spirit7698

Top scoring drumlines 74 to next year. Maybe they can split it at 91 or 92 and add a few more short segments since most lines ( minus Ralph's ) stopped doing extended drum solos. Updated through the years.

....... Scores yet? oops they're up. Gotta admit though it would be kinda cool for devils to win and have 2 three-peats ( A corps and B corps ).

Looking back since I play with a 24" ride on mt kit sometimes, I remember that Conneticut Hurricanes cymbals were so big that the only way to crash them was you had to lean your head back as if you were gonna start going into a bridge, extend your arms straight out and angled upwards and crash in the area where your head would have been. Yes definitely bigger than 24" or 26" maybe they were 28" or 30". He had to get them custom made from Zildjian and they were not carried in parades, they were driven on the back of a golf cart and would just pick them up for when they stopped to play to the stands.

84, 85 and 88 Suncoast Sound.

In 95 and 96 during the wait for the Rode Island July 4th parade to start, we ( Spirt's cymbal line ) got to play around with Al's ( ? ) 24" plates from Connecticut Hurricanes. We did a few flip ups and downs and tried crazy 8s but that was some serious work haha!!

Yea I heard about Kyle from Jack Starling and John Zollo. Where did Kyle come from oh and when you were at Spirit in the 70's who did the cymbal line then?

Hey what corps is that and when?

Alot and almost all HBCU style lines use them. I actually saw some single toms, big bi-toms ( 20" 22" ) and big tri - toms 18", 20", 22" ) at some 4th of July Parades we had in Maryland and D.C. Some of them were wood shell and some were steel. That beats the 14, 16, 18 Ludwig tri toms I marched in Jr. High in 90 and 91.

I am sorry not John Donovan, Jeff Kozol. John is tenor player. Jeff was in the plate line for a year or few before it got cut. Hannum was writing it for college when he was marching Crossmen. If you know Mike Lucas Crossmen Contra player in those days; He can tell you the name of the cymbal player that came up with all of those sounds, positions and visuals that are in Tom's old book. Funny thing with the East Coast technique and heck even Diaz'S technique is when Spirit finally beat SCV in I&E ( along with their style change that year ) the whole cymbal game changed on the East coast/Midwest. If you look at Diaz's lines and his student's lines from 2003 on, Jersey Surf and who ever else had a line east of Texas, you will see it. A little more history: The only names I am including are people who went on to teach. Diaz was marching Spirit then as well then marched Suncoast from 82 - 85 since Al was there then taught 86 on. A guy named Garfield Small brought the Vanguard style of playing to Florida. He was going to march Florida Wave in 91 but they folded. He went to march cymbals in 92 at Florida Guardsmen, 93 Blue devils ( since many Wave people went west since they were taught by Nat ) then aging out at Vanguard in 94. He taught the cymbal line at Suncoast Sound in 95 and in that line was Andrew Nixon. Andrew and I were in the cymbal line at Spirit in 95/96 before I went to the snare line. Andrew was in that line from 95 - 98, made the line at SCV in 2000 but by or before may camp they decided to move up a kid up from the C corps who would be around for 4 or 5 more years instead of keeping a " rook out ". He aged out at Spirit in 2000. Fast forwarding a bit. Andrew taught the cymbal line at Tampa Bay Thunder ( II / III back then ) in 2001. In that line was Drew Johannssen and John Bishai. Those guys along with Obed Resendez went on to march at Kiwanis Kaviliers in 2002 with Andrew as their tech and of course the next year they all were at Spirit . 2004 was Colin Choat, Mario Taylor, Obed and Drew. Mario went on to march and ageout at Crossmen in 05, Drew and Colin went on to Magic in 05. There are too many indoor connections as well as college/university connections as to marching and consulting to list with these guys and Eddie, mostly MCM/Odyssey though. Another connection: The cymbal lines at Teal Sound have always been taught by Spirit Vets. First with Andrew in 99 , no cymbal line for a few years, me in 04 and 05, Mario in 07 a bit and in 09 ( possibly?) and Obed in 08 / now. Mario went on to teach the re- birthed cymbal line at Spirit in 08, Obed in 09 now teaching there is Jim Powell who was under Eddie and Obed at Odyssey percussion theatre and under Mario while he marched Spirit. Phew!... There. Let's see. My first 2 years at Spirit of Atlanta we were sponsored by Sabian. The 95 9 person line ( comprised of cymbal players, bass and snare drummers from 95 Suncoast and 2 original Spirit players ) used everything we had. 20" AA drum corps ( too heavy and not good for the Cadets style crashes ) and AA marching band along with one set of HH medium Orchestrals. When Diaz was there in 96 we had different weight and series cymbals to have more color ( besides all of the color our sounds added ) and a fuller spectrum of frequency to support attacks, melodic lines and harmonic lines of the brass. If I can remember we had 5 players and we used a set of 18" medium thin AA bright rock crash, 18" AA medium crash, 19" HH New Symphonic medium heavy( later changed to Viennese, 18" AA marching band and an 19" HH Germanic. 97 and 98 Spirit was Zildjian Z-Macs ( I think?). The playing style at Spirit changed because we saw that no matter how precise your technique was or how many years of experience, the old Spirit style ( AKA Cadets style ) you always had a higher percentage of air pocket crashes ( thanks to the exagerated wrists ) than you did with the Vanguard technique ( almost locked wrists ) and with young/first year players, it was a no brainer to make the change. With respect to Robert and the Vanguard, they were at the " vanguard " ( forefront ) when it came to acheiving a high quality and consistent technique. At Teal in 04/05 although it looked like the Spirit technique, I had them doing a push through on horizontal crashes and not a ( looks like push through but not ) flat crash. Personally I like that sound better. In 04 and 05 everybody who was using the first Zildjian Stadiums were cracking and breaking cymbals. They fixed the thickness/thiness in the bridge/bell connection area without sacrificing sound. If you want info on the Spirit style in the late 80's under Laurie and early 90's under Lance I would suggest talking to Eddie. Look him up on facebook. I hope you can get some info from the West Coast guys. It is funny all of the parrallels with East Coast/West Coast cymbal styles, rudimental drumming techniques, jazz drumming styles, Jazz in general, 70s/80s/90s hip hop and rap.

Most definitely talk to Hannum. A friend that I taught with in 04/05 was marching Crossmen and sat near Hannum on the bus. He got some of those ideas from one of the cymbal players. Also look up Diaz Clark who was at Spirit when Float was there then went to Suncoast Sound and created a whole other style. He took that style to Magic, Southwind, Spirit, Bluecoats and Colts. Look up Robert Chavira ( spelled right? ) from SCV. He has been there for decades ( early 80's ) and that line has been the heart of the drum corps ever since and was one of the ( if not THE ) innovators on the West Coast. Although guys that aged out of those SCV lines usually tech on tour, Robert is still on tour every now and then. John Donovan was in the line at Cadets I think in the lare 80's/early 90's and he took that style to Jersey Surf and possibly East Coast Jazz (?). I am not sure who taught the cymbal line at Cadets in the 80'S but Laurie ( don't remember last name ) aged out of Cadets in 86 and brought that style to Spirit in 87. Lance ( Spirit late 80's ) continued it on 95 Spirit we had Holly and Beth Elder, 96 Diaz Clark for a few camps then 97 until 2004 Eddie Capps. Eddie and Andrew Nixon changed things up at Spirit in 2001 incorporating some of the west coast techniques and refreshed a bit of the way they played in 90- 93. Sorry I don't know much about Mid-West players/playing. There is also a great book on cymbals in general and you gotta check it out. Some serious history on the Zildjian family and Turkey and also Asia. It's called " The Cymbal Book ". Also checkout Eddie Capps book " Cymbal Techniques 101 " I will ask around for some more last names.

When I was Suncoast Sound and Spirit the whole corps did it when we ran in the morning. Talk about a workout.

Yes cutting from the top will be much easier. I think the Premiers have 2 or 3 small screws than bolt the shell to the top ring ( well atlest they did in the late 90's ). Doing bearing edges on a proper router table with a good router and bits that have the bearing on the tip is really really easy. I did a roundover on my Sonor kit and re-cut the 45o inside cut on my old Ludwigs and a slight roundover with a little flat spot finished out by hand sanding for that Ludwig sound. Check this out http://ghostnote.net/vbforum// I learned a lot about drum building from that forum.

Hey my bad. I just never seem to run into them. Well, I was living in Japan for the last 5 years but stores over there usually carry an incredible amount of gear various. Since coming home and whenever I have gone to G.C. Sam Ash I have just not found what I need, ever. 10" coated ambassador, 16" coated ambassador, Renaissance heads in any size, spiral notebook with staff paper. Just basic stuff ( ranting :.

Also let's not forget that open class ( div II III/A A60 BITD ) always gets the shaft money wise from DCI. I think many people who have not been a part of one of these organizations has no clue about this issue.

You also have to look at it from the point of sound travel vs. time. Especially if your section controls tempo at this one phrase and you are back field or you are back and closer to one of the goal lines and are NOT the tempo holder then you need to be able to tell where on the front side or back side of the beat ( also ahead or behind your feet ) you need to play vs. what it looks like from the drum majors hands. It is not always " center " of the beat from the back batterie perspective or whatever horn section that gets written some far out drill ( no pun intended ).