Regiment's "crass" sound

[Tone Quality Matters]

Parts of 2002's show were very difficult on the ears, but you could see and hear the youth in the line.

Since then, it has vastly improved. I think Phantoms line is most excellent.

[TimEuph]

Tim, you marched in 2002...can you tell us about the brass staff that year, and what you felt were differences heading into 2003 and 2004?

In 2001 you'll notice Regiment's horn sound was quite different than both the traditional Regiment hornlines and the hornlines of '02-present. We had a decent horn sound but it did not sound like Regiment so to speak. With the big staff change in 2002, much work was done to build us up (admittedly without all that much restraint) in order to give us the tools and foundation needed to get back to that sound. I can remember in 2002 JD telling those of us with more years left to stick around, saying that "this is only the beginning." '02 was essentially the beginning of a few year project to get the Regiment hornline back to performing at the highest levels while at the same time retaining the sound of the Regiment hornlines of the 'glory years'. 2002 was the foundation, getting us to explore the edges of dynamics and sound (boy, we did). As Clubb said, Pete Bond's mantra that summer was, " PUT SOME MORE #### IN YOUR SOUND!!" The edge that is prevalent (especially in the opener) was there intentionally, not only as a foundation for later lines, but also as a characteristic of the music. The final product of 2002 was not the ends the staff was moving towards, but merely a step on the way to the ressurection of Regiment's brass program.

2002 was also the last year the corps marched bugles. With most or all of the top six corps by that point playing on Bb's, coupled with our teaching philosophy, we did stand out as having a distinctly different (edgy, or if you will, crass) sound. In regards to the age of the hornline, yes we were younger then, but that did not have much of an impact on why we sounded as we did. Hahaha.. and no, I don't think the chicken salad fiasco finals week had any influence on the way we sounded (though I was one of the lucky ones).

2003 things were refined a GREAT DEAL, as you can probably tell. We focused on Pat Sheridan and Sam Pilafian's approach to breathing, and having those two on staff was an amazing experience. While I can understand 2002 being labeled as crass at times, I don't feel the same about 2003. From a marching member's perspective, there was a WORLD of difference between the two years. JD, Sam, and Pat spent a great deal of time working with us on how to play loud without compressing, creating forced, crass sounds. At the same time we retained our ability to take our sound to the limit (read: canon reprise), but without stepping over that line of good and poor taste in sound quality. There were individuals at times, as playing at that level requires a great deal of risk (though the payoff was worth it). The biggest difference was that the staff was very picky about NOT creating crass sounds in '03, and we used a distinct process (the Breathing Gym) to play at that dynamic level yet at the same time remaining relaxed and open with our sound.

In regards to the contra issue in Canon, that was something that was addressed numerous times and it was an individual or two that had some issues (specificially with their attitudes). Needless to say those 'issues' were 'eradicated' after the '03 season if you catch my drift.

2004 took the refining of the sound to an even greater level. As a member, 2004's line was not as exciting to play in as 2003's (that could also be due to show design), but 2004's line was more talented. Teaching did not change much between '03 and '04, as we still focused on Sam and Pat's philosophies for breathing. Overall, the hornline was simply more mature (age-wise, and in regards to musicianship).

I didn't march '05 so maybe Clubb can tell us but I would assume (from talking to members and watching rehearsals) that the brass program has continued with the same teachings.

But in synopsis Nikk, it went like this:

2002: Create a LOT OF SOUND, build chops, explore edges of dynamic levels

2003: Refine the sound, more dynamic contrast, harness the power

2004: Continue to refine, etc

While everyone has different tastes in what a hornline should sound like, I think that the '06 Regiment has certainly arrived as a top notch hornline. I don't know if they're doing any more this summer, but if you have a chance to hear Regiment's encore program this summer, DO IT. It is something I will never forget.

<edited for language filter circumvention--LM>

Edited August 4, 2006 by Lance

[bluemarlin82]

I'm not comparing San Antonio to a finals performance. Where'd you get that?

I'm talking about a comparison at that show of what I think are the two top hornlines this year. That's it. Nothing more. Goodness knows it'll be completely different at finals.

chill out bro, i wasnt talking about you. i was talking about other posts in other threads.

geesh!

[The Tsar]

You should also invert -er to -re in words like theatre, centre, etc. Program becomes programme.

I do invert those words...although i don't find myself spelling the word "programme" as much, probably because I don't think I was taught that word while in Costa Rica. Who knows...from time to time I do spell it like that, but everyone looks at me weird. :P

[gellio]

Crass my ###!

I have always had three favorite hornline sounds:

1). Star - 1989-1993

2). Santa Clara - 1997-1999

3). Phantom - nearly every year.

They produce such a deep, dark, rich, glorious sound. Although I'm not a fan of the arrangements this year - the sound is tremendous. They are my bet to win brass at finals, and deservedly so.

[Matt_S]

Hahaha.. and no, I don't think the chicken salad fiasco finals week had any influence on the way we sounded (though I was one of the lucky ones).

Hehe, good to hear it.

[supersop]

In 2001 you'll notice Regiment's horn sound was quite different than both the traditional Regiment hornlines and the hornlines of '02-present. We had a decent horn sound but it did not sound like Regiment so to speak. With the big staff change in 2002, much work was done to build us up (admittedly without all that much restraint) in order to give us the tools and foundation needed to get back to that sound. I can remember in 2002 JD telling those of us with more years left to stick around, saying that "this is only the beginning." '02 was essentially the beginning of a few year project to get the Regiment hornline back to performing at the highest levels while at the same time retaining the sound of the Regiment hornlines of the 'glory years'. 2002 was the foundation, getting us to explore the edges of dynamics and sound (boy, we did). As Clubb said, Pete Bond's mantra that summer was, " PUT SOME MORE #### IN YOUR SOUND!!" The edge that is prevalent (especially in the opener) was there intentionally, not only as a foundation for later lines, but also as a characteristic of the music. The final product of 2002 was not the ends the staff was moving towards, but merely a step on the way to the ressurection of Regiment's brass program.

2002 was also the last year the corps marched bugles. With most or all of the top six corps by that point playing on Bb's, coupled with our teaching philosophy, we did stand out as having a distinctly different (edgy, or if you will, crass) sound. In regards to the age of the hornline, yes we were younger then, but that did not have much of an impact on why we sounded as we did. Hahaha.. and no, I don't think the chicken salad fiasco finals week had any influence on the way we sounded (though I was one of the lucky ones).

2003 things were refined a GREAT DEAL, as you can probably tell. We focused on Pat Sheridan and Sam Pilafian's approach to breathing, and having those two on staff was an amazing experience. While I can understand 2002 being labeled as crass at times, I don't feel the same about 2003. From a marching member's perspective, there was a WORLD of difference between the two years. JD, Sam, and Pat spent a great deal of time working with us on how to play loud without compressing, creating forced, crass sounds. At the same time we retained our ability to take our sound to the limit (read: canon reprise), but without stepping over that line of good and poor taste in sound quality. There were individuals at times, as playing at that level requires a great deal of risk (though the payoff was worth it). The biggest difference was that the staff was very picky about NOT creating crass sounds in '03, and we used a distinct process (the Breathing Gym) to play at that dynamic level yet at the same time remaining relaxed and open with our sound.

In regards to the contra issue in Canon, that was something that was addressed numerous times and it was an individual or two that had some issues (specificially with their attitudes). Needless to say those 'issues' were 'eradicated' after the '03 season if you catch my drift.

2004 took the refining of the sound to an even greater level. As a member, 2004's line was not as exciting to play in as 2003's (that could also be due to show design), but 2004's line was more talented. Teaching did not change much between '03 and '04, as we still focused on Sam and Pat's philosophies for breathing. Overall, the hornline was simply more mature (age-wise, and in regards to musicianship).

I didn't march '05 so maybe Clubb can tell us but I would assume (from talking to members and watching rehearsals) that the brass program has continued with the same teachings.

But in synopsis Nikk, it went like this:

2002: Create a LOT OF SOUND, build chops, explore edges of dynamic levels

2003: Refine the sound, more dynamic contrast, harness the power

2004: Continue to refine, etc

While everyone has different tastes in what a hornline should sound like, I think that the '06 Regiment has certainly arrived as a top notch hornline. I don't know if they're doing any more this summer, but if you have a chance to hear Regiment's encore program this summer, DO IT. It is something I will never forget.

<edited for language filter circumvention--LM>

Funny... I was just about to start a new thread on how to build a hornline and what stages one must go through to achieve a top notch hornline. You hit on just about every point I was going to introduce. I think some lose sight of the fact that some corps have building years. I also believe some lose sight that most of this can be achieve in a 1-2 year period. Although, the end product may be a step or two away from the goal. Many years for different corps can be pointed out as such. 85 SCV, 88 SCV, 87 BD, 89 Cadets, 87-90 Cavies, 92 Cadets, etc etc etc. These were all TOP NOTCH hornlines that were one or two steps away from greatness. I'm sure we could go through every year of DCi and VFW/AL and pinpoint which corps were on their way to Godliness. Thankfully, we have extensions of the product: 86/87 SCV, 86/88 BD, 90/93/97/98 Cadets, 92/95etc Cavies, 89 PR and so on. Sure these lines could have improved even more, but the product was phenominal. Further back in the pack, I find a good example being the 90 Scouts. HUGE rebuilding year that led to City of Angels and the great shows of the Mid 90's.

Well done on the breakdown ...... makes TON's of sense

[Phansouth]

Crass my ###!

I have always had three favorite hornline sounds:

1). Star - 1989-1993

2). Santa Clara - 1997-1999

3). Phantom - nearly every year.

They produce such a deep, dark, rich, glorious sound. Although I'm not a fan of the arrangements this year - the sound is tremendous. They are my bet to win brass at finals, and deservedly so.

Although I admire, respect and heartily acknowledge the accomplishments of Cavies' brass this millenium, I still prefer Regiment's edge to Cavies' control. Not that Cavies are ALWAYS controlled, they have some fantastic 'let 'er rip' moments, but they are few and far between. When you consider how Finals night operates, you can see a pattern to how corps perform. i.e. when a corps believes they have no chance for movement in the rankings, they often have a tendency to not be as careful about their ensemble sound, balance, intonation, etc. This is obvious with numerous corps over the years, including Regiment. Sometimes a great line will just get overhyped and not sound as good on Finals night as they had in previous performances. A good example in my head is the '85 Scouts, playing homefield for the first time (at Finals).

[festive]

chill out bro, i wasnt talking about you. i was talking about other posts in other threads.

geesh!

When I read "i know a lot of people say things like "i was in san antonio this year and i hear a lot of "crass" sounds from corps X" I just took it to mean me, since I said that in this thread.

Sorry about that. Didn't mean to growl at ya. :)

[festive]

2004 took the refining of the sound to an even greater level. As a member, 2004's line was not as exciting to play in as 2003's (that could also be due to show design), but 2004's line was more talented.

That much was evident...I believe at the time I said that it might well be Regiment's most talented hornline to that point.

Props to you. FWIW, I thought it was an amazing show.