This video is taking a look at an often overlooked, but very important area of the music or production business: Cases/packaging/transport. When buying or building cases, many times you need to think beyond what needs to fit in the case, but also where the case will fit in the truck or trailer. In a perfect world, you want cases that can match, or mix and match, because of similar sizes in one or more directions. All making the 'game' of Truck Tetris much easier as cases are coming onto the truck. It's probably not practical that all cases will be the same size, but many of them can have similar dimensions on one side or the other. That makes them 'fit' even a changing truck pack order, with a simple turn or 'these' two cases instead of 'those' two cases "going there". So, you need cases that a big enough to be practical for the equipment in them, and for the transport and crew. Sometimes that crew might only be "you", so that's another reason to think about case sizes. Something else about cases that are way too big for their purpose: They will end up catching way too much excessive gak, ultimately making them extra heavy and likely burying the things you do need out of the case when you get to the gig. Wheels, of course, are your friend. Don't skimp on the casters. There IS a difference in cheap casters versus nicer ones. And a 4" caster is going to be better than a 2" caster in about any situation... at least if rolling easy is the goal. Another thing... What you can do when you have a liftgate, or work gigs with a dock and a dock height truck can be vastly different than what you can do if you have a ramp, or a small trailer... And having a trailer and finding yourself at a loading dock isn't going to help things either. And the same goes for crew size. Your cases need to be practical for where you are now, but as the video says, ideally be able to grow with your band or sound company. The 30x19 cases that I show in the video are still very handy for smaller events or for cases that will still fit in a really full truck. And of course, as said in the video, at 3 side by side, easily fit in a 5' trailer. Or 5 side by side fit really well in a 90" or bigger box truck. As always, likes, shares, and subscribes are appreciated. They all help to promote the channel, or to help get YT to promote the channel. Leave any questions or comments below! :)
I'd like to say thank you. Alan has been the person I go to for information on running a production company. Alan the videos you have made break down the fundamentals in a easy to understand way. As well as your console videos, you have a great presentation in how you relay information to use. I'm just a small time production guy with some experience with other more professional companies. However, Alan you continue to make this easier to understand for me and all that are passionate about live music. Again thank you very much and I appreciate you and the time you take to shoot, edit, and create this content on top of being a true professional.
0:00 Intro 0:18 What Are Road Case Sizes Based On? 0:49 Why Can't Just Any Size Cases Work? 1:02 What Makes For A Good Truck Pack? 1:30 Case Examples 2:19 Securing Your Load To Stay In Place 2:54 E-Track Adapters and Accessories 3:08 Suggestions and Examples of Road Cases 3:30 Case Identification and Warehouse Storage 3:59 Popular Road Case Dimensions 4:41 Mic Stand Cases, Workboxes, and Amp Racks 4:55 I/O Panel for an Amp Rack 5:08 Amp Rack Depth Discussion 5:21 Case 'riders' 5:30 8' Truss getting its own row in a truck 5:35 Rack cases as a business investment
Assuming you don't have a case builder in your region that can design exactly what you want and you won't need to pay for shipping, then the two places I'd recommend are roadcases.com or audiopile.net . The EWI cases and racks that you get from audiopile.net are on par with some of the nicer cases you get from custom manufacturers anywhere. Heavy duty all around... build materials, hardware, casters... They have options for dividers and trays that you can add. Hard to imagine you'd be disappointed with an EWI trunk, rack, or case.
Been enjoying your videos for a long time! Helped me get started with my Behringer Xr 18, one question I have if you could possibly do a video on side chaining on the vocals and gate, I know the process and meaning of it, but the Manuel doesn’t show how to set it up on the xr edit, or mixing station, I’m starting to do live gigs with it and it would be a big help! Of course keep if the good work!
I probably should do a future video on this topic. It's not that hard, but it takes a lot of prep way before ever arriving at the gig for the sound company. But that prep isn't about any one show... it's things you do for all of these type of multi-band/festival gigs. Then there are the things the bands can do, and should do. One thing is simply knowing your gear... Know what you have and what you are using. Even down to the types of cables you use. But, then marking things too... Just because you know you use Rapco/Horizon XLR cables and 1/4" instrument cables doesn't mean that anyone else can't use them too. Same goes for brands and type of stands. It does help to stay consistent with stand brands when possible too... If you're using nice K&M stands, marked with a piece of tape on the legs, then it's pretty easy to know the unmarked, "6 for 100.00" stands aren't yours. Also, if you're vigilant about making sure your SM58 windscreens are replaced when they get bent out start looking dirty, then it's easy to know the ones that look like they've been ran over by the truck are not yours. But whatever mics you use, a wrap of E-tape or 1/2" gaff can go a long ways to keeping them marked. And/or even Sharpy or etching them. Same for DI's. Then, always KNOW 'where' you use your cables (and mics/DIs/etc). If you're a band traveling with your own IEM rig, and splitter, and mic/cable/stand package, then it's pretty easy for the sound company, and that band, to understand where your cables end and theirs begins. Mic, stand, and cables into the band splitter are the band's... Then on the strike, make sure the band stands go to a specific 'de-staging' area that isn't the same as where the sound company is storing their own stands... AND also, separate from where the other bands are prepping/staging off stage. Having bands prep off-stage while the band in front of them is playing onstage is the way to roll. Have those drums setup so they can be carried onto stage with the snare on the stands, cymbals on their stands, etc... Carpet with all the locations marked... Don't wait to uncase things until you take the stage. Same for leaving the stage... Off in as few of moves as possible. And case things, wipe strings, whatever... offstage. But also, the prep area, and the strike and 'get outta the way' area for the striking band should be two different areas. Meanwhile, the sound company should have their cables marked. Maybe in a couple of different ways. Like a system to indicate length, and also, especially at a multi band gig, with some E-tape or board tape indicating what it goes to on a pre-pinned, festival patch, stage. Plus, there could be another identifier on them too... like heatshrink with the company name underneath. Or just tape and a company color. If there's a random situation where it looks like there might be a problem remembering, then add a piece of tape right then and there. Don't ever assume you'll remember... Assume the opposite- you'll forget! As for power cables... The sound company should have AC drops conveniently located around the stage. These should likely live onstage all day and only be struck if the headliner has their own AC distribution and the day power isn't needed for anyone else by that point. Those should all run back to the distro and not be a hodge podge of cables. Each band's power cables should then just be able to reach those points. As a band, it doesn't hurt to carry your own quads, or even power strips or multi-taps, to at least reach 6', 10', 15' onstage... But usually the sound company will be prepared to supply you one if you need it. But it's best if you don't need it and just have your own. If you know you have 4 things that need power at your position, then having your own quad so that you can just connect THAT to the provided stage power, and strike it at the end of your set, can help things flow quicker. Have your cases marked too... Whether it's stencil, vinyl, or just gaff and a sharpy... Anything to help your stuff stay together.
This video is taking a look at an often overlooked, but very important area of the music or production business: Cases/packaging/transport.
When buying or building cases, many times you need to think beyond what needs to fit in the case, but also where the case will fit in the truck or trailer.
In a perfect world, you want cases that can match, or mix and match, because of similar sizes in one or more directions. All making the 'game' of Truck Tetris much easier as cases are coming onto the truck.
It's probably not practical that all cases will be the same size, but many of them can have similar dimensions on one side or the other. That makes them 'fit' even a changing truck pack order, with a simple turn or 'these' two cases instead of 'those' two cases "going there".
So, you need cases that a big enough to be practical for the equipment in them, and for the transport and crew. Sometimes that crew might only be "you", so that's another reason to think about case sizes.
Something else about cases that are way too big for their purpose: They will end up catching way too much excessive gak, ultimately making them extra heavy and likely burying the things you do need out of the case when you get to the gig.
Wheels, of course, are your friend. Don't skimp on the casters. There IS a difference in cheap casters versus nicer ones. And a 4" caster is going to be better than a 2" caster in about any situation... at least if rolling easy is the goal.
Another thing... What you can do when you have a liftgate, or work gigs with a dock and a dock height truck can be vastly different than what you can do if you have a ramp, or a small trailer... And having a trailer and finding yourself at a loading dock isn't going to help things either. And the same goes for crew size. Your cases need to be practical for where you are now, but as the video says, ideally be able to grow with your band or sound company. The 30x19 cases that I show in the video are still very handy for smaller events or for cases that will still fit in a really full truck. And of course, as said in the video, at 3 side by side, easily fit in a 5' trailer. Or 5 side by side fit really well in a 90" or bigger box truck.
As always, likes, shares, and subscribes are appreciated. They all help to promote the channel, or to help get YT to promote the channel.
Leave any questions or comments below! :)
I'd like to say thank you. Alan has been the person I go to for information on running a production company. Alan the videos you have made break down the fundamentals in a easy to understand way. As well as your console videos, you have a great presentation in how you relay information to use. I'm just a small time production guy with some experience with other more professional companies. However, Alan you continue to make this easier to understand for me and all that are passionate about live music. Again thank you very much and I appreciate you and the time you take to shoot, edit, and create this content on top of being a true professional.
Thank you!
Always enjoy your videos Alan! Anyone involved in live sound that doesn’t subscribe to this channel is really missing out.
Thanks!
0:00 Intro
0:18 What Are Road Case Sizes Based On?
0:49 Why Can't Just Any Size Cases Work?
1:02 What Makes For A Good Truck Pack?
1:30 Case Examples
2:19 Securing Your Load To Stay In Place
2:54 E-Track Adapters and Accessories
3:08 Suggestions and Examples of Road Cases
3:30 Case Identification and Warehouse Storage
3:59 Popular Road Case Dimensions
4:41 Mic Stand Cases, Workboxes, and Amp Racks
4:55 I/O Panel for an Amp Rack
5:08 Amp Rack Depth Discussion
5:21 Case 'riders'
5:30 8' Truss getting its own row in a truck
5:35 Rack cases as a business investment
Watching this gave me flashbacks
LOL... That can happen!
What brand of road cases do you recommend? My band is looking to get a couple for our mobile sound system.
Assuming you don't have a case builder in your region that can design exactly what you want and you won't need to pay for shipping, then the two places I'd recommend are roadcases.com or audiopile.net .
The EWI cases and racks that you get from audiopile.net are on par with some of the nicer cases you get from custom manufacturers anywhere. Heavy duty all around... build materials, hardware, casters... They have options for dividers and trays that you can add. Hard to imagine you'd be disappointed with an EWI trunk, rack, or case.
Been enjoying your videos for a long time! Helped me get started with my Behringer Xr 18, one question I have if you could possibly do a video on side chaining on the vocals and gate, I know the process and meaning of it, but the Manuel doesn’t show how to set it up on the xr edit, or mixing station, I’m starting to do live gigs with it and it would be a big help! Of course keep if the good work!
If more than one band is playing at a gig how do you know who’s cables are there’s when packing away .???
I probably should do a future video on this topic. It's not that hard, but it takes a lot of prep way before ever arriving at the gig for the sound company. But that prep isn't about any one show... it's things you do for all of these type of multi-band/festival gigs.
Then there are the things the bands can do, and should do.
One thing is simply knowing your gear... Know what you have and what you are using. Even down to the types of cables you use. But, then marking things too... Just because you know you use Rapco/Horizon XLR cables and 1/4" instrument cables doesn't mean that anyone else can't use them too. Same goes for brands and type of stands. It does help to stay consistent with stand brands when possible too... If you're using nice K&M stands, marked with a piece of tape on the legs, then it's pretty easy to know the unmarked, "6 for 100.00" stands aren't yours.
Also, if you're vigilant about making sure your SM58 windscreens are replaced when they get bent out start looking dirty, then it's easy to know the ones that look like they've been ran over by the truck are not yours. But whatever mics you use, a wrap of E-tape or 1/2" gaff can go a long ways to keeping them marked.
And/or even Sharpy or etching them.
Same for DI's.
Then, always KNOW 'where' you use your cables (and mics/DIs/etc). If you're a band traveling with your own IEM rig, and splitter, and mic/cable/stand package, then it's pretty easy for the sound company, and that band, to understand where your cables end and theirs begins. Mic, stand, and cables into the band splitter are the band's...
Then on the strike, make sure the band stands go to a specific 'de-staging' area that isn't the same as where the sound company is storing their own stands... AND also, separate from where the other bands are prepping/staging off stage.
Having bands prep off-stage while the band in front of them is playing onstage is the way to roll. Have those drums setup so they can be carried onto stage with the snare on the stands, cymbals on their stands, etc... Carpet with all the locations marked...
Don't wait to uncase things until you take the stage.
Same for leaving the stage... Off in as few of moves as possible. And case things, wipe strings, whatever... offstage.
But also, the prep area, and the strike and 'get outta the way' area for the striking band should be two different areas.
Meanwhile, the sound company should have their cables marked. Maybe in a couple of different ways. Like a system to indicate length, and also, especially at a multi band gig, with some E-tape or board tape indicating what it goes to on a pre-pinned, festival patch, stage. Plus, there could be another identifier on them too... like heatshrink with the company name underneath. Or just tape and a company color.
If there's a random situation where it looks like there might be a problem remembering, then add a piece of tape right then and there. Don't ever assume you'll remember... Assume the opposite- you'll forget!
As for power cables... The sound company should have AC drops conveniently located around the stage. These should likely live onstage all day and only be struck if the headliner has their own AC distribution and the day power isn't needed for anyone else by that point.
Those should all run back to the distro and not be a hodge podge of cables.
Each band's power cables should then just be able to reach those points. As a band, it doesn't hurt to carry your own quads, or even power strips or multi-taps, to at least reach 6', 10', 15' onstage... But usually the sound company will be prepared to supply you one if you need it. But it's best if you don't need it and just have your own. If you know you have 4 things that need power at your position, then having your own quad so that you can just connect THAT to the provided stage power, and strike it at the end of your set, can help things flow quicker.
Have your cases marked too... Whether it's stencil, vinyl, or just gaff and a sharpy... Anything to help your stuff stay together.
👍🙏
If you have road cases, you need roadies.
If you have roadies, you need road cases.
100%! :)
Give me