DevsBari02

Cool clip. Thanks for the kind words. That was after Grand Finals retreat; the last time the hornline played together. Brings back lots of good memories. Hope all you guys are doing well.

We used it a Court of Honor last summer, and we are using it at Teal this summer. Last I heard, Oregon Crusaders use it as well. As far as Div.I.....I dont know of any other corps who use it other than Devils. More or less, I consider the notch system to be a tuning reference system. It's more time-efficient, and more effective than going person to person with a tuner. Also, I thnk it promotes proper technique/tone production, and consistency of ensemble sound. The more fundamentally sound the members play, the better the system works. The notches were given out during warmup. Sometimes, another mark was given later in the warmup if the intonation wasnt locking in like they would like. Temperature, and humidity did affect how the hornline sounded. With temperature, it was pretty straightforward. The hotter it was, the more we had to pull out; the colder it was, the more we had to push in. Pretty simple. Humidity seemed to affect tone color more than anything. I remember we sounded very different in Atlanta, then we did in Concord. I want to say it almost sounded thicker in the heavier humidity. I am sure John or someone else who marched or taught will chime in, but that's my two cents.

Word.

I would like to know if you would say the same thing if you played a King 1129. B)

Teal uses the UMI 6.

Instrumentation is based off of what kind of sound you want. Everyone has different opinions about it. Different instrumentations work for different corps for different reasons. For example, I dont think marching 20-14-24-12 would work very well for Devils, as I dont think 24-12-10-10-10 would work for Phantom). Instrumentation is idiom-specific. 1999 Spirit of Atlanta: 20 Sopranos 14 Mellophones 14 Baritones 4 Euphoniums 12 Contras 2001 Spirit of JSU: 20 Trumpets, 12 Mellophones 14 Baritones 6 Euphoniums 12 Tubas 2002 Blue Devils: 24 Trumpets 12 Mellophones 10 Baritones 10 Euphoniums 10 Tubas 2004 Court of Honor (Div.III): 10 Trumpets 6 Mellophones 3 Baritones 5 Euphoniums 4 Tubas

Yamaha: Always felt stuffy to me. Especially in the extreme registers. Pedal Bb down, and high Bb up seemed very closed to me. My opinion would change if the level of projection, and carrying power was improved. The Yamaha marching euph I played was easily one of the worst horns I have ever played. It was a prototype, but all of the negative characteristics of the baritone were magnified in the euphonium. I dont know if they made improvements and started marketing it though. Dynasty: They are pretty decent baritones. Not the best but they certainly arent the worst. Wayne and the Blue Devils brass staff have definitely made some great improvements to those horns. The sound they produced was rich, and blended well with the euphonium voice. They are one of the better baritones, and I like the sound of the euphs, but I would weight the horn differently. Dynasty makes the best baritone, and euphonium combination. No other manufacturer makes both horns that blend so well, (even though King comes close). Kanstul: Never been a big fan of the baritones because I just felt like it played more like a marching trombone than a marching baritone. The timbre was just a little brighter than I would prefer for a baritone sound. I liked the Kanstul euphonium but it reminded me of a G because the pitch center was especially wide especially at the louder dynamic levels. It has a lot of power, but the focus of the sound was somewhat problematic, especially when relating to intonation at the higher dynamic levels. King: Trying not to be biased here, but I liked the King baritones. They projected well, and still remained pretty warm at the higher dynamics. The King euphoniums are truly great horns. It is solidly the best Bb marching euphonium on the market, and I am not just saying that because thats what we use at Teal. The pitch center is consistent and easier to control at any dynamic. The tone and timbre of the instrument are just gorgeous, and the amount of quality sound that comes out of the bell at the louder dynamic levels is exciting to say the least. My vote goes to King. Baritones: 1. King 2. Dynasty 3. Yamaha 4. Kanstul Euphoniums: 1. King 2. Dynasty 3. Kanstul 4. Yamaha

Alex, can I have "#### No" for $500 please. I play a Greg Black "Joseph Alessi" custom 5.5 for my symphonic playing, and Bowman BB2 for jazz. Love them both, especially the Greg Black.

98 Magic is probably Magic's loudest, most powerful hornline. Man they could blow. They werent as clean as they were loud, but it was still pretty solid. That was easily one of the best 13th place hornlines of DCI history. (Others including Southwind 2000, and Spirit 2001). 98 Magic was intense and agressive. I loved hearing on the field in Orlando that year, and I love listenening to the CD.

I have come to realize over the years that who is standing in front of the line is probably THE most crucial in dealing with what a line sounds like.

Yea, Spirit has been using the Kanstuls since 2001. I like them. I think the best marching horn I have played is the Kanstul euphonium. They are real open and have a great sound to them, but back to the topic at hand: I dont know the specific bore and bell sizes, but the Kanstuls and the DEG's definitely seem bigger than the Yamahas. Both the Kanstuls contras we used at Spirit, and the DEG's we used at Blue Devils seemed bigger and sounded richer than the Yahama contra lines I have heard.

There are so many. Just off the top of my head: 1980 Spirit of Atlanta 1986 Blue Devils 1990 Star of Indiana 1991 Star of Indiana 1992 Blue Devils 1993 Star of Indiana 1996 Phantom Regiment 1997 Blue Devils 1999 Blue Devils 2000 Cadets

w/Stp:

Jayzer, come on man. You must be kidding me. The Cavaliers had the hardest book in DCI? Not even close. The book was not very difficult. Now dont get me wrong; I am not knocking the Cavaliers, but they simply were not loud and did not have a very demanding horn book. Period. Something I will give the 2002 Cavaliers hornline credit for: Timbre, and nuance. They created very uniqure timbres that were great for the field. Even the backfield use was very appropriate. I might even go as far to say that they used a good deal of nuance, but to say they were loud and had a demanding horn book is simply nonsense.

La Fiesta La Suerte de Los Tontos (from Cuban Fire Suite) One More Time Chuck Corea (backfield introduction) El Congo Valiente (from Cuban Fire Suite) with Malaguena tag. I also agree 100%.