Getting new gear is always an exciting proposition and — regardless of the equipment or its application — it’s always a thrill to open the box, take out the equipment, fire it up and make it work. Undoubtedly, in one way or another, this piece of gear will augment your audio system, upgrade your inventory and, all in all, be a great addition to your ever-expanding and always evolving business — whatever that might be. If your purchase is new and improved and gives you a more contemporary sound, look and feel, then the investment makes sense, as pro audio is a competitive market that constantly demands the new, improved and contemporary.
The quality of your work will rise to the next level, your rental department will be booming and you can take pride in being able to be a player in markets where you were once denied — all because of your new gear. The only downside to getting new gear is that you have to protect it from harm and have a manageable way of carting said gear around from place to place.
Making the Case
Cables don’t require a lot of protection, but the days of carrying around 10 plastic milk crates filled with cables and microphones are over. No self-respecting soundperson or audio company would be seen without decent road cases for their equipment. From cable trunks to wireless racks, from consoles to monitor wedges, from microphone cases to personal work trunks, every piece of equipment requires a case — solo or shared. Preferably these cases will be labeled with a company logo or name and possibly be constructed in an individualized color to help for quick identification during multiple company events.
Cases not only protect the gear, but also help organize the gear for quick access and use. We often individualize our cases to accommodate our own unique needs and requirements. Certain cases have become standardized, such as production trunks in which we keep microphones, direct boxes, connectors, adaptors, random cables and a plethora of other assorted production tools. A five-drawer trunk seems fairly standard, but how the drawers are configured can be individualized. Some can have foam with cutouts for the microphones; some can have dividers, shelves, insert trays and hinged doors. Some of these cases can be designed to have locks on all the draws while others just lock the main door. Some sit low to the ground while others are more vertical. It’s the same idea either way, but suited for one’s particular likes and needs.
But regardless of how you individualize your design, the one thing that quality cases have in common is that they are not cheap.
A good 24-inch cube case made of ABS or fiberglass with wheels and wheel cups can cost a few hundred dollars, so one can easily imagine that a console case with a hinged doghouse, wheels and split lid could set one back a couple of thousand dollars. Getting cases for all the wonderful gear you might own can be a financially daunting proposition, to say the least. Of course, not all cases or case making companies are the same, and prices vary in accordance with design and quality. There are many case companies to choose from, and some of these companies have been around for quite a few years, but unless a company is known for a particular type of case, it would be prudent on the part of the buyer to meet with a representative of the company and have measurements taken as you discuss the style and design of the cases you intend to purchase.
Many case manufacturers stay on top of the current audio trends, but don’t assume that they will have a stock design to fit your needs since a good many of these companies also build cases for a variety of other industries including lighting, video, sports and military applications — to name a few. Certain companies such as R&R Cases are known for their console cases and pretty much have the dimensions and design for most any board on the market. Under Cover Cases, who make soft bag covers, is another company I would suggest for lined, padded and fitted “bag” style covers for powered speakers, small mixers, stands and more. Over time, I’ve developed relationships with the aforementioned companies as well as A&S Case Co., Calzone Case Co. and C&D Cases, and I have grown to know what to expect from each. Remember, however, that not all cases are equal, and while it may seem that you’re saving money by using a less expensive company, you probably will, in the long run, get exactly the case for which you pay.
What to Look For
The inside of a case usually has a carpet and/or foam lining. This foam can either be soft or hard foam, designed with specific requirements in mind. A good case should have the proper foam or carpet, and it should be glued well so it does not move around or detach. The outside corners of the case should be reinforced, and the material used for the case itself should be sturdy enough to withstand the constant hits from the day-to-day wear and tear of use. The wheels for your case can either be stationary or swivel and can come with a brake or not. In most instances, I prefer swivel wheels with no brake, but this is a decision that needs to be made when designing each case. Wheel size is important, and especially on the bigger and heavier cases, the wheel should be made of a hard rubber and large enough to bear the weight of the case when rolling over uneven surfaces. For best performance, the wheels should be attached to a caster board, which then attaches to the case, rather than attaching the wheel directly to the case itself. Recessed latches and recessed handles are somewhat industry standard, but a spring-loaded, surface-mount latch or handle can be used as well; again, depending upon application.
Speaking of handles, if you are designing a case for a particular piece of gear, keep in mind how it will be lifted or carried. Some cases, such as console cases, need vertical handles on either side for rolling in an upright position, but also require two horizontal handles per side for when the case is laid down or lifted from a flat position. Also, be aware of handle placement. A handle that is mounted in the wrong direction — or one that sits too low or too high on the case — can make for difficult lifting. For obvious reasons, be careful not to make a case that is top-heavy. For more delicate gear, it might be desirable to have a floating rack which is basically a rack inserted into a foam-lined case for shock mount protection.
Cases are a necessary expense as well as an important part of your inventory and until a phone app is invented to carry around all your equipment, it’s probably a good idea to invest almost as much attention on your cases as you do for that new sexy piece of equipment you will need to cart around.
