Musicians are fond of obsessing over their favorite accessories: strings, picks, straps, tuners, humidifiers, microphones and more. With this in mind we contacted a number of folks in the community to hear their stories involving their favorite mandolin cases. Vintage or new, flight worthy or gig bag, a good story, or a chance to hear about a personal favorite.
The responses surprised and amused us. We really enjoyed hearing these stories and think you may too, and if you have your own, please add it in the comment section.
— Scott Tichenor
David Grisman
David Grisman is a musical legend and the newest inductee into the IBMA Hall of Fame. This week his Acoustic Disc is observing the 50th anniversary of Old & in the Way's gig at San Francisco’s Boarding House which produced the original LP. To celebrate, they're offering a $5 discount on Live at the Boarding House, featuring Vassar Clements, Jerry Garcia, David Grisman, John Kahn and Peter Rowan, a 4-CD length download which includes all 4 sets from October 1 and 8, 1973.
Years ago I found a unique Gibson F-12 with a natural finish and an F-5 fingerboard. I remembered seeing several pictures of the great Dave Apollon playing such an instrument and suspected that this might be the very same one. So I bought it! When it arrived, I searched all over for any evidence of Mr. Apollon's ownership. I looked at the label, under the tailpiece and truss rod cover, but alas, nothing. I also knew from the photos that Dave had removed the 27th fret to give greater access to that ultra high G# note (28th fret) but that fret wasn't missing on this instrument. Still, I hung on to the belief that this was the same mandolin, as I had never seen or heard of another like it, and from all other appearances it looked the same as the one in my photos.
Several weeks later, I was photographing the mandolin in my back yard on a sunny day. The case was laid across the arms of a rather large lawn chair, and as I placed the instrument back in it, I saw, very clearly, the evidence I was hoping for — the imprint of two letters that had apparently been glued on the side and removed, to the right of the handle — DA! Upon closer inspection, I noticed that the 27th fret was slightly larger than the other frets, so I assumed the original fret had been removed by Dave and later replaced. I decided to remove it in his honor, and now I'm able to play that highest G#! The mandolin and case are now in Phoenix, Arizona at the Musical Instrument Museum, as part of my collection that will be featured in a new special exhibit, Acoustic America, which opens on November 10.
Sometimes the case tells the story!
Tony Williamson
Tony Williamson is the owner and operator of Mandolin Central. Collector, dealer, a legendary musician and historian, he is one of the authorities on all things about early Gibson mandolins. His Breaking News blogging series, often featured on this site, is a must read for those interested in the history of Lloyd Loar.
Elegance. Refinement. Style. The 1923 Lloyd Loar F-5 case. Clearly, the "Stradivarius of the Mandolin" needs the Rolls Royce of cases.
In 1922, Gibson challenged the men and women at Geib and Schaefer Cases in Chicago, Illinois, to create the perfect case for the "Master Model" mandolin. The result? The "Faultless SP #440," a "silk plush-lined combination case of lightweight three-ply, cross-grain veneer covered with 'black seal art-leather' with compartments for music roll and rack, strings, etc. $37.50."
The Emerald Green interior of the first 150 cases showcased the "Gibson Cremona Brown" finish to spectacular advantage. (In new Gibson Manager Harry Ferris’ cost cutting rampage of 1924, the liner was changed to red velour).
Charles Barnes, a dapper mandolinist from Vermont, took great pride in this F-5. Whether music lesson, orchestra rehearsal or concert, he would arrive in his Packard Roadster, emerge dressed in Brooks Brothers' finest with this case in hand. Releasing the latches, he would reveal this gorgeous 1923 F-5, roll of music, music stand, "The Gibson" strings and an assortment of tortoise shell picks. Years later, I was living in Louisville, Kentucky, playing in the Bluegrass Alliance. Legendary luthier Harry Sparks, without whom I could have never made this life-changing acquisition, added a serious directive: "This mandolin requires great dignity. Before you even open the case, wash your hands, cut your fingernails, remove belt buckles, harsh buttons. To play such an instrument is a great responsibility. You have ended your quest, but you have begun your stewardship."
And so it has been for me, since that day, 50 years ago.
Dan Beimborn
Dan Beimborn is the owner and operator of the Mandolin Archive, celebrating 20 years on the web this coming October 15. He was the first person on the internet to launch a mandolin website which was called "The Mandolin Pages." Dan provides technical support and system administration and miscellaneous programming tasks for the Mandolin Cafe.
For me the best overall mandolin case is the Pegaus, made by Sam Gifford in Scotland.
I've had mine now for close to 20 years. It has been home to two different Loars, a couple of 20s Gibson oval hole mandolins, and now is the main way my Wiens F5 travels with me.
Sam's design looks great, with fantastic bright color finishes too. He's taken a lot of care with it, and all the little details are spot on. The feet all line up on the same plane and stay flat. The lid stays open on its own, and the metal rings that hold it in place will last forever. All the catches have stayed in perfect condition too.
I have travelled extensively, and the extra protection has definitely been worth it. I particularly like the rounded edges and smooth curves/contours. I appreciate this design most when I am carrying on planes, buses, trains etc., confined spaces where you can't help but occasionally bump yourself with it. Other cases I've had tend to bruise my sides!
I have a shoulder strap that I use in 2 D rings located on either side of the neck/body join. These allow me to carry it vertically, where it is very easy to balance it and fit through narrow spaces. This vertical carry also makes it look much smaller, and I've never had a flight attendant even give it a second look when I carry on into the cabin.
Daniel Patrick
Daniel Patrick is the host of the popular Mandolins and Beer Podcast, celebrating their 200th Episode soon. Since hearing Episode #1 the Mandolin Cafe has been an enthusiastic supporter of his work.
My current favorite case is a Presto, which, unfortunately is no longer being made. It came with my 2012 Duff F5, and I can see why Paul used to put his mandolins in them!
Since owning it in 2021 it's been dragged to nearly 450 gigs. It fits nicely in an overhead bin and while I'm not sure if my truck can drive over it, I feel my Duff is safe and sound inside the Presto! Bonus points for cool green plush interior and storage for my phone, wallet, sunglasses, leather man tool, Dudenbostel peg winder and multiple packs for strings and handfuls of picks!
Bradley Klein
Bradley Klein has written many of the Cafe's finest features, including two news releases that were subsequently picked up and quoted by the New York Times, Washington Post and many other news outlets: the announcement Chris Thile was taking over as host of A Prairie Home Companion for Garrison Keillor, and the sad news that Stan Jay of Mandolin Brothers had entered hospice. Bradley is currently the Morning Edition Host/ Reporter for National Public Radio's WLVR in Bethlehem, Penn.
It was in the 1990s that I called my wife from Boston and told her I'd spotted a virtually unknown instrument on a storage shelf at the Music Emporium. A bass mandolin is rare enough, but just from the tail end, I could see this was a Vega cylinder-back mandobass made in Boston about 80 years earlier. Something I'd never heard of, or suspected existed. Long story short, it became a much-loved member of our home. And eventually I was able to lay my hands on an image of what may be the exact instrument, as the bass member of a quintet headed by Vega endorser, Giuseppe Pettine.
Fast forward a few years to maybe, 2005. By that time I'd learned a bit about the distinctive Vega design, and when I saw a much smaller example in a violin store in Chicago it got my attention right away. The very top of the line model #207 cylinder-back mandolin, in excellent condition in its original, green silk-plush lined hard-shell case. In the case pocket, a single Neapolitan style pick with the name of Vega's endorser across the wide end: PETTINE.
Adam Brown
Adam Brown is a Pacific Northwest collector, trader, historian and mandolin aficionado often spotted on the Forum of this site. As a past owner of multiple Lloyd Loar mandolins and the work of many, many modern builders he offers a broad perspective.
Cases, cases, cases, I guess I've owned just about every type and brand, vintage Gibson, vintage Calton, new Calton, Hoffee, Pegasus, Ameritage, Crossrock, Mark Leaf, Northfield, shaped, rectangular, oblong, too many to list!
But after a lifetime of mandolins and cases it has come down to this: the three Ps. Practicality, Protection and Price. Something light in weight and durable, something that I feel safe using for shipments, something that fits and protects the mandolin's headstock and neck, something smaller in profile. Something I don't have to baby in terms of its appearance, something that doesn't cost a fortune, something that will easily fit in an overhead. Something that, if dropped, will allow the instrument to survive. Something water resistant. What to buy?
All cases have pluses and minuses, but my current case of choice is the "original issue" Northfield Recurve in the grey tweed finish. For my needs this fits the bill perfectly, covers the three Ps and does so in a most handsome package. Remarkably, all three of my current mandolins, an F5, a two-point F-hole and an A4 snakehead fit perfectly in this case. I wouldn't want to have a truck run over it or be caught in a drenching downpour, but I feel more than confident of its protective qualities and its light weight and comfortable handle make walking around with it a pleasure. It currently sells for around $300. Northfield's new line of TURA cases looks very nice as well.
Just for the record I also own one of the original release Crossrock fiberglass cases which has served me very well. One of their models may be a future purchase. A huge bang for the buck these Crossrocks,
At the end of the day I get way more excited about what's inside the case than the case itself, but there's no doubt a durable, attractive case can make your life (and the life of your precious) all the better!
Scott Napier
The story of my case starts in the early days of Mandolin Cafe forums. It was the late 90s and conversations around cases back then were based around multi-colored fiberglass models made in Canada. I was scratching out a living as a full-time mandolin player with Larry Sparks & the Lonesome Ramblers and my desire for such a case at the time was overtaken by car payments and gas money. I looked to settle for a used Calton case. After-all, they seemed indestructible, so I could live with a scratch or two already on there.
We were playing a show close to Knoxville, Tennessee and I happened upon a case for sale. After meeting the seller and checking out the case, I'd found what I was looking for. Overall it was in excellent condition, a classic black exterior with wine colored interior, though I didn't leave with it that day. We exchanged information and I said I'd think about it. Not long after, while visiting my grandparents, I announced it was time for a road trip! I have fond memories of driving them with me to Tennessee to pick up the case. This was New Year's Day in 1998, I was 21 years old.
I wondered if the case was a knock-off Calton, or possibly a factory reject, because it didn't have an engraved name plate or any indication of branding whatsoever. At IBMA in Louisville in 1999 I passed by John Reischman in a busy hallway. John saw my case and said, "You've got a smooth finish Calton. That's what I use for my mandolin." That put a feather in my cap and sent me researching exactly what I had, and from the Cafe forums I tracked down Keith Calton's email, sending questions he could hopefully answer. I sent him pictures of the case, latches, handle, and all the differences from other Caltons I had seen out there. Mine was just a bit slimmer, smaller, and the interior design was different. I also once tried a friend's key on my latch and it wouldn't fit (red flags I thought at the time). Everyone thought my case was a fake. Keith replied to my email with excitement! He said that judging from the hardware the case dated between 1984-86 and was handmade by him in his garage workshop in England. He followed up with a handwritten letter and a couple of keys. At that time, his cases did not have serial numbers or even a logo. I was happy with this information.
I carried the case just as it was for the next seven or eight years, then became interested in popular case covers on the market at the time, but discovered they wouldn't fit my slimmer model case. I started looking at alternatives, possibly having one custom made. I met a leather worker at an old school flea market in Clay City, Kentucky, talked to him about it the job, and found a piece of elk hide. He traced my case and said to come back in a month or two. He eventually presented me with the finished cover and a matching strap from the leftover leather.
At first I wasn't sure if I actually liked the cover. On the one hand it appeared too fancy for my taste. I'd put it on for a while, then take it back off. Eventually it started to develop a patina and that natural, broken-in look, and molded itself to the case shape perfectly. I've had it on the case for years now and love it. My favorite thing about the cover is that it helps to keep the heat out. Sure, it looks cool, but it also serves a great purpose. I've gotten so many compliments on the cover and inquiries as to where I got it, I could have sold it a hundred times by now from folks asking to buy it. People tend to gravitate towards something handmade when everything is made by machines nowadays. I'm proud to say that it was also early inspiration for the beautiful Cody Cases. Cody Shuler, maker of Cody Cases, reached out to me on the idea of making a leather-bound mandolin case after seeing my cover with questions on how it's held up and such. (Highly recommend Cody's cases, too!) And naturally, of course, as most players do, I've looked at other newer cases for my main mandolin over the years, but deep down I'd always prefer my 1980's smooth finish handmade Keith Calton case. I've carried it for half my life now and just feel it's mine as much as I do my mandolin.
Scott Tichenor
I couldn't publish this without sharing my own story. I've owned just about every case on the market including several versions of Calton, Hoffee, Pegasus (one of only 3 carbon fiber models ever built) and many more, and while I appreciate what flight cases offer, they don't fit my needs or preferences.
I've always loved the original Geib cases that came with Gibson mandolins. I recently acquired one of the finest I'd ever seen, an A model case with deep purple interior with an almost mint handle. I didn't even own an A mandolin but just had to have it. And what followed? A week later I found myself hunting down a 1923 Sheraton Brown snakehead I sold off the classifieds in 2009. An empty case needs a mandolin, right? Right? The seller agreed it was time for it to move on and it's now sitting in the Cafe office.
So it's no surprise I was an instant fan of the Collings Traditional cases which are no longer manufactured. It will be the last modern case to house my 2001 Nugget Deluxe. Perfectly balanced in hand, a snug, safe fit, plush interior, a fit better that can be imagined, a compartment that stores a few extra Blue Chip Picks, string winder, wire cutters and business cards with room near the headstock for strings. The outside is sleek with a brilliant black finish. The heavy padded leather handle is comfortable in hand. Collings even made their own latches — only two on this case — and I find them superior to any other similar latch. It doesn't flop open when you lift the lid minus the mandolin. In short, it's everything I want, a bit of utter perfection, and a case I enjoy ever time its used. It's a Geib reincarnated for modern times with vast improvements and clear evidence of the genius that was the late Bill Collings.
Being a fan of these, I recently bought a Collings Traditional A style case in the classifieds. A well known mandolin builder found out and begged me to sell it to him (he said it exceeded his expectations). I did, but only because I knew where another might be. I bought the second one a few days ago. I don't have a mandolin to fill it, and am not holding out hope that case is going to remain empty in the near future.
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