budget, Monoprice are pretty decent too

Longer cables typically have more of a chance of picking up noise and signal loss... however balanced cables like XLR cables are designed to avoid these issues even with long lengths of cable. 16.5 feet is not long for an XLR cable so you're totally fine

@@LEWITT-audio Big thanks for fast answer! 🙂

Gosh, please not around the elbow!!!

USB-C

Apparently, there are different cable rolling evangelists everywhere - also within our company.

FIRED!? From a Church!? Doesn't sound very Christian to me. Church is not an exclusive club. I have played in church for years although it's been quite a few years now. But I always wind up running the bands and the sound crew. I teach them the right way, and if they don't do it right, I teach again. You can't fire people from a Church. Very sorry to hear that happened to you. Hopefully you've moved on to a less "clueless" and more gracious church. God is good, all of the time. But sometimes, unfortunately people suck!

Church burning is a thing....

Thanks for watching and your valuable feedback!

You may be interested in reamping. See the line of Radial boxes for more details.

Yes, it will definitely work great for rap vocals! LCT 440 PURE is the absolute bestselling microphone when it comes to recording vocals of all kinds 😉

I bought lct 440 pure. Could you please suggest best XLR cable for this

Because guitars typically have passive pickups and almost exclusively have unbalanced outputs. It's simpler and more cost effective.

The proper method for cable wrapping is the "over-under" method. Please refer to this video for a clear demonstration: How to Wrap a Cable the Right Way "Over Under" (see kzfaq.info/get/bejne/eJiDiNJy263chqc.html). You will be wrapping cables like a champ in no time. Why do it this way? First, it preserves the cable quality by avoiding kinks in the line. If you want to ensure the best possible audio recordings, buy the absolute best cables that you can afford and wrap them using the 'over-under' method. This goes a long way toward recording quality audio for external sources. Second, your cables will last longer, reducing your cable expenses over time.

You bet! Any shielded cable will have a much longer lifetime if you alway properly wrap it over/under.

@@peternidetzky5222 You are right, plus the "extra" time spent on using this method will be made up (and then some) by the time you save on the next set up by not having to untangle the cable.

haha, nice try

@@peternidetzky5222 why do you say that? I’ve been to college for this and was taught this repeatedly. As well as functionally it’s fact. So I’m confused by your comment???

It is not ground leave return. Where or who taught you that ?

XLR is a Cannon model number. They had an 'X' line of connectors. 'L' stood for 'latching' and 'R' stood for 'Rubber' because it had a rubber jacket.

Thanks for helping!

@@LEWITT-audio My pleasure.