The drum & bugle corps activity “complete” the education circle. Students that join drum corp activities frequently become the next generation of band directors. Which in turn influence another generation of drum corp students.

No other music activity has such an opportunity to connect with individuals in such a unique way. Music education is at the heart of what we do at Yamaha. It drives all of our efforts and binds us together as a company. The opportunity to improve the lives of today’s young people through music is just one way that Yamaha gives back to the individuals that need it the most. For Yamaha, it is not just about making musical instruments but being able to become directly involved in the way that music is portrayed to today’s young people.

Study after study has proven that music education dramatically increases early brain development and improves overall academic performance.

• Ninety-seven percent of respondents to a 2000 Gallup survey agreed that playing in a school band is a good way to develop teamwork skills.[1]
• Band directors agreed that children who are active in school music program(s) get the unique opportunity to experience the intrinsic value of excellence.[2]
• Musical activities provide children with important experiences that can help them develop physical coordination, timing, memory, visual, aural and language skills. When they work to increase their command of music and exercise musical skills in the company of others, they gain important experience with self-paced learning, mental concentration and heighten personal and social awareness.[3]

The Yamaha History in the Drum Corps Activity

Yamaha has been involved with the drum corps activity for close to 30 years now. At first it was just Yamaha Marching Percussion. Then it became Yamaha Brass. Now it is Yamaha Pro-Audio Systems. Below is a list of the drum corps who have played on Yamaha instruments over the years and their place in history. While the placing of the corps during the year is not important several key topics are important to realize:

Longevity

• In 2010, the Madison Scouts and Yamaha celebrated 25 historic years of working together. The relationship with the Cavaliers became 25 years strong in 2010.
• Among the current line up of World Class Drum Corps, corps using Yamaha percussion equipment are averaging 8.26 more years with Yamaha that other corps’ length of history with other brands.  This means that corps using Yamaha products know the value of the relationship and love the products.

Recognition

• The drum corps that use Yamaha have been doing extremely well. Along the way Yamaha drum corps have won fifteen DCI Championships, thirteen High Percussion Awards, and six High Brass Awards in Division I/World Class competition.
• Check out our recent [INFOGRAPHIC] for Yamaha and DCI.

Commitment

• In the beginning there was a limited number of drum corps using Yamaha Percussion and the competition was tough among music instrument manufacturers. Since Yamaha began in drum corps, the number of groups using Yamaha instruments has grown from zero to over thirty-four. More drum corps play Yamaha Percussion than any other brand of instrument.

Product Development

• Over the years, the number of Yamaha products available to drum corps has grown. Yamaha has taken its time, completed the required testing and ensured that the products that are released to the marketplace are the best possible products available.

1. powered, with the amplifier built-in…….. and
2. passive, where you provide a power amplifier to drive the speaker.

Since you may be working with an indoor drum line, a powered cabinet would be a good choice. All of the Yamaha powered subwoofers have crossovers to take out higher frequencies that the subwoofer can’t reproduce.

Passive subwoofers are less costly and can brave the elements a bit better than the self-powered units mentioned above, so they are the choice for outdoor use. You will need to budget for a power amplifier to drive these speakers.

There are a few rules you should follow to maximize the impact of the subwoofer to your audience.

First, keep an open mind when placing the subwoofer. Often slight movements will really improve the response of the system. Experiment with your placement

Secondly, resist the urge to put wheels under your subwoofer. Subs are designed to put out their highest output sitting on the floor. If you want to put casters on a subwoofer, do it on the side or back of the unit so it can be tipped off the wheels.

Hopefully you will be able to get the extra punch you are looking for with this information.  Good luck out there.

We have a bunch of lightly used percussion instruments available for sale right now that have been used at various industry shows and events. If you’re looking to purchase a Yamaha marimba or concert snare drum, now is the time. All of the show gear can be purchased at a discount through an authorized Yamaha dealer. It is a great way to add to your collection, or start one, at a cheaper price! If you’re interested in purchasing anything, please read the rules and regulations at the bottom of the post.

Rules and Regulations:

Sales are based on availability; first come, first serve; for the Unites States only. Must be purchased through an authorized Yamaha dealer. If you are interested in any of these products please e-mail: percussionquestions@yamaha.com

Please include the following information in your email.

• Your name
• Your phone number
• Your email address
• The Yamaha music dealer of your choice and the store’s location
• The name of your school and its location

Gear List:

• YM5100AC
  • 5 octave Professional rosewood marimba; C16-C76; 1-5/8″-2-7/8″ graduated bars; gas-shock height adjustment; with cover
• YV2700GC
  • 3 octave Intermediate vibraphone; glossy gold bars & gold resonators; F33-F69: 1-1/2″ – 2-1/4″ graduated bars; height adjustable; with cover
• YX500FC
  • 3.5 octave Intermediate Acoustalon xylophone; F45-C88; 1-1/2″ non-graduated bars; height adjustable; with cover
• TP6205ACL
  • Intermediate timpani; set of 5 (20″, 23″, 26″, 29″, 32″); suspended polished copper bowls; with long covers
• CB636BCS7
  • Intermediate concert bass drum; 8-ply birch-mahogany shell; 36″ x 16″; Solid Black; 10 one-piece lugs; Fiberskyn 3 heads; with BS-751 stand and cover
• YG1210S100
  • 2.5 octave Intermediate bells; F57-C88; 1-1/4″ non-graduated bars; removable hard case; with YGS-100 stand
• DC9150AC
  • 1.5 octave Intermediate chimes; C40-F57; 1-1/4″ lacquered brass tubes; with cover
• CTS-0234
  • Intermediate concert toms; set of 4 (10″, 12″, 13″, 14″); Black Gloss; with two WS-860A stands
• CSM1450AS
  • Intermediate concert snare drum; 6-ply maple shell; 14″ x 5″; Matte Natural Finish; steel coiled wire snares; 10 3-piece tube lugs; 2.3mm triple-flange hoop; withSS-745A stand
• CSM1465AS
  • Intermediate concert snare drum; 6-ply maple shell; 14″ x 6-1/2″; Matte Natural Finish; steel coiled wire snares; 10 3-piece tube lugs; 2.3mm triple-flange hoop; with SS-745A stand
• YGS-100
  • Rolling bell stand/trap table with 31″ x 19″ table size and 27″ – 33″ height adjustment rang
•  SS-745A
  • Snare drum stand, medium weight, single braced with a height adjustment range of 22″ – 35″

Details:

• This is all the drums we have right now.  Nothing is available for the 2011 or 2011 DCI seasons.
• Shipping is only good inside the United States.
• Sales tax and shipping charges do apply and will be added to the final cost of the drum.
• Only credit cards will be accepted.
• All drums are in good working order.
• Accessories such as carriers, cases, stands, covers, etc. are not included.  You may purchase any of those items from any authorized Yamaha music dealer if you choose to do so.

The details on the drum line are as follows:

• ** This drumline is only available as a complete set.  No drums are sold individually. **

• Carriers, stands, cases are not included.
• Spacers for the toms mare included.
• (8) MSS-9214 – 14″ x 9″ SFZ with Chrome Hardware
• (4) MQTLB-680234 Large “SUMO” Sextets
• (1) each of the following Bass Drums
  • MB-8216 – 16″ Bass Drum
  • MB-8218 - 18″ Bass Drum
  • MB-8220 - 20″ Bass Drum
  • MB-8224 - 24″ Bass Drum
  • MB-8228 - 28″ Bass Drum

The drumline is available to ship 3-4 weeks after a purchase order has been placed with Yamaha via your local authorized Yamaha music dealer.  This drumline is available on a first-come, first-serve basis. Available in the United States only.

Only interested parties inquire within please.  If you are interested in this line for you school or organization, please email  Yamaha (percussionquestions@yamaha.com) with:

• your name
• your phone number
• your email
• the name of your school
• the name of the music dealer to give you a price quote

What you need:

1. Yamaha 01v96 Digital Mixer
2. Laptop (This document refers to Apple computers and MacOS)

This process will work with PC’s with the appropriate substitutions in software and setup.

1. iPhone, iPad, or any other “smart” phone or tablet device.
2. USB Cable
3. Wireless Router (Optional)
4. Free Drivers and Software from the Yamaha Pro Audio website

General Overview:

This guide will walk you through how to wirelessly control the screen of a laptop which is controlling the 01v96 via USB. The end result is wireless control of the 01v96.  This guide is the way I do it. There are other options. All products mentioned in this document are trademarks of their respective companies.

1. Setting up the 01v96

Configure the Midi Ports

• Press the DIO/SETUP button until you reach the MIDI/HOST screen on the 01v96.
• In the GENERAL section (1) set the Rx and Tx Port to USB and press Enter.
• -      In Special Functions (4), set the StudioManager port to USB and press Enter. Leave ID as is.

2. Setting up the Laptop

Click Here to Download Yamaha USB Midi Drivers Studio Manager Software and 01V96 Editor for Studio Manager.

1. Install the Yamaha USB Midi Drivers, Studio Manager software and the 01v96 Editor in that order on to a Laptop that is connected to the 01v96 via USB.
2. Open SM2 (Studio Manager Software)
3. Under SM2>Preferences add the 01v96 to the Workspace.
4. Under MIDI Settings, make sure there are Input and Output ports selected for the 01v96.

3. Setting up the Wireless Network

If you have a wireless router, follow the necessary steps to create a network that includes the Laptop which is connected to the 01v96.

Alternatively, you may create a network under the wireless network settings on your Laptop which is connected to the 01v96.

In the System Preferences, under the Sharing Tab, select Screen Sharing. Click computer Settings and select both options and enter a desired password and click OK.

4. Setting up the iPad/iPhone

This step involves using an app that can display the screen of your computer onto your device using VNC technology. There are many free and paid versions available in the iTunes App store. I use iTeleport.

Make sure the iPad/iPhone is connected to the same wireless network as the Laptop that is controlling the 01v96.

-  OR -

Make sure the iPad/iPhone is connected to the wireless network that was created by the Laptop that is controlling the 01v96.

Using your screen share app – enter in any necessary info and passwords until you are able to see the screen of the Laptop connected to the 01v96 running the StudioManager Software.

You should now be able to run your mix wirelessly!

Enjoy.

See the remote mix in action!

** Kevin Shah holds a Masters of Music degree from the Juilliard School of Music and is a Yamaha Performing Artist. He is the Electronics designer for the Bluecoats Drum and Bugle Corps and the front Ensemble Designer for the 2011 WGI Percussion Scholastic World Champions Arcadia High School. Kevin also is a proud endorser of Vic Firth Drumstics and Evans Drumheads.

www.kevinsshah.com

As Apple’s ipad/iphone/ipod become more prevalent in classrooms across America, uses for this technology in the music setting are increasing every year. Interfacing your Yamaha 01v96 mixer with an ipad/iphone/ipod through a wifi network can be a useful tool while rehearsing your marching band, school musical, or show choir. Here’s a step-by-step instruction guide to setting it up, as well as some practical advice on the possibilities and limitations of the technology.

Materials Required
Here’s what you’ll need to get started…

• Yamaha 01v96 mixer
• Apple ipad or iphone or ipod
• Mac or PC Laptop
• Wireless Router (an internal router like an Airport is effective, but range will be  reduced)
• Cabling:
  • Ethernet cable from router to laptop; USB Cable from mixer to laptop.

Getting Started
I would advocate taking the time to setup each piece of equipment in a standalone fashion. Once everything is setup, we can begin connecting the parts together and testing them.

Apple ipad/iphone/ipod

•           Power on your device and open the App Store.
•           Search Splashtop.
•           Download the Splashtop Remote Desktop ($4.99 for ipad; $1.99 for iphone/ipod)

Mac or PC Laptop

1.           Power on your Mac or PC laptop and open your internet browser.
2.           Go here.
3.           Choose Mac/PC and complete the download.

There are 4 steps to setting up the Splashtop Streamer on your Mac/PC. The screenshots below are taken from the PC setup, though the Mac setup is very similar

.

Status:
In this window, you can see if you are connected, and which IP/Google Accounts your Splashtop is associated with. You’ll need this when setting up the ipad/ipod.

Setting:
You can redirect sound to your device (this is cool if you want to listen to a file on your desktop from the ipad) and choose if Splashtop launches on startup (recommended)

Security:
It is highly recommended that you setup a security code. This password will be required on your ipad/iphone/ipod as well.

If you or your employer are associated with Google or gmail, you can login to your Google account and receive access on other networks – it’s a very cool add-on.

At this point, your laptop is setup to work with the Splashtop Streamer.

Wireless Router
In setting up the router, I recommend using a hardwired, Ethernet connection from the router to your laptop. To ensure the least amount of interference, disable your laptop’s wifi (unless you are using the Mac Airport or another internal wifi connection in lieu of a router). If you need to setup a wifi connection, follow the instructions below:

• Power on your router.
• Connect your router to the laptop via an Ethernet cable.
• Follow the setup instructions that came with your router to pair it with your laptop
• (usually, a CD is included. I recommend setting up a password here as well, to prevent additional outside interference).
• Open the Status page in Splashtop Streamer on your laptop and make sure you’re seeing a viable IP Address (with a typical home/business router, it should be 192.168.2.x or something similar). If you see an address that starts with 169.xxx.x.x, this is NOT a viable IP address. Restart your router and try again.

Test #1
Let’s test what we have so far, so as to eliminate issues later.

1. Power on your laptop with wifi disabled (unless using a Mac Airport).
2. Click to open the Splashtop Streamer icon.
3. (the PC icon appears in lower left corner; the Mac icon appears in the program menu)
4. Power on the standalone wireless router (or internal router like a Mac Airport).
5. Power on your ipad/iphone/ipod.
6. Go to the Settings-Wifi menu on your ipad/iphone/ipod and be sure that your ipad/iphone/ipod is connected to the SAME WIRELESS ROUTER as your laptop. If not, switch it over to the same router as your laptop.
7. Click on the blue arrow to the right, and be sure you have a VALID IP ADDRESS (with a typical home/business router, it should be 192.168.2.x or something similar). If you see an address that starts with 169.xxx.x.x, this is NOT a viable IP address click the Renew Lease button at the bottom of the page to see if you can get a valid address. If this still doesn’t work, you may need to consult your router’s instructions or verify that you are standing close enough to get a strong signal.
8. Start Splashtop on your ipad/iphone/ipod.
9. On your ipad/iphone/ipod, Splashtop will search for devices. If it finds your computer on the network, choose the laptop, enter the Splashtop password you noted earlier, and you should see the laptop screen flicker as it connects. Moments later, your ipad/iphone/ipod will show a “Hints” screen with your computer’s desktop in the background.

Take a moment to review these tips – they will come in handy. At the bottom, switch “Show hints every time” to off.  Then, press continue to see the desktop on your ipad/iphone/ipod. Try some simple commands: double-click on an icon, type something in
MS Word or Notepad, and get the feel of it.

Yamaha 01v96 Flash Update, USB/Midi Driver, and Studio Manager 2
Now it’s time to setup the laptop to communicate with the Yamaha 01v96 mixer. Don’t connect the mixer to the laptop yet. If you have the disc that came with your 01v96 mixer, insert it into the CD drive now and setup the Midi/USB driver and Studio Manager 2; it’s VERY easy with the CD. If you don’t have the CD, start a new folder on your desktop called “Yamaha 01v96” and download three files from the Yamaha website into this folder:

• Yamaha MIDI Driver (choose the correct USB-MIDI driver for your OS)
• Yamaha 01v96 Editor (it’s a bit further down the page)
• Yamaha Studio Manager V2 Host

All files can be found here.

Start each file in the order listed above.

• Yamaha MIDI Driver: run the startup.exe file. It will install a driver for the Yamaha 01v96 to communicate with your laptop.
• Yamaha 01v96 Editor: this program will allow your 01v96 to be edited and trade information with the laptop (also a handy back-up tool if you have to swap mixers).
• Yamaha Studio Manager V2 Host: this program will give you the graphical user interface to control the mixer.

Yamaha 01v96 Mixer
It’s now time to setup your mixer to receive information from the laptop and vice-versa. To do this, we will need to let the mixer know which port it will be receiving information from, and that we’re going to use the Yamaha Studio Manager to do this, and not a generic, after-market program.

On the left of the 01v96, push the DIO/Setup button. Use the function keys to select MIDI/Host.

DIO/SETUP – MIDI/HOST Menu:
Set paramaters as follows:
        Rx Port: roll wheel to MIDI, push Enter
        Tx Port: roll wheel to MIDI, push Enter
        MIDI Thru: blank
        Machine Control: blank
        Studio Manager: USB, then 1, then Enter
        DAW: blank
        Remote: blank
        Cascade Link: blank

Test #2
For the “coolest” test so far, run the following steps:

• Turn off your mixer.
• Connect your 01v96 mixer to your laptop via USB.
• Power on your mixer.

• Startup Yamaha Studio Manager.
• NOTE: You may get this warning. Click ok.
• You’re going to have to Remap MIDI Ports – align Midi 1 to 1, Midi 2 to 2, etc.

Now, click File, then Setup. It will launch this window. Like in Finale, you have to add the 01v96 as an “instrument”. Click add so that it looks like

You should now see a screen that looks like this. Click File, then Save. Choose a name to save your mixer settings.

Now, sync your data between the 01v96 and the laptop. I personally choose “From Hardware” most of the time. That way, if I’m making changes on the mixer during rehearsal, I can have a back-up of those changes on the laptop in case something happens to the mixer.

If you get a message that says “Prologue”, then “Operation Failed”, the MIDI ports are still not mapped correctly. Re-Map your midi ports again (MIDI 1 = mix 1; etc.)

After performing this operation, please Save again.

Double-click on the 01v96 picture to launch into the Studio Manager, now with the laptop controlling your mixer. I format my screen for rehearsal/shows/remote like this…

Upper left: Channels 1-16 (original layer – to activate, push 1-16 on Master window)

Upper right: Channels 17-32 (locked layer)

Lower left: Scene Library (to find, click Window, then Library, then Scene)

Lower right: Selected Channel EQ (find in the same place as above)

Right edge: Master Window (note the offline/online indicator at the top – very helpful)

Test #3

• To make sure we’re up-and-running, move a slider on the mixer. Did it move on the screen? You’re really close.
• Now, move a slider on the mixer. Did it move on the screen? You’re nearly done.
• Start Splashtop on your ipad/iphone/ipod.
• You should see the mixer screen from your laptop.
• Move a slider on the mixer. Does it move on the ipad/iphone/ipod screen? Great.
• Move a slider on the ipad/iphone/ipod. Does it move on the mixer? You’re DONE.
• Helpful hints for future thought/development

There are a few notes worth sharing, about automation and general use of the 01v96 for marching band/school purposes.

Mounting the laptop/router

Most 01v96 users have the SKB Might Gig Rig for the mixer (it fits better than any other I’ve found). There is an aftermarket retractable shelf from SKB that’s great for a laptop (even the largest Mac I have fit fine). For the router, I use velcro on the base of the router (prickly side) to velcro on the back horizontal connector on the Gig Rig (soft side). If you need better line-of-sight with the router, the aftermarket shelf has a similar surface to the soft-side velcro, so you can move it up easily.

ipad Graphics are too small

On the ipad, I sometimes find the controls of the Studio Manager are too small. Consider enabling the ipad’s functions for visually impaired individuals. It’s in the Setting menu. By enabling the three-finger-double-click, you can zoom in really close to make the smallest of adjustments.

Getting notes down to your Board Operator

Even with remote controlling, you will still need a student-board operator. At times, you may need them to adjust something you can’t remote control from upstairs (gain staging, amp levels, speaker angles). For this, open MS Word, Notepad, or another word processing program on the laptop. You can use Splashtop to type onto the screen (note the little keyboard icon in the lower right of the ipad/iphone/ipod) and send notes downstairs. This is much easier than texting with one device and remote controlling with another.

Running on a stadium’s/school’s internal wifi

While you may encounter some firewall issues, I have used a school’s wifi to control the mixer. In fact, with the enabling of the google/gmail link, you could ostensibly run a show from your home computer (not something I would recommend, but it’s achievable if you needed to). If you’re in a really large venue (Lucas Oil Stadium, Alamodome, etc.), the stadium wifi is often quite reliable, while wifi signal strength in these “concrete palaces” may not be so great.

Editing the show on your laptop, then transferring changes

The day after a show, or between Prelims and Finals at a contest, you may want to make some tweaks to balances as you/adjudicators heard them in a specific stadium. You can simply take your laptop, launch the Studio Manager, open your show file, and edit the balances scene-by-scene. Then, when syncing the next time, instead of choosing “from hardware”, choose “to hardware”, and you’ll have your edited show ready for the next performance/rehearsal.

Scene Memory Auto-Update

If you make a change to a scene while the ensemble is rehearsing/performing, and want the scene to come up to the edited (not the original) version, you can activate the Scene Mem Auto Update. In the DIO/Setup menu, under the Prefer 1 tab, put an “x” on the Scene Mem Auto Update. Then, when you call up a scene, the mixer will default to the last edited version of the scene, rather than the original scene. If you want the original, press the Recall button again (or double-click it the first time), and you will get the original version. This is very helpful when using the ipad/iphone/ipod, as saving scenes may not be possible if your board operator moves quickly to the next scene in the show.

Setup User Defined keys for easy scene changes by a student-operator

On the lower right side of the mixer, there are 8 User Defined keys. Using the Utility Menu, in the User Def tab, I advocate setting up button 1 at “Scene -1” and 2 as “Scene +1” so the student can scroll up and down through scenes easily with one touch. Then, setup buttons #3-6 as the start of your productions (see below). Setup 7 can be a Sound Check scene. Scene 8 can be a Blackout scene. Another option is to set the #7 and #8 keys to “Scene -1” and “Scene +1” respectively to allow the operator to step up and down one scene at a time.

Advanced Splashtop Functions

Once you’ve made your computer “discoverable”, you can click on the right-arrow to launch the Computer Settings menu. Here, you can enter your laptop’s security code. This will allow you to auto-connect your specific ipad/iphone/ipod to your specific laptop without going through the password process. In a rush, that will be very helpful.

Also, with the Advanced button, you can select the screen resolution. I prefer 1024×768 for all Mac products, but if you have a laptop that is of a non-traditional size, you may want to also look at the 800×600 resolution, or consider the “use computer’s native…” resolution.

Contact

Please feel free to contact me if you have questions.

Gerry Miller (millerg@friscoisd.org or www.wakelandband.com)

Director of Bands/Fine Arts Department Chair, Dr. Justin Wakeland HS (Frisco, TX)

Sound Engineer, The Cadets – DCI’s 10-time World Champions

Assistant Band Chair, Texas Music Educators Association Region XXIV

Selecting the appropriate size percussion section for your marching band is often a difficult process. The director must balance the varied instrumentation of the percussion section to the size of the wind section. One must consider the talent level of the students and the scoring of the musical arrangements to provide a full ensemble sound in the percussion section.

Although the exact instrumentation of the percussion section serves to personalize the sound of each band, care should be taken to balance the instrumentation to avoid having one segment of the percussion section overpowering the rest of the band. Your percussion section should be balanced just as the choir director balances the sopranos, altos, tenors and basses. The following instrumentation is recommended to provide a balanced ensemble sound.

A significant development in contemporary marching percussion sections has been the use of tuned bass drums. By tuning the bass drums in minor thirds, walking bass lines and other melodic and harmonic  passages can be reinforced by the bass drums. Today’s bass drummers must have a good  sense of time, as the parts are very isolated, yet together they become very contrapuntal.

Marching toms should also be tuned in minor thirds and should be the tenor/alto extension of the  basses. In addition, when purchasing equipment always remember that sticking patterns are easier  when written over four drums as opposed to three. Therefore, I encourage the purchase of at least  one set of quads.

Utilize at least one cymbal player for every two snare drummers so that ride cymbal passages will sound most effective. Cymbals are the  most visual segment of the percussion section and the use of an extra player may serve to make an effective visual contribution to a field show. Cymbal sizes and timbres should be selected by keeping the music in mind. Always enhance the music as much as possible.

It is common practice to utilize concert percussion instruments in modern field shows by placing them in the front area of the field, which  is referred to as the “pit” (as in orchestra pit). The pit is the staging area for mallet instruments, timpani, and accessories. These grounded instruments make it possible for performers to play several instruments during the course of a production and expand the range of musical possibilities in percussion scoring.

The contemporary marching percussion ensemble has successfully integrated concert percussion instruments into the field show. The following percussion instruments are recommended in the pit section to meet the demands of the contemporary field show.

1. Listen to and research the original source of the music.
2. Confer with the brass/wind arranger. Seek his/her input on how you can make the chart better. Ask him/her to sketch a rhythm, or vibe part, or strong cymbal crashes, etc. onto the arrangement. Even though two or more people collaborate on band/corps arrangements, the goal is to create and perform one great piece of music.
3. Construct a flow chart before you write any notes on your manuscript (see sample flow chart). Use it as a guideline to keep yourself from over-writing. It will help you know where your musical Educator Series
4. Know the strengths and limitations of every percussion instrument and accessory.
5. Combine two idioms: the idiom of the original material and the marching music idiom. Your job is not to literally transcribe what’s on the original, but to make the marching version sound and feel great on a football field! If you’re writing a “groove” tune, let the percussion lay down the groove so that the winds can float on top of it!
6. Orchestrate for percussion with the same degree of skill, selectivity and creativity as Copland orchestrated for the full orchestra. Create unusual textures: add a triangle to a bells/vibes figure; strike a sizzle cymbal with a 5-A in one hand and a felt mallet in the other; play the snare part with Split-Stix, etc.
7. Use rests and space to allow the music to breathe a la Miles Davis, Ahmad Jamal, Aaron Copland, Tommy Igoe. Never feel that you must write every instrument into every measure.
8. Write only those figures that will contribute positively to the total musical score. If the music doesn’t need it- don’t write it!!
9. Is the primary intent of a phrase crystal clear to the audience? The judge? You?? If the xylophone is playing the lead line in a given phrase, rite sparingly and softly so the xylophone will speak clearly. Ditto for any voice, rhythm or idea.
10. Always keep the big picture in mind- the total ensemble statement, the audio/visual impact.
11. Use instruments and accessories that are appropriate to the composition (e.g.- no timbales in “Pines of Rome”!)
12. Use a variety of linear and vertical (block) scoring devices to keep your charts fresh and interesting. Don’t automatically double the rhythm of the melody with percussion- create interesting c

    ounter-rhythmic lines and accents.

13. Avoid writing conflicting figures that might work on a trumpet and clarinet, but will merely clutter and distort a snare/quad statement (e.g. don’t write).
14. Write dynamics.
15. Tune and stage the percussion ensemble properly.
16. Avoid the temptation to keep the mallet percussionists busy by writing needless, annoying, unmusical chordal rolls that (badly) duplicate a chord that already exists in the brass/woodwind ensemble! Be creative with the keyboard percussion. If you don’t need them, don’t use them! If the band/corps is playing fff, you won’t hear a marimba, so have the players contribute to the impact on suspended cymbals, gongs, bass drums, etc.
17. Do not double the keyboards with the woodwinds very often. This can be an interesting musical device if used sparingly and wisely, but it can create or exacerbate pitch and/or rhythmic articulation problems. Again, be creative: treat the mallet instruments as if they were one gigantic piano, or a counter-melodic voice, or a unique and texturally beautiful choir unto themselves!
18. Ask yourself if the brass/woodwind ensemble sounds better or worse once the percussion is added.
19. Be willing to re-write and improve the percussion chart after you’ve heard the full ensemble and seen the drill.
20. Re-write it again… and again… and again.

The Flow Chart

Constructing a flow chart before you start writing can be a valuable aid. If used correctly, it will:

1. Encourage you to envision the whole composition before you write any part of it.
2. Prevent you from over-writing.
3. Force you to think creatively and selectively in regard to voicing, textural layerings and timbral interest.
4. Enable you to start writing at letter “D” if you choose because you’ll already know how you will approach “C” and “E”!
5. Here’s how it works:
1. Draw parallel lines on a blank sheet of paper. Each line represents an instrument. You should be able to get 3 sets of lines on one sheet.
2. Analyze the wind chart and draw “bar lines” on you flow chart to indicate important measures only (e.g. letter A, B, C, etc.,
3. Listen to the brass/wind tape many times while you follow the wind chart. Make notes on the chart as ideas come to mind (e.g. “snares tacit;” “cowbell;” “quad lead;” “feature vibes”). Circle or highlight significant figures in the wind arrangement (e.g. important kicks or syncopation, a key change, dramatic dynamics, etc.)
4. Use a symbol on your flow chart (e.g. a wavy line) to indicate that you want to use that particular voice in the phrase. Perhaps sketch a rhythm on which the phrase will be built.
5. Indicate which accessories (“toys”) or specialty drums you want to use.
6. Use a whole-note rest to indicate that you will not use that voice in the phrase.
7. Analyze your flow chart to be sure that you have not over-written or under-created!! Make adjustments if necessary.
8. Use the completed flow chart as an outline for your writing.

There are two basic types of microphones that are used in most live sound applications and certainly in the applications DCI requires.

Dynamic

This type of microphone has a very long history.  Basically a diaphragm attached to a coil of wire in a magnetic field, sort of a backwards loudspeaker.  Good examples are the Shure SM57 and SM58.  These are industry standards.

Condenser

This type of microphone uses a completely different way of transferring sound waves into electrical signals.  The electrical signal generated by a condenser style microphone requires an amplifier to raise the level up to that of a dynamic microphone.  This requires a power supply typically supplied by the mixing console (phantom power).

The chart below explains some of the basic differences between Dynamic and Condenser microphones.

Frequency Response

Every microphone has a signature.  Part of that signature is its Frequency Response.  Frequency response determines the basic “sound” of the microphone.  It is determined by the range of the sound (from lowest to highest frequency) that a microphone can reproduce and how that reproduction varies at different frequencies within that range.

Pickup patterns

In addition to frequency response, microphones also have a pickup pattern.  This is very important as this pattern can help to pickup the desired sound and reject extraneous sounds.  The first pattern is Omni or Omnidirectional.  These should be avoided in for use on the field as they will pick up all sounds equally from all directions.  Great for recording, but not a desirable quality for use in Live Sound.  Avoid microphones with this pickup pattern.

This is the symbol most often associated with unidirectional microphones.  These are sensitive to sound coming from only one direction.  The most common type of unidirectional microphone is called a “cardioid” because its pickup pattern is heart-shaped.  It picks up most sound from the front of the microphone, less from the sides, and very little from the rear.

Supercardioid or hypercardioid microphones offer even greater sound isolation through narrower pickup patterns.

Myths about microphones on the field

Myth #1 - More microphones is better

• It is better to place fewer microphones properly.
• Each time you add a microphone into the sound system, the maximum acoustic gain, or loudness before feedback occurs is reduced.  Use less microphones and turn off all of the inputs you do not need.

Myth #2 - Fancy condenser style microphones will always give you the best sound

• Using a less sensitive microphone for percussive instruments is actually better for live sound.  The benefits are better rejection of surrounding sound and longer microphone life.

Myth #3 - Using a less expensive, off brand saves money

• One of the worst problems is the lack of quality control.  Two microphones of the same type from the same manufacturer can sound considerably different.  Consider also the support you can expect from the maker

Wireless microphones

Wireless microphones follow all the same information above, Plus RF, or radio frequency, issues must be considered.  A transmitter and a receiver both require power, the transmitter uses batteries and the receiver will need AC power.

Guidelines for Wireless Microphones on the Marching Field

Avoid low-cost models.  The least expensive models lack diversity, where the receiver has two separate antennas.  This feature allows the receiver to choose the highest signal received, avoiding dropout and interference.  Frequency Selection should also be considered.  This feature avoids interference from other instruments in the same frequency range.

Assign the wireless transmitter to the performer to assure that it is well taken care of.  These units are rugged, but the small cables and little switches and battery doors can be easily damaged if care is not observed.

Wireless receivers up on a platform for better reception.

• Don’t bury the receivers.  Make sure that the wireless receiver(s) and their antennas are up and in the line of sight to the transmitter(s).  This will provide the strongest, most interference free signal.
• GO TO COSTCO!  Make sure a supply of fresh batteries is always available.  Costco offers a low-cost line of alkaline batteries in bulk packs.  Don’t let $1.29 stop the show!  Do not keep the old batteries anywhere near the fresh supply.

Microphone Mounting

No matter wired or wireless, mounting the microphones becomes one of the most important issues in marching percussion.  There are two issues:

1. Isolation of “frame noise” – All microphones are susceptible to handling noise or sounds transmitted through the body of the microphone.  A less sensitive microphone is usually better able to reject this sound, but this is a major concern especially for mallet keyboard instruments.
2. Repeatability –  No matter how the microphones are mounted, whether mounted on the frame of a marimba or clipped to the bell of a horn, positioning of the microphone repeatedly in the same place is critical to getting the same audio.

Microphone Rules

• Treat microphones with care.  Even the most rugged designs are susceptible to damage from abuse and moisture.  This helps ensure that the performance from show to show is consistent.
• Avoid microphones with on/off switches.  They invariably wind up turned off.  If you have to use switched microphones, tape over the switch to avoid this problem.
• Make sure to use the same microphones for the same purpose every performance.  There are slight variations in each microphone.  It is also a hygiene issue with vocal microphones.
• Carry a spare or two.  Even if they aren’t the right type, some sound is better than no sound.
• Use windscreens.  Even slight winds can sound like a thunderstorm coming from a distance.  They also help reduce moisture damage.
• Never blow into a microphone to check it.  The diaphragms are very light and easily damaged.  Gently tapping on the microphone, speaking or playing an instrument is the proper way to avoid damage.

Here is an example of very good color coding on the snake box and cables.