dannyboy

DCI hires the stadium. DCI is the client. The Stadium (and their subcontractors) are at their service, no? I'd suggest if their contract doesn't specify how many security metal detectors will be open, they sure as hell better add that. Why was this not a problem in the past?

An HOUR to get through ONE security booth into Lucas Oil Stadium for Finals? I'm going to go back to just attending Prelims next year. That's all just absurd. You'd think after this many years in Indy, DCI would have this figured out.

Annapolis High and steep-stands; a proper FOOTBALL stadium. Far, far more impressive telling others you were going to "DCA Championships at Navy–Marine Corps Memorial Stadium in Annapolis" than... "the soccer stadium in Rochester, NY." Seafood. Seafood. Seafood.

StuStu: Canon 5D Mark III with Canon 100-400mm f/4.5-5.6L IS USM

You are welcome. I'll add another 30 or so tonight. My equipment is a bit of an upgrade since "Showdown At Warhawk Stadium" in 1980 with my Canon AE-1 and a cheap 500mm. :)

I'm starting to upload/share my 2016 Prelims photography to a public Facebook folder, if anybody wants to see the view from the front row through a Canon 5D and 400mm. https://www.facebook.com/media/set/?set=a.10209491125862500.1073741912.1456781636&type=1&l=39a7a3f2cc

Ummm... Dan Veerhusen of 1980 Madison Scouts...(epic moments in drum corps) or Jimmy Russo of the Hawthorne Caballeros. That's not "milking" -- that's "connecting with the audience." Dan V. explained to me that his role as DM was to "channel the energy" back and forth between the field and the audience. I like a "personality" DM -- not a robot metronome. Search for one of the threads on "Greatest DMs of all time" or along those lines. A good DM can become "the face" of the drum corps, especially if they last a few seasons in the role (more of a DCA thing than DCI.) It's "showmanship." Drum corps is, after all, ENTERTAINMENT.

"Front side capacity is 4,032 and various reports had it a little over half full." http://www.drumcorpsplanet.com/forums/index.php/topic/163322-dca-15-35-corps-great-performances-not-so-great-attendance/

Well, as OP of what was supposed to just be a "joking" post, I think this thread can wander where you all wish. But on the key thing (above)... Well, I know some fine conservatory teachers that can move seamlessly between an Eb alto trombone and Bb trombone in the same concert. I know some guys that will double on Bb flugelhorn and Eb tennorhorn in some of the finest British brass bands. I've seen an outstanding Army Band player double on Tuba and trombone (for the solo) on the SAME PIECE. I've seen Tine Thing Helseth play not only different key trumpets and cornets in the same concert, but an antique KEYED trumpet, to boot. Flawlessly. Drum corps is a (mostly) youth activity performed on a football field with mostly terrible acoustics, trains, planes, and police sirens. If your brain/ear/chops can't make an adjustment to different keys on SAME MOUTHPIECE (say G sop and Bb trumpet)... maybe you're not as good as you think you are. Get over yourselves. I have a whole collection of horns I keep in my office (4 minute walk to work) and go there in the evening after everyone else is gone. BBb tuba. Bb concert euph. G Euph. G Baritone, my sweet baby Willson Bb marching trombone, a 1909 Holton Bb cornet. Bb Getzen MF Trumpet. and a 1970s FE Olds F mellophone (bare brass and custom lead pipe) I play with a massive Wick #1 bottomless tenor mouthpiece. I play whatever I feel like playing that night -- usually three different horns in an hour. I like to play the trumpet in the warehouse/garage. Low brass in the lobby. Cornet at my desk. Before you play the first note, you say to yourself, "This is a mellophone in F" and hear it in your head, and your chops-muscle-memory/ears/brain shift gears. 20 minutes later, you pick up the euphonium, and you go through the same first-breath mental exercise. I had an outstanding teacher in high school that studied under both Mr. Jacobs and Mr. Hurseth. All my teacher seemed to talk about was breathing and hearing the note before you play it and he even had an exercise to deal with doubling (tuba and trombone) about that mental shift-of-gears of how you "manage air" differently per horn, and brain to lock in the chops before that first note. He (my teacher) played euphonium, tuba AND trumpet professionally. He said if you can double, you double your odds of employment. :) [correction. Allison Balsom on keyed trumpet. They look similar (the players)] Search for this on YOUTUBE: "ALISON BALSOM - Sound the Trumpet (Royal Music of Purcell & Handel)" And proof a good player can overcome even a plastic horn... https://youtu.be/NLAHSgZaMU0

(Those that know me know I am pulling legs). But it's a fun thought.

I think I have a cool idea for the electronics/effects/sampling (yes, I actually said that.) I just heard that 1990s Natalie and Nat King Cole "Unforgettable" where she sings with her dad's old recording - remixed - to make it a duet. What if a corps sampled some "classic" show recordings for looped hits, licks or solo fragments -- DJ Style? You COULD have similar "virtual duets" or hybrid ensembles that span decades. You could, technically, have members from those old shows "performing" in the new show. Thoughts of Chris Metzger squealing a "duet" with some 2016 Madison Scout? How about the classic 1980 Blue Devils' "Dindi" sop duet turned into a virtual quartet? With trombones you say? Sure. Whatever. Maybe the only issue is the rules committee working out the technicalities/time-shifted concept of "age out?" Copyright snags?

Good news. Best wishes. What is the musical repertoire for 2015?

"...then why not just form a bowling league." Hahaha. Dan, you must have just seen my Facebook thread: "...out of the bowling alley and off the streets. Productive citizenry."

*sigh*

[EDITED. Because I just realized how little I care anymore.] To this thread: I predict a good time in Rochester for those that go, and most excellent BBQ.

Synthesizer/keyboard player. Stands with the others in the pit. Increasingly includes triggering of stored sound clips. Mixer person (if they have one) is off the field. I am not aware (I could be very wrong) of anybody "live" sampling the hornline and applying effects to that in real-time. Sounds logistically and musically "risky" even if it is legal. One might be under the impression that a DCI corps last year was live sampled and the pitch bent -- but my understanding is that it was simply a pre-recorded sample.

The person performing on the synth is a performing member. I don't know DCA's rules (DCI either, for that matter) on off-field mixer staff.

Relating to this synth player needed and since you bring up Dave Nelson's bio... You might want to advertise the synth position on the Kiltie website and Facebook page where candidates are more likely to be reached -- your (assumed) target audience probably does not read DCP Senior/All-Age Forum. You might want to fill the currently blank "Staff Bio" section of the Kiltie website with Mr. Nelson's (and all the other staff) credentials. This kind of information (on the website and Facebook) is arguably CRITICAL for recruiting. And just basic PR. Also critical to recruiting would be an announcement of 2015 repertoire. The "Theme" was announced in November, and you will soon have your third rehearsal weekend. Since the invention of drum corps show "themes" -- we all know they do not really mean much until specific tunes are announced. We also understand corps may need to wait to announce specific tunes until legal arranging and mechanical rights are secured. With some people thinking I'm still involved (I am not), I am being asked (1) if I know when the Spring Preview Concert is, (2) what the 2015 music is, (3) when the Staff Bio page on the website will have content, and (4) if the again-vacated-post-election Vice President position will remain empty like the previous term.

Hope the lessons-learned over at DCI make for judicious and appropriate implementation. Best wishes.

Ha. See "Lindsey Stirling" on Youtube.

Does this discussion/debate sound familiar? This is from Rolling Stone Magazine: http://tinyurl.com/nrfd4jy "...But as with any family, there's often disagreement. Purists decry the use of drums while progressive musicians continue to push the boundaries. "There are hardcore people that [think] if you even have a microphone you're way too far out," Del McCoury says with a laugh. "I exaggerate, but you have the hardcore folks. They can listen to whatever they want to but you need variety. You need to have that. You've got to have young people coming in all the time. That's what brings young people in, more progressive sound and variety. I just like variety in music. I think it's a good thing." Most musicians are generally supportive of innovation in the format, but some fans have a more restrictive view. "There's some hardcore traditional fans out there who really think that the best bluegrass ever recorded was in the late Forties, early Fifties and that nobody can really improve on that," says Cardwell. "That's their favorite, and God bless them, they're entitled to that perspective. Part of the reason for these strong feelings is they treasure the music so much. It's more than just a casual interest, almost a passion, a religious fervor. People who just really love bluegrass music treasure it so much that they want to hold onto it very tightly and not let it change because they're afraid if we don’t keep it the same, then it'll disappear in a generation or two." Sounds like us, yes?

Staff Announcement is on their website: http://www.kilties.com/index.php/news-archive The Kilties are proud to announce their 2015 design and instructional staff: Ed Warren Visual Designer/Visual Caption Supervisor/Show Coordination Rick Kirby Brass Arranger/Composer Dave Nelson Percussion Arranger/Composer/Consultant Larry Pawlowski Brass Caption Supervisor Rich Nicola Percussion Caption Supervisor Beth Myers Color Guard Caption Head/Color Guard Design Jake Hammer/Cortney Netzel Visual Co-Caption Heads Wesley Davison/Gage Granzow Battery Co-Caption Heads James Warren Front Ensemble Caption Head Brass Instruction Weston Brabeck Technical: Jeff Banyots, Bobby Bonslater Visual Instruction Mindi Endries Weston Brabeck Color Guard Instruction and Technical Cheryl Johnson Bennie Wadlington Mik Erwin Drum Major/Conductor Kali Senger

Sincerely wishing them all the luck possible with retention and recruiting.

I see a change in attitude. Today's 2015 Launch... http://youtu.be/-4zrZftTheA vs. 2014: http://youtu.be/HZMnkGfDrqY

I'm pleased at the more recent direction of this thread. Positive ideas and words. They had their banquet today, with annual meeting and election to fill current Member-at-Large seats and a vacant, mid-term, Vice President position. I did not attend banquet, and have not heard yet what topics or discussions took place other than the election. I wish them well with whatever plan can result in turnout at December Camp/Open House. Here's to whatever can change for the better in 2015. WWBD!