mrshowfan

I agree with all of the above. I would also like to include 94 Devils. Some amazing runs. I remember 97 Phantom had a an arpeggiated lick, it went really high but then I think they cut it around DCM. That sucked, I always liked that part. Cadets year after year have some wicked runs. (98 in the middle of the show). Simple yet effective mello/ alto parts I think would go to any Jim Ott arrangement. Tasty!

I would have to say that Spirit 80 had it all fugured out. The mid line sounds awesome. Not too loud...but strong enough too have some awesome lines running through the horn line. It has to be one of my favorite mid-lines.

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At MSU we had an E flat cornet line. Since there were no flutes piccolos or clarinets (but there were saxophones) the top 8 trumpet chairs got to play on E-flat's. It did cut throught the ensemble quite a bit. Too bad they got rid of the EEPHS as we called it. We always had fun with those horns. I dont know if it would work though in DCI. Only one way to find out.

Here is my dream line: 12 sopranos (3 leads, 4 slpit, 5 lasts) 8 flugel horns (2 parts, often dubling split and last sop parts) 10 mellophones (5 leads, 5 splits) 5 french horns (playing what would be the 3rd mello part) 8 Baritones (4 and 4) 12 Euphs (better players on euphs split part) 10 Contras (split part?, maybe) 65 Brass I think this would really help balance issues and give a great sound. I have never heard of a line like this but I imagine it would sound like 91 Star. I think the mid line should be more exposed in Drum corps. Oh yeah, Corps!! bring back the flugels!!!

CORRECTION from above. Second paragraph. "pretty cool in Mad-town" ^:)

Yes I remember auditions very clearly. I left East Lansing on Thanksgiving weekend 96 on a Friday. I went with one of my good friends, Ben W. from Phantom (95). Actually we left from Jackson MI. which was where he was from. We drove up to Rockford and spent the night there in the hotel where PR was having their banquet/party. Ben wanted to see some of the old folks he had marched with, and talk about their year. Everyone was sporting their rings, if I remember correctly. Poor Ben could have marched in 96 that year but decided not to for a reason I can not remember now. Well, it was a pretty fun party that night and people were asking me if I was auditioning for PR. Reluctantly I replied "uh, no I am going up to Madison tomorrow". They seemed a bit surprised but they said, hey those guys are pretty in Mad-town. The next morning Ben dropped me off at the Greyhound station right off the freeway there in Rockford. He decided to spend the day with PR as I wound up taking the Greyhound up to Madison. The bus ride there, I felt sick to my stomach. How could I live up to those soprano lines from years past? On the finals videos there were just awesome. Just thinking about it made me nervous, uneasy, and queasy. I remember Pat S. picking us up at the bus depot and taking us to East H.S. There was an orientation for everyone and then auditions started. There seemed to be a fair number of people auditioning. If I remember right it was 500-800 for 60 spots. I knew the soprano section needed some players, there were only going to be 3 returning vets in that section for the 97 season. I went to audtion later in the day and played parts of the Artunian Concerto and a scale up to a high F. Feeling pretty good about the audition, they then asked me if I was going to be able to march the rest of my years there and also why I wanted to be a part of the group. Saturday night I stayed with the Jaekel's which seemed to be a hot spot for many rookies that year. I remember sleeping downstairs and some of the vets reminicing and watching the 96 videos. Sunday was a day of doing stretching and learning the basics of Madison marching. By this time I was trying to figure out how to get back to Rockford. I didnt know where Ben was and what we had planned. So I kept on bothering Pat and letting him know that I needed to get back to Rockford somehow. He said "hey, you made the cuts and are in the corps, what are you worried about getting back to Rockford for". And thats when I knew I was in. I probably knew before anyone else, because usually they start pulling people out of visual in groups to let them know. About five minutes after I found out I made it I saw Ben. He decided to drive up to Madison to pick me up. What a guy! He stuck around and watched visual and then my name got called along with others from visual and I knew we were going to the big meeting with Scott. I had made it. All those years of watching them on videos and listening to them on CD's and now I was a part of it. It was unbelievable. I even got to take home my soprano. A very special moment in my life. Later that day we left and drove back to East Lansing. We got back about 1 or 2 in the morning. I thanked Ben for everything and he drove off. I went right up to my buddies room (another guy named Ben who marched 96 sop in Madison) and told him the good news. We celebrated with a little Goldschlager and beer. Man, that was a great weekend. To this day I owe Ben the dude from Phantom big. He really made it possible for me to go audition and spend three of the best summers of my life with Madison.

I gotta say that Van Mathews is one of the BEST teachers I have ever had. For those that have learned under him in Madison and for those that learned from him at BD, I know that many will agree. It is not really the way he conducts, rather it is the way he can say things to the hornline in a manner in which you say to yourself "why didnt I think of the music that way" and "this guy has it all figured out". He makes it seem so easy too, couple that with a smooth relaxed demeanor, his mastery of analogy, and he is one of the coolest cats I know, and one of the most influential in my book

That thread about the Garfield patch made me realize that I never received my 99 finals patch. Its the only one missing in my collection. I know sometimes that the ones DCI gives out at finals and the one they actually sell are different. If anyone wants to sell their 99 finals patch, I'd pay good money. Thanks.

I dunno about those sound intensifiers. Personally I dont buy it. I think its a mind game. If you think your sound will improve, then it will. I've never used one, so I cant speak to that, then again I dont think I would ever use one. I'm happy thinking my tone is good where its at. If you want to change your tone, buy a different sized moutpiece, with a deeper or shallower cup. It will definately change your overall sound. (:-D

Earplugs for rehearsals. No way. I am one of those guys in the stands that is cupping his ears so it can be louder.

At Madison some people used what was what came with the instrument, but most brought their own mouthpieces. Staff never really complained too much about using our own equiptment

I use a Bach 3C for regular playing. I was a split sop (2nd part) and it seemed to work fine. I also used a Marian S Jet tone which was a wide bore mouthpiece and that also worked well. For regular lead playing I use a Marcinkewicz Bobby Shew model. Its great. I love it

I think PR has a good sound. Its not as good as it once was though. An example would be the 89 recording, which I think are their best sounds, vs. the 98 recording, which isnt their best sound at all times. I do think that what they present is effective from an musical standpoint. I just dont think it sounds the same. For a great recording listen to the 93 Fire of Eternal Glory studio performance, now that is sound quality. What presents a good show tone quality wise?, I would say overall balance and good marching technique, thats why I think BD always puts out good horn lines, they do the best of those two I just mentioned. I n music ed classes they taught us the pryamid effect, meaning more low (bass) & less high (soprano), due to the natural freqeuncies they produce you will need more bass to balance the higher end soprano. This would be ideal. Some corps have a inverted triangle (Madison the last few years) Some really bring out the mid voices (Star and CBC). Ideally, the listener should be to to hear every voice without individuals sticking out of the ensemble or blasting. Add marching a placement on the field and balance becomes a major issue, one that some corps struggle with and other corps excell at.

Yeah, I used to just have my pinky finger under the 3rd valve slide. Then I changed to use both the ring and the pinky. It was a little weird at first, but in the end I feel like there is a better balance and distribution in weight in your left hand. The way Renegade discribes it is what is done with Madison's horn line. Though my biggest hurdle to overcome was moving my left elbow, while I did the move. Try not to move your left arm too much when going from attention to horns up.

Although, I personally think that 90 Star had a more balls to the wall show, 91 is bar far better executed. Those mids are gods. It doesnt even sound like they are marching. Impecable technique, control and balance. We are not worthy!! I think it gets my vote for one of the best sounding hornline of all time.