FTNK Posted May 11, 2009 Share Posted May 11, 2009 What no one has yet addressed is the fact that synthesizers are largely being used to add colors and textures to the ensemble, not to replace sections. Quote Link to comment Share on other sites More sharing options...
Shadow_7 Posted May 11, 2009 Share Posted May 11, 2009 What no one has yet addressed is the fact that synthesizers are largely being used to add colors and textures to the ensemble, not to replace sections. But the point is that they can replace entire lines of horns. I don't know why we march 50% horns these days anyway. Colorguard seems much easier to recruit in my region. As I try to figure out which section the keyboardist warms up with. And noting that it's hard to balance to a sound source that is in front of the hornline. Some charts don't make any sense without the tuba voice. I think it should be 25% of the hornline, if only because most mics don't pick up tuba all that well. And the longer waveforms can be greatly influenced by things like wind. I think the terminology applies to whatever is written on the printed part. So Tuba since they now read bass clef and it says Tuba on the music. I think that their's a greater distinction between baritone and euphonium in concert band / wind ensemble. It's just that fewer people are aware of that distinction. Quote Link to comment Share on other sites More sharing options...
Piper Posted May 11, 2009 Share Posted May 11, 2009 This thread is long on fantasy and short on reality. Telling a brass arranger that you're going to take away his contras is like telling a perc arranger that you're going to take away his bass drums. It's just not going to happen. Quote Link to comment Share on other sites More sharing options...
BlooContraGuy Posted May 11, 2009 Share Posted May 11, 2009 This thread is long on fantasy and short on reality. Telling a brass arranger that you're going to take away his contras is like telling a perc arranger that you're going to take away his bass drums. It's just not going to happen. well said Quote Link to comment Share on other sites More sharing options...
Brigscontrachik05 Posted May 11, 2009 Share Posted May 11, 2009 ...Now, speaking as a former contra player, and past-and-present teacher of low brass, having more tuba players is more about making it easier for each individual. Tuba is hard enough on its own. With the current crop of drill writers putting the tubas behind the back hash during climatic moments, you'll need a lot of tubas if you want to hear them, unless you're ok with the sound some tuba-lines get "just to be heard." I'm not a fan of that sound. I'd rather have 16 tubas making a great sound, vs 12 tubas blowing their arses off. This topic comes up often enough that I think we need a "Drum Corps Contra Symposium" where we can all gather together to listen to hornline recordings, so we can begin to add credential to the thoughts posted here. Sometimes, when I read the posts that have thoughts about tubas in drum corps, I think "have these people ever actually tried to balance a hornline that's moving at 200 with tubas behind midfield, and moving AWAY from audience?" Anyone who thinks "anything over 10 is a waste" is just plain wrong. Ah! I wondered if someone was going to bring this up. Great post Quote Link to comment Share on other sites More sharing options...
Perry S Posted May 12, 2009 Share Posted May 12, 2009 16 tubas are equal to about 12 g contra bugles on output. I still say, and People who were there know the TRUTH!!! The 8 Guys in Spirit's 1979 and 1980 Contra line have yet to be Equaled (before or since) in the sheer sound, volume, power, whatever you want to call it, that they produced. EVER!!!! Quote Link to comment Share on other sites More sharing options...
Bruckner8 Posted May 12, 2009 Share Posted May 12, 2009 I still say, and People who were there know the TRUTH!!! The 8 Guys in Spirit's 1979 and 1980 Contra line have yet to be Equaled (before or since) in the sheer sound, volume, power, whatever you want to call it, that they produced. EVER!!!! This is a true story. It's summer 1984, before Memorial Day camp. I've been in San Jose for three weeks, haven't learned any drill yet; just a weekly brass sectional and some ensemble. I'm riding in a car with two other SCV Contra players, and we're listening to drum corps cassettes. The other guys were grizzled veterans of drum corps; I was a mere rookie. I was as green as they come...ZERO drum corps experience, never even been to a show, and had no recordings. How I found myself in the 84 SCV Contra Line (The One Ton of Fun) is an amazing story unto itself...I'll write a book someday. Anyway, I asked the question: "What contra line is hands-down considered the LOUDEST?" I was in the back seat. They looked at each other, then looked at me, and shrieked "SEVENTY-NINE SPIRIT!!! WOOOOO!!!" and then pulled out the appropriate cassette from one of 5-or-so breifcases. They put it on. We hyped. It was freakin' loud. We listened to it over and over again, laughing, having a great time, thanking the Contra Gods for producing that section! A hush come over, and *I* said, "God, I hope we never sound like that." They agreed, and welcomed me into the SCV Contra Line. They knew I was going to be fine. That sound has its place. Let's hope it stays with 79 Spirit. Quote Link to comment Share on other sites More sharing options...
SynthLine09 Posted May 12, 2009 Share Posted May 12, 2009 Crown can march 16 tubas all they want to, but it doesn't make them any louder. Also, just to throw this out there.....Crown WAS the loudest corps in finals...or at least semi-finals. I checked =) Quote Link to comment Share on other sites More sharing options...
jjeffeory Posted May 12, 2009 Share Posted May 12, 2009 With the many threads about camp numbers, why hasn't it been brought up, that with the addition of keyboards there is less need for as many tubas as previous years? The synths can get all the low end you need AND as loudly as a control guy wants it to be. So honestly, is there still that big a need for a high number of tubas as previous years? Why bother having ANY brass on the field? I mean the synth can pump out as much sound as you want! Seriously though, there's sound and then there's the sound coming from a line of instruments. Quote Link to comment Share on other sites More sharing options...
idontwan2know Posted May 12, 2009 Share Posted May 12, 2009 Two points I just wanted to reinforce: 1) Adding more contras isn't about being louder. It's about balancing bigger lines. Bruckner is off in his calculus slightly in that 10 tubas was standard in the days of 64 man hornlines, but otherwise is correct. Instant formula for a balanced hornline: Tuba and mellos = X, Trumpets and Bari/Euphs = 2X. Add positions to sections of your choice to total whatever number the admin/program staff decide on which is usually a multiple of 8 as this adds another line to the traditional 8x8 block you had with 64. Why they don't opt for 81 horns and a 9x9 block rather than 80 and an 8x10 is a bit of a head scratcher for me. 2) Qualified tuba players who can play and march well at the same time and handle the physical rigors of a world class corps are very hard to come by. There is a principle of diminishing returns involved in adding more spots to any section, but especially the tuba section. Finding 10 good ones was a chore, I can't imagine what 16 would be like. I know of one corps that marched 12 last year with their ~70 horns and has cut back the size of the entire hornline in large part because the tuba section was a major liability. Quote Link to comment Share on other sites More sharing options...
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