SCVTeerav

Best of luck to them. However, indoor isn't drum corps and with an established percussive line that has helped to define drum corps, Fred Sanford Trophy and all, you would think they'd have found people already with established drum corps experience. and last time brian mason was at phantom, i don't think they were pushing the bounds of percussive ideals imho. food for thought.

I know that when I first saw the videos and PBS telecast, back in the day before I got into the whole scene, it was the performances that kept me riveted. 1995 Scouts was shown and I was in. This broadcast was like watching an NFL game and having to go through a bio on every player and what a tight end does and how cool a down and out route is. throw the ball and hit somebody and bring on the Budweiser girls. same can be said for what drum corps people want to see.

Scott, I'f first like to say that this is actually a posting thread worth reading and I thought I'd try and pose some questions. I played tymps for Southwind in '00 and Vanguard in 02. It seems to me that other then the power issue relative to the technique, that tuning the instrument also comes into play with sound projection. With my experience I've noticed that many tympani tune well within themselves, especially at the higher levels of the corps, yet they do not tune well within the: a) context of the ensemble B) context of their role within the ensemble Based upon the different chords and whatnot, some notes resonate better within particular chord structures when they rest a few cent flat or a few cents sharp. I believe any master piano tuner can verify this. I think that a lack of understanding of this might add to lack of the sound being able to sit on top of the overall ensemble sound to project itself with the tympani timbre that we tympani players so long to hear. IE many pit instruments no longer tune to A440 but rather A442. These two cents worth of tuning could make the difference in a pit solo as to whether the tympani is going to be the foundation of the sound or merely just sort of in the background. This is only compounded in difficulty as to venue, being outside in damp or dry conditions, depending on the day. I think the best example of a tympanist really nailing this down is Phantom Regiment 1996. The presence is very strong and very intune to the necessities of the ensemble. It is interesting to note the presence on the recording difference in that tympani performance to that of 2003 tympani performances in the same venue, with more technologically advanced recording equipment, as the trends of the industry to to go. What are your thoughts on this? Thanks,

It was, but it wasn't what it could have been with G's, your ears would have been ringing.

I have yet to hear a Bb hornline rip my face off the way a G hornline could... this includes having performed with both, toured with some very great Bb hornlines. Sound quality is incredible for Bb as well, but my face has yet to be ripped off by one. for definition of face rippage offage see following show: Star 93, 91, 89 Madison 93,95, 99 Regiment Sop Entrance in Closer 89, 96 closer BD Intro 96 Vanguard 89, 92, 98, 00 Cadets 89,90 I miss hornlines that were so loud that the percussion playing as loud as it possibly could seemed futile.

BD & SCV Titles = 17 Cavies & Regiment Titles = 7 (in the DCI era)

Proffesionals get yelled out many times in the real world, Buddy Rich was infamous for this. Even in normal working conditions you screw up, you bet your sweet plump ace that your boss is gonna come lookin for you and God help you if this isn't your first screw up. Punishment is something parents do to kids, your boss can't punish you, unless you get fired, but they sure let you hear about it. I've seen motivation and I've also seen real world discussions where they call a spade a spade, you act like an ace, they tell you "hey man, your acting like an ace, knock it off" just my experience