davhen

Thing is, we've had 2 competitions and have yet to really crank out that first quality performance that we know we are capable of doing. Just wait until it all clicks. Thanks for noticing, especially the guard. It was actually a bit larger last year. This year's group has raised the bar. dh

I wrote a band show a few years back that combined music from the Medal of Honor game, with music from the HBO program Band of Brothers.

Hey Joe! Wow, man, what a write-up! I love the positive vibe, and you're pretty good with the pen. . . or keyboard, I guess I should say. And very astute observations for one read. Now . . . how do you feel about judging GE?

Thank you for the kind words! dh

cool!

yes it takes an 18.8 for the whole sheet to be box 5. It is possible to be box 5 in one subcaption, and not the other, at 9.4 That is the way the Brass and Music Effect sheets are structured, I would venture a guess the other captions work the same way.

Oh yea, your're right! It can't be "adding" energy, as that would defy the laws of conservation. What I meant was the amount of energy translated from the stick to the head is increased in the case of the shot. No energy has been added, just more of it is converted into sound by including the rim at the moment of impact. From the isolated perspective of the head, the rim shot has "added" energy compared to the regular stroke, but you are right, no energy has actually been added to the system.

b**bs ( I know, I know. . . it's not head to head, but still!)

your kidding, right? just in case. . . kinetic energy Form of energy that an object has by reason of its motion. The kind of motion may be: rotation about an axis (that's the original energy created by the motion of your arm), vibration(the result of impacting the rim, or whatever) translation (motion along a path from one place to another, the path being your stick), or any combination of motions. The total kinetic energy of a body or system is equal to the sum of the kinetic energies resulting from each type of motion. (so,the rotation gives you the sound of a normal stroke, and the combination of the rotation and translation creates the shot sound)

that's right. tip/shank doesn't matter. Once the stick is in motion, any solid mass that it comes in contact with, is going to add kinetic enegry, whether its a rim, a stick or a practice pad.

I think most of the judges get it right, most of the time. Andy included. its really just a case of "hair-splittin'" when it gets up in that range of numbers anyway. I can't imagine why anyone would want the job of facing staffers from the 2 top corps, and try to explain to them why one is a couple of tenths ahead of the other! to steal a line from "Spinal Tap" . . . we need the sheets that go to "11"!

I think another way to put it is this: everyone on this thread seems to be aware that judges "manage" their numbers, meaning they try to keep headroom available just in case each remaining unit is better than the last. So, I think that the real discussion is whether or not that is the only consideration in number management. I tend to think it is a little more complicated. say for example: <YOUR FAVORITE CORPS NAME GOES HERE> scores a 9.9 to win field brass on Friday night, but their total score earns them 5th. They come out on Saturday and play even better. The panel has rotated, and they get a 9.5. ARe you willing to accept the .4 drop, for a better performance, even when the judge defends it by pointing out that he saved 4 tenths "just in case" the other four lines played better? AND. . . don't forget, that as recently as the night before they did not? Which judge would you rather have on your next panel? Judges have to be prepared for EVERY possible situation that can arise, and each successive corps topping the one before is only ONE possible outcome. So, while highly unlikely, there is a small probability that a hypothetical-10th place corps, who performs 3rd at finals, might have a "perfect" show in a particular caption. ARe we really for the kind of number management philosophy that makes a judge feel the best number he can give in this situation is a 9.1, simply because he has to view 9 more units? I sure hope not.

Now that you mention it, I do think they were the same models! Several corps had those same old buses.

I can't ever remember the top 7 corps being this close. I do remember 1980 Championships in Birmingham, top 4 within .8 if I remember correctly.

in '81, Spirit bought some really old buses, that broke down over and over. DCP'er Jim Clark was a master with duct tape and bungee cords, and Spirit used them for several summers. Here is just a a mere few of the "highlights": pushing 'em up several hills in Allentown on the way to the show, in uni's. mmmm, I can still smell them fumes! stalling in the NJ turmpike tollbooth, blocking semi traffic for quite some time. I once won the breakdown pool on the "Country Club" by wagering that our next breakdown would occur at 7/10ths of a mile. I really did it as a joke, but sure enough as we pulled back onto the highway, there was a small engine compartment fire in the back of the bus in front of us. btw. . . GOOD TIMES! :D Jim, help me out here!

The act of the stick striking the rim, another stick, or any other mass will add kinetic energy to the stick. This added energy in the tip of the stick (which is released at the moment of impact with the head) is what causes the "shot". a proper shot will result when the timing of the tip impact coordinates precisely in relation to the rim impact.

BD's Scott Johnson makes a dream come true.

here's another one. http://www.drumcorpsplanet.com/forums/inde...=100698&hl=

that is incredible! everybody check out the "Apology to Impulse" thread.

I like the underarm move :sshh:

great shot! Looks like the guy on the rail is taking a closeup.

I saw that, too. That guy just has "the look" doesn't he?

agreed!

Thanks for posting, Michael the Elder! Southwind! That reminds me of a funny story about Michael the Younger. Everydays, '91 or '92, out at Maxwell, and young Michael is keeping us entertained during breaks with some solo work on that old horn you had given him. He was really amazing as he would take our request for a certain corps, then he would blast out a few notes that were recognizeable as having been from said corps show. Not really accurate, but certainly recognizeable, and plenty loud! Then, one day, I was working the arc in sectional. We were having trouble getting the Contras to crank out enough sound to balance the rest of the line. At one point I stopped, and Enloe went down the line hearing the contras one at a time. This one kid got his turn, took a huge breath, and then this tiny little puny sound came out of his horn! Enloe's reaction, at the top of his lungs: "Who the f@^k is going to hear THAT???" Then, "YOU need to find Michael Terry and get some lessons on breath support!!!!" (What, was he like 5 years old at the time?) Enloe asked Michael at dinner break if he could show some of our members how he got so much air thru the horn, and he said "like this", then proceeded to take a huge breath and belted out a high G at FFF!! The whole thing was so funny, we couldn't stop laughing for two days! b**bs