We store our mic cables on repurposed firehose reels. Some folks think this is bad because it puts strain on connectors from both the radius and from the tension of paying out or reeling in the cables. I think most of our termination failures occur because stagehands just pull on the cables when they get caught on set pieces, backline equipment or other objects. We own close to 1000 mic cables and typically have <dozen awaiting repairs. That's not too bad, actually.
As for the knot... we do those on the male XLR end for temporary storage or for a special length that doesn't go on a cable reel. Long lengths (100ft or more) get tie line (unglazed) and NEVER get velcro tabs. Like the knot, the tie line goes on the male XLR end of the cable.
For the OP, I think the comment about "respecting" ones elders was condescending and is properly met with no response at all. I'm about to hit age 60 and the manner in which I treat equipment and people comes from years of experience but I'd never presume my method is superior simply because that method is old school.
As for the knot... we do those on the male XLR end for temporary storage or for a special length that doesn't go on a cable reel. Long lengths (100ft or more) get tie line (unglazed) and NEVER get velcro tabs. Like the knot, the tie line goes on the male XLR end of the cable.
For the OP, I think the comment about "respecting" ones elders was condescending and is properly met with no response at all. I'm about to hit age 60 and the manner in which I treat equipment and people comes from years of experience but I'd never presume my method is superior simply because that method is old school.
