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Honestly, I'm just having a little fun with you. :) And make a point at the same time... Uhhh...are you sure about that? Wasn't there at one time HUNDREDS of pro to semi pro football teams all over the nation? Now, pro football (like perhaps drum corps) has gone down in quantity...yet gone up in quality...? Perhaps? Just throwing the idea out there.

Where did all the NFL teams go? Not too terribly long ago, there were scores of NFL football teams spread out around the nation, each with their own ____. Now, there are only 32 left (according to nfl.com). Where did all the teams?

Tim always marched where either his dad (Jack) and or his brother (John) were teaching.

Selfish and biased again... 1995 Blue Devils

Going to be selfish again... 1993 Blue Devils

Ahhhh Tim. Such a soft spoken guy - yet a BURNIN soloist!!!! I guess he felt he only needed his horn to make his loud statements for him. Yes, another great one!

Like John Meehan, I can't help but....... Thank you! :) In no particular order, my heros are... * Roger Deloza - 1987-1989 Freelancers soprano soloist. This man was one of my best friends for many years. Took me under his wing in 1988 when I joined the Freelancers and set an example for me of how I would approach what I do as a soloist in future years. Sadly, this great man passed away just before having an opportunity to watch me age out as a soloist for Blue Devils in 1995. * John Meehan - (Yes John, I'm going to make you blush again) (1987-1989 Blue Devils Soprano soloist - now Blue Devils Brass instructor). The very first show I was at with the Freelancers in 1988 (at age 14), I heard John do the Old Black Magic solo and he was an instant hero of mine. I remember sitting in the stands next to Roger and saying "Roger, you are awsome but THAT GUY RIGHT THERE is what I want to be...and where I want to be" (Roger patted me on the back and chuckled but a few other Freelancers sitting around me were not amused with the last part of that statement). To this very day, John still remains a hero of mine - but of a different kind now that we are both brass instructors - he stands as an example for me as what a great brass instructor is. I love watching him work in front of the Blue Devils brass line. It's a lesson every time I get the opportunity. He is also just an all around great guy (told you I would make you blush). * Jerry Noonan (1970s and early 80s North Star Soprano Soloist) - The first DCI video I ever owned was the 1980 full Championship Finals. The first corps on that video was the North Star and this guy gave me goosbumps. The Ole cadenza to this day remains as one of the best soprano soloist moments in my book.

I remember that day. What was so amazing about that whole incident with Richie was that it was un-heard of for him to ever push for "volume". He was always "Mr. Controlthesoundandmezzofortewillbefine". When Richie used the "L" word that day, it was all that hornline could do to keep our WIDE eyes from falling out of their sockets. I remember thinking...."uhhh...did Richie just say that he actually wanted us to play loud?" I fully agree. Richie is great. I spoke to him not too long ago, btw. It was great to talk to him. Speaking of what I just said about him up above, I'll tell you one thing I realize now about that whole thing. Richie spent more time in front of that hornline than any brass instructor in the whole course of Freelancer history (not to take anything away from you, Chris), including John Zimney. I always was amazed that somehow our hornlines always were quite loud anyway. What I understand now (and use for reference any time I work with a hornline) is that true volume COMES FROM that "quality of sound and control". Richie would always say little phrases like "control produces good tone quality...good control and good tone quality produces better intonation...control, good tone quality and better intonation produces resonance...control, good tone quality, better intonation and resonance is what makes our sound project...control, good tone quality, better intonation, resonance and projection is what produces VOLUME". You know what? Richie was right, and the Freelancers have some loud hornlines in their history to prove it. :) Thanks Richie! I guess the short end of the story about Richie would be - he LOVED "LOUD" too much to ever tell us that he did (except for that one day mentioned above) - because if he did, we would have gone overboard and lost the projection which is what gave the hornline it's real volume. Well, except for that night. Obviously, that one day though was one exception where we just had to stop being panzy and put some air through the darn horns. Once we did, it didn't take long for Richie to go back to "ok guys, control it now".

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A little biased perhaps but I can't resist going with the 1991 Freelancers. The hornline would make me vote that way even if I wasn't close to it.

1989 Velvet Knights And because it was one of my favorite shows of all time, it was fun to BEAT! :P

You have made some very valid points. It's just very unfortunate that the words "faggiest" and "faggy" will lower your credibility level.

1980 Guardsmen! That hornline had a quality that was way ahead of it's time; especially for a bottom 6 corps.

I found this very interesting... Sunday June 28, 1987 West Chester PA DCE Position Corps Score 1 Spirit of Atlanta 77.000 2 Garfield Cadets 74.900 3 Suncoast Sound 70.300 4 Dutch Boy 63.400 5 Florida Wave 62.200 6 Crossmen 53.600 7 Malden Diplomats 47.200 8 St. Francis Xavier Sancians 39.800 How often can you find a year where somewhere during the course of a season the 10th place corps beats the 1st place corps? Let alone by a spread like that! Isn't that strange? Is it just me, or were these types of fluxuations more common in years past than today?

I found this great article on the history of "the bugle"... http://www.tapsbugler.com/HistoryoftheBugl...ftheBugle1.html I think the second paragraph alone pretty much sums up that it's not "the key" that makes a bugle a bugle but rather, it's conical build. However, one should take take note of the fact that the historic bugle WAS in fact "a Bb horn". Discuss away. :)

I agree very strongly with this post.

"Three to four years" may be a stretch. Keep in mind how long it took for amplification to pass. Electronics is still hitting a wall, though it's a close one now. As quickly as these changes appear to be implimenting themselves, things are in reality moving very much at a snail's pace. Electronics will likely pass next year, though there is no promise that another tie or minus 2 votes may happen again. If that's the case, it could be another 2 or 3 years just for electronics to finally hit the field. Then once electronics pass, any use of woodwinds - whether in the context of an idea like mine or a full plunge - will likely take even longer to pass and hit more of a wall. That to say, I think we have a while to go on any woodwind usage. If ever. I'm very certain that there are more people in the forfront of the activity against woodwinds than there ever was with amplification, electronics or multi-key brass instruments (that last one being my favorite :)). Though again, I personally would no longer be opposed to a limited use of woodwinds such as the idea I mentioned in my previous post. I would not want to see full sections though. Again, JUST MY OWN PERSONAL OPINIONS.

Those of you who have read my postings over the years on this subject (some even very heated) may be shocked to discover that my stance on this issue has somewhat softened over the last year or so. Here are my ideas and opinions as it stands now both positive and negative....and what I believe could be a good compromise and solution for all sides of the argument. NEGATIVE - My struggle with the idea of woodwinds in drum corps has always been backed by a paralell with concert band and orchestras. I've always said, "I like the sound of both a full symphony orchestra with a full string section, brass and percussion AS WELL AS a concert band/wind ensemble with woodwinds, brass and percussion only". Both ensembles have similarities but with their own unique charactor and timbre. There are times I am in the mood for the sound of a full symphony orchestra and times where I'm in the mood for the sound of just a wind ensemble. I would hate it if the day ever came where only full orchestras existed and no wind ensembles (and thankfully, that day will never come). My feelings on the marching arts are the same. I love the sound of a full band. There are times when I'm on my couch (very rarely though these days...cough cough) wanting to watch some "marching arts" and my choice is a DVD of BOA finals. At times like that, I want to hear the colors and timbres of a full band - woodwinds and all. At other times, I want to hear a drum corps...no woodwinds. Just drum corps. I also like seeing both types of ensembles live. I would hate to see the day where I would no longer have the choice because only full bands exist. I would greatly miss the sound of marching brass and percussion only. POSITIVE - At the same time I say everything in the above, I bounce back to what we call "exceptions". Have you ever seen a wind ensemble with a "string bass, harp or perhaps a violin solo"? Absolutely! Do you stop calling it a "wind ensemble/concert band" because of one instrument or a soloist? Absolutely not. I believe drum corps could be the same way and could possibly benefit from a compromise where only a limited amount of woodwind use could be allowed.. ...which brings me to a compromise with the following... SOLUTION - Make a proposal where limited use of woodwinds could be allowed. Such as "one improv sax soloist in the pit" or "flute or clarinet soloist"....but NOT a full section. Or...if you were to have a "section"...make it "small" such as a "quintet". The other suggestion I would make is a time limit to how long a woodwind voice could be used. In a case like this, I would see no more reason to stop calling it "drum corps" than I would to stop calling a concert band a concert band with an occasional violin soloist. I would also feel satisfied knowing that the majority of my time at a drum corps show would be spent enjoying the sounds of brass and percussion. This would also give woodwind players aspiring for drum corps a place in the activity. HOWEVER...that last statement make me want to pause with one more NEGATIVE brought up in the following post... That is a great point! Versatility is priceless and I think it's very educational for a woodwind player to learn brass to perform in drum corps. In contrast, allowing woodwinds could resort to a "mediocre" standard for what it takes to make it into a drum corps OVERALL CONCLUSION - This is a hard debate...and one that no two people will ever completely agree on. Therefore, I worry less about it than I used to. THANK GOD! Just my opinions...and representetive of no other affiliation I may have with any orginizations.

My top 8 favorites in this order (with one honorable mention) - 1990 - because of the hornline! A Jack Meehan line that I believe without hesitation was their most mature and balanced soudning hornline ever. 1992 - their peek show in terms of antics, comedy and entertainment. 1989 - their book and their soprano line was what did it for me this year. Loved "Yo Mambo". This show being a favorite of mine was an HONOR to beat! :P 1988 - a VERY close second in brass to 90. The double tounging in the opener is priceless. 1987 - a close second to 1992 for me in terms of antics, comedy and entertainment. Must also pay homage to my buddy Ryan H. Turner for being one of the most entertaining drum majors in history. 1984 - A close second for me to 1989 in terms of the musical book (yes, even "All Night Long"...I loved it). Great soprano soloists. 1985 - a cut below 84 in my own opinion but still a great show. Very entertaining! 1993 - it's a shame this very entertaining "Cartoon Show" is so easily forgot. Another pretty solid hornline (Dave Carico influenced). A PHENOMINAL DRUMLINE headed by Tom Float leaves this corps forgot about in the minds of too many simply because they JUST missed finals (should have been in IMO) by HOW MUCH? Honorable mention - 2007 - Haven't even seen the show yet but it will be a favorite of mine anyway (no matter how good they are or where they place) simply because of the sentimental value of their return.

My big band has an endorsement deal with audix. They have a great selection of options for wireless horn mics and we have been very pleased. Check out this link http://www.audixusa.com/home.html Our horn section uses the M1244.

Retractable roof.

It's too bad you feel that way because these new Kings are louder (and all around just better) than what the corps is playing on now. Worry not though, I'm sure MCL will keep G's in the corps hands for quite a while anyway (sob).

I'm hoping that someday I can get Music City Legend to buy a certain line of kings. ^0^ ^0^ ^0^ ^0^ ^0^ ^0^ ^0^ ^0^ ^0^ ^0^ ^0^ (hiding from flying objects)

So, now that DCA has a similar logo as DCI - is there any chance of having those little banners like the DCI ones below in my signature for DCA corps? I know I've seen a few individual ones but what about a standard one like the DCI Div I corps have? Just a thought. I really like them.

A theory only and I don't buy it either because it goes against the physics of accoustics. Ever played in a very open concert hall or gym and then compared it to a more dead and compressed venue with more "resistance"? The more "open" the room, the liver the sound with more increace in DB levels. The smaller and more "resisted" room deadens the sound and lessons the DB levels. Just ask anyone who is a professional sound man. The accoustics of a brass instrument don't work any differently. Accoustics are accoustics. Naaah. I'm done. My reasearch and experiments have me convinced. :) You are not going to change my mind and by the looks of things, I'm not going to change yours either.