Jump to content

The World's First and Only Bb Soprano Bugle


Recommended Posts

11 hours ago, Vance said:

There is a World Class corps rehearsing with them with a full line of 24 horn.  If they end up using it this season, I will make an announcement.  

Madison...?

Link to comment
Share on other sites

20 minutes ago, 84BDsop said:

You don't know the power of the G side.

 

When you can go back in time and experience, say 88 Madison ripping your face off with "Malaguena," you can do a proper comparison.

Been there and heard that. 

Current brass lines get more than enough volume and they play in tune.  I like that more better!  

Edited by corpsband
  • Like 1
Link to comment
Share on other sites

Heard the Raiders with these horns at a couple of shows last summer. The horn line sounded bigger than their numbers, in a good way. Nice full sound. Would love to see more corps with these instruments!!!

  • Like 2
Link to comment
Share on other sites

2 minutes ago, Fran Haring said:

Heard the Raiders with these horns at a couple of shows last summer. The horn line sounded bigger than their numbers, in a good way. Nice full sound. Would love to see more corps with these instruments!!!

As long as they play in tune.

Link to comment
Share on other sites

5 minutes ago, BoaDci said:

As long as they play in tune.

With the right staff, with the right training, in tune is not a problem here. I really think that, in the right hands, these horns can make a smaller line sound bigger. That's why I would love to see some DCA corps and DCI Open corps with great brass teachers get their hands on these instruments.

Link to comment
Share on other sites

8 minutes ago, Fran Haring said:

With the right staff, with the right training, in tune is not a problem here. I really think that, in the right hands, these horns can make a smaller line sound bigger. That's why I would love to see some DCA corps and DCI Open corps with great brass teachers get their hands on these instruments.

IMO if product A helps an ensemble play in tune better than product B,  the so-called advantages of B become irrelevant.     Why is it better to be loudly out-of-tune?  

Edited by corpsband
  • Like 2
Link to comment
Share on other sites

2 hours ago, corpsband said:

IMO if product A helps an ensemble play in tune better than product B,  the so-called advantages of B become irrelevant.     Why is it better to be loudly out-of-tune?  

What the heck are you talking about? LOL. I guess I didn't make myself clear with how I worded that first line.

These horns are NOT out of tune, with the right training.  The Raiders didn't sound out of tune to me. And they have a good teaching staff.

I mentioned "in the right hands" and "great brass teachers" in my earlier post.  Why on Earth would great brass teachers want their players to play out of tune? Why would they want to put instruments in those players' hands that would lead to those players struggling to play properly?

So... to sum up: In the right hands, with the proper teaching, I think these instruments are terrific. 

Again: In the right hands, with the proper teaching, I think these instruments are terrific. 

Is that better?

Sheesh.:tongue:
 

Edited by Fran Haring
  • Like 4
Link to comment
Share on other sites

My take on the G vs Bb debate, after marching and teaching both of them, at very high and low levels of placement:

1) BITD, there were only a few EXCELLENT hornlines any given year. Today, the degradation of quality happens much further down the placements. Compare any 6th place hornline from the 90s with a 6th place hornline today (especially lot videos), and I think you'll agree that the modern 6th place hornline sounds better.

Why? I suspect that B-flats are easier to play (smaller) and the players are more familiar with them, thus it doesn't take all summer to find the center!

2) Only when the Bb hornlines grew to 80 members (with 16 contras) did I stop longing for G bugles. Those who say they can't tell the difference, I envy you. I didn't even pay attention to drum corps between 2000 and 2006 (cuz i hated the 64-member Bb hornlines). By 2006, I was on staff (Bloo), vouching for larger contra lines, euphs, and larger hornlines. Finally, Crown made it crystal clear in 2008, and I didn't have to argue anymore. I've enjoyed all of the 80-member hornlines since then.

Why? Acoustically, the "chorus effect" of having more players, combined with the larger ratio of contras has compensated for the large bores (but smaller numbers) of the G Bugle lines. Granted, I miss listening to the keys of C and G (awful on Bb), but the color change isn't as drastic (and I'm getting old...probably can't hear as well!)

3) In my dreamworld, I like the idea of bigger instruments (for outdoors), but I also like having more color in the spectrum. My sonic palette is mostly orchestral, so I like listening to things in "sharp keys," I'd probably use Bugles in G *and* C. IMagine a contra line with 8 contras in G and 8 in C (4th higher)...the kind of octaves you could get with that. The Euphs would be in G, and the baris in C. I'm a fan of the French Horn G Bugle, no matter how unwieldy...gimme a section of those! The Mellos and Trumpets would both have G and C, with the orchestral C Trumpet as my top voice. (Pic G for special occasions)

Finally, can these new "B-flat Bugles" convey the richness and fatness of sound as an excellent G line? Can the manufacturer produce them at a lower price? (cuz no matter how good it is, it won't happen unless the price is cheaper than current Bb) Will they be easier to play than their G counterparts? Will the quality control be high enough that every instrument off the line will be indistinguishable from the next?

Edited by Bruckner8
  • Like 1
Link to comment
Share on other sites

20 minutes ago, Bruckner8 said:

 

Finally, can these new "B-flat Bugles" convey the richness and fatness of sound as an excellent G line? Can the manufacturer produce them at a lower price? (cuz no matter how good it is, it won't happen unless the price is cheaper than current Bb) Will they be easier to play than their G counterparts? Will the quality control be high enough that every instrument off the line will be indistinguishable from the next?

Consistency is the key.  The horns have to match EXACTly.  That is why the Yamaha lines sound so good.  You can play 20 yamaha trumpets and they will feel exactly the same.

  • Like 2
Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...