S Class Signal Processors
MASTER LEVEL dB -30 -24 -18 -12 -+6 CLIP
CHANNEL LEVEL dB -30 -24 -18 -12 -6 -CLIP 4

CHANNEL 1

CHANNEL 2

CHANNEL 3

CHANNEL 4

MUTE / ON

ST / 2CH

HEADPHONE MIXER/AMP

OFF AUX 10 MAIN

VOLUME

MASTER VOLUME

INJECT

PHONES AUX IN

12 PHONES AUX IN LF

Safety Instructions
Caution: To reduce the hazard of electrical shock, do not remove cover or back. No user serviceable parts inside. Please refer all servicing to qualified personnel.

CAUTION

FOR CONTINUED PROTECTION AGAINST RISK OF FIRE, REPLACE ONLY WITH SAME TYPE FUSE

ATTENTION

UTILISER UN FUSIBLE DE RECHANGE DE MME TYPE

WARNING

DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
RISQUE DE CHOC ELECTRONIQUE NE PAS OUVRIR
RISK OF ELECTRIC SHOCK DO NOT OPEN
WARNING: To reduce the risk of fire or electric shock, do not expose this unit to rain or moisture. The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
Important Safety Instructions 1. Please read all instructions before operating the unit. 2. Keep these instructions for future reference. 3. Please heed all safety warnings. 4. Follow manufacturers instructions. 5. Do not use this unit near water or moisture. 6. Clean only with a damp cloth. 7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or third prong is provided for your safety. When the provided plug does not fit your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on and pinched particularly at plugs, convenience receptacles and at the point at which they exit from the unit. 11. Unplug this unit during lightning storms or when unused for long periods of time. 12. Refer all servicing to qualified personnel. Servicing is required when the unit has been damaged in any way, such as power supply cord or plug damage, or if liquid has been spilled or objects have fallen into the unit, the unit has been exposed to rain or moisture, does not operate normally, or has been dropped.

Table of Contents

Introduction Sphone Features Controls and Functions Front Panel Layout Rear Panel Layout Operating the Sphone Setting Up the Sphone Sphone Master section Sphone Channels Stereo and Two Channel Modes Sphone Connections Cue Mix Set-up for Multitrack Vocal Recording Cue Mix Set-up for Multitrack Rhythm section Recording Linking Multiple Sphones Headphone Impedance and Sensitivity ratings Sphone Wiring Guide Specifications Block Diagram 2 3

14 15-16 17

Copyright 2001, Samson Technologies Corp. Printed May, 2001
Samson Technologies Corp. 575 Underhill Blvd. P.O. Box 9031 Syosset, NY 11791-9031 Phone: 1-800-3-SAMSON (1-800-372-6766) Fax: 516-364-3888 www.samsontech.com 1

Introduction

Congratulations on purchasing the Samson Sphone Headphone Amplifier! Although this unit is designed for easy operation, we suggest you take some time out first to go through these pages so you can fully understand how weve implemented a number of unique features. The Sphone is a compact, high-quality device that allows you to monitor any stereo or monophonic source signal (balanced or unbalanced) over as many as twelve separate headphones. Providing unusually high power levels and superb audio fidelity, the Sphone is compatible with virtually all popular headphone models. Front panel controls include a Master Input Level control and Stereo/2 Channel switch. Each headphone output has its own individual HIGH & LOW Frequency EQ, an Insert jack, and Level control. Special output jacks on the rear panel allows any number of Sphone units to be linked together with no loss of signal. The Sphone can be used in a wide variety of applications, including recording studios, teaching labs, broadcast environments, and for live performance. In this manual, youll find a more detailed description of the features of the Sphone, as well as a guided tour through the front and rear panels, step-by-step instructions for using the Sphone, a reference chart that gives impedance and sensitivity ratings for a number of popular headphone models, and full specifications. Youll also find a warranty card enclosedplease dont forget to fill it out and mail it so that you can receive online technical support and so we can send you updated information about other Samson products in the future. With proper care and adequate air circulation, your Sphone will operate trouble free for many years. We recommend you record your serial number in the space provided below for future reference. Serial number: Date of purchase:
Should your unit ever require servicing, a Return Authorization number (RA) must be obtained before shipping your unit to Samson. Without this number, the unit will not be accepted. Please call Samson at 1-800-3SAMSON (1-800-372-6766) for a Return Authorization number prior to shipping your unit. Please retain the original packing materials and if possible, return the unit in the original carton and packing materials.

Sphone Features

MASTER LEVEL dB -30 -24 -18 -12 -+6 CLIP CHANNEL LEVEL dB -30 -24 -18 -12 -6 -CLIP 4 5

The Samson Sphone headphone amplifier utilizes the latest technology in gain management design. Here are some of its features: Four channel headphone mixer amplifier. Three headphone outputs; two rear, plus one front panel output per channel. Two master stereo inputs with balance control. Dual band equalizer on each channel. 5 segment LED meter on each channel plus master. Auxiliary input, with level control, on each channel for "More Me" mixing. Stereo or dual input mode and mute switches on each channel. Maximum output power on each channel regardless of headphone impedance. Three year extended warranty.

Controls and Functions

FRONT PANEL LAYOUT
CHANNEL LEVEL dB -30 -24 -18 -12 -6 -CLIP 4 5
5 CHANNEL LEVEL dB -30 -24 -18 -12 -6 -CLIP 4

C -30 -24

MUTE /
MASTER LEVEL METER - Indicates the amount of signal being driven into the four channels from the master volume control. MASTER VOLUME - Controls the level being sent to the individual channels. CHANNEL LEVEL METER - Displays the amount of power being supplied to the channels. HEADPHONE CHANNEL 2 - The same knob and switch compliment as Channel 1 is duplicated for Channel 2.
5 HEADPHONE CHANNEL 3 - The same knob and switch compliment is duplicated for Channel 3. 6 HEADPHONE CHANNEL 4 - The same knob and switch compliment is duplicated for Channel 4. 7 MAIN POWER SWITCH - When turned on, activates the Sphone. 8 RACK EARS - Used for mounting into a standard 19 inch rack. 9 MASTER INJECT - Stereo TRS front panel input for injecting a signal into the main mix. 10 MUTE SWITCH - Used for muting the signal on the individual channels.

REAR PANEL LAYOUT

A B C D E
MINIMUM IMPEDANCE 8 OHMS MADE IN CHINA

MINIMUM IMPEDANCE 8 OHMS

OUTPUTS
AC INLET - IEC standard AC power cable connector with external fuse. CHANNEL 4 OUTPUTS - 2 rear panel headphone outputs for Channel 4. CHANNEL 3 OUTPUTS - 2 rear panel headphone outputs for Channel 3.
CHANNEL 2 OUTPUTS - 2 rear panel headphone outputs for Channel 2.
11 HEADPHONE OUTPUT - A front panel headphone output for each channel. 12 ST/2CH SWITCH - Switches between stereo and 2 channel modes. 13 AUX IN - Used to inject a "MORE ME" signal into the individual amp channels. 14 HIGH FREQUENCY EQ - Controls the amount of high frequency EQ applied to headphone output.
15 LOW FREQUENCY EQ - Controls the amount of low frequency EQ applied to headphone output. 16 VOLUME CONTROL - Controls the volume to the headphone output for the individual channel. 17 PAN CONTROL - Controls the balance from left to right in stereo mode and from aux to main mode.

LEFT MONO

LINK OUTPUT

LEFT RIGHT

MAIN INPUT
CHANNEL 1 OUTPUTS - 2 rear panel headphone outputs for Channel 1. LINK OUTPUTS - Outputs that are tied to the main input for linking to another headphone amp or other device. MAIN INPUT - The main signal input to the headphone amp. Plugging into the left jack only sends the signal to both the left and right. 5

Operating the Sphone

SETTING UP THE Sphone
Setting up your Sphone Headphone Amplifier is a simple procedure, which takes only a few minutes. Remove all packing materials (save them in case of need for future service) and plug the provided AC power cord in the rear AC inlet, but dont plug the power cable into a wall outlet just yet. Connect the output from the device you want monitored to the Left/Right MAIN INPUT jacks on the Sphone rear panel. The Sphone accepts both balanced and unbalanced signal. Generally, a balanced signal is preferable because it provides better signal-to-noise ratio and reduced extraneous noise. Set the controls to the following positions:

OFF 10

MASTER VOLUME OFF CHANNEL 1 MUTE SWITCH OUT CHANNEL 1 ST/2CH SWITCH OUT CHANNEL 1 HIGH FREQUENCY 0
CHANNEL 1 LOW FREQUENCY 0 CHANNEL 1 PAN CENTER, 12:00 CHANNEL 1 VOLUME O CHANNEL 2 - 4s Controls - Set the Same as Channel 1
Turn the Master Volume knob and all four headphone Channel Output knobs to their minimum (fully counterclockwise) setting. Plug the Sphone power cable into a wall outlet and switch the unit on by pressing the power switch. Apply a signal, like the output of a mixer playing a CD, to the SPhones rear-panel Left/Right MAIN INPUT jacks. Raise the MASTER VOLUME until the meter reaches -18 to -12 dB. Connect a set of headphones to Channel 1 and slowly turn the channels Volume knob clockwise until you hear the desired level.
WARNING: Because the SPhone is capable of generating extremely high volume levels, always start with the Channel Volume knob at minimum and then slowly turn it up.
SETTING UP THE Sphone - Continued
Repeat the previous step for all Channels that have headphones connected, making sure to start the VOLUME knob completely counterclockwise and then slowly raising it until the desired level is achieved. If you have connected different models of headphones to the various Channel Headphone jacks, you may find that some require more gain than others to achieve the same volume. This kind of disparity will occur if the various headphones have different impedances. The lower the impedance, the louder the headphone will sound compared to another, higher impedance headphone at the same VOLUME setting. Another factor affecting headphone loudness is called sensitivity. This is generally measured by determining the decibel (dB) level generated by 1 mW of power input. The higher the dB rating, the louder the headphone. See the Reference chart on page 16 of this manual for more details. To achieve optimum signal-to-noise ratio, the MASTER VOLUME should generally be set as high as possible, short of audible distortion. However, if this results in your getting blasted with signal even though the channel volume is near minimum, youll need to decrease the Master Volume while raising one or more channel volume levels. Conversely, if you find that you have to raise one or more headphone Channel Volume knobs to maximum or near maximum to achieve the desired level, try increasing the Master Volume Level while decreasing the channel volume(s).

S Phone Master Section

1 Master Volume
The S phones MASTER VOLUME control is used to adjust the input signal connected to the MAIN Left and Right inputs. In addition, the MASTER VOLUME control adjusts the level of the signal inserted in the MASTER INJECT, which is summed with the MAIN Left and Right input signal.
MASTER LEVEL dB -30 -24 -18 -12 -+6

2 Master Level meter

The Sphones maser section includes an 8 segment LED LEVEL meter which monitors the input level of the MAIN Left and Right Inputs in Decibels (dBs) from 30 to CLIP. If the LEVEL meter displays a CLIP signal, then turn down the signal being sent into the MAIN left and Right.
3 Using the Master Inject
The Sphones MASTER INJECT is a TRS input (Tip, Ring, Sleeve) that allows a second stereo signal to be inserted and summed together with the MAIN Left and Right signals. You can use a stereo signal from your mixers buss outputs or auxiliary sends to balance the mix between two stereo signals like rhythm tracks and vocals.

S PHONE CHANNELS

1 Headphone Output
The Sphones Headphone Output jack accepts a standard 1/4 TRS connector for easy interface with most professional headphones. Once the MASTER VOLUME has been set, the channels output level is set by the VOLUME knob.
CHANNEL LEVEL dB -30 -24 -18 -12 -6 -3 0

5 -30 -

2 Channel MUTE Switch
The Sphone features Mutes Switches on each of the four channels. When engaged, the LED illuminates and indicates that the channel output is turned off.
3 ST/2-CH Stereo Two Channel Switch
Each of the Sphones four channels can be set to operate in two modes: Stereo and Two-Channel. In stereo, mode all signals inserted into the signal path including the MAIN, MASTER INJECT and Channel AUX input, maintain their stereo image. In 2-Channel mode, the signals are all summed to mono and the PAN control now becomes the balance between the MAIN stereo mix and the AUX input. More info on 2-Channel mode on page 11 of this manual.

4 AUX Input

Each of the S phones four Channels features an AUX input for inserting a signal directly into that channels headphone amp. The AUX input is particularly useful for adding a solo instrument or vocal send. In this case, the AUX input is mixed with the MAIN mix so that listeners on that channel can have their own balance between the MAIN mix and their instrument or vocal. This is commonly known as "More-Me" cue mixing. Depending on the status of the STEREO/2-CHANNEL switch, the AUX level is adjusted at the signal source, like the aux send from a mixer, or by using the PAN control.

5 Using the Channel EQ

Each of the four Sphone channels feature a two-band equalizer allowing individual tone settings on each channel. The LOW Frequency EQ control provides up to 12 dB of CUT or BOOST at 100Hz. Youll notice a single detent when the control knob is located in the center of its travel range indicating that there is no boost or cut and that the LOW frequency response of the channel is flat. The HIGH Frequency EQ control provides up to 12 dB of CUT or BOOST at 10kHz. Youll notice a single detent when the control knob is located in the center of its travel range indicating that there is no boost or cut and that the HIGH frequency response of the channel is flat.

6 PAN Control

Each of the Sphones four channels has a PAN control which controls how much signal is sent to the left or right headphone output. The control knob has a center detent which indicates that the left and right sides are balanced. In 2 Channel mode, the signal becomes mono and the PAN knob adjusts the balance between the MAIN (plus MASTER INJECT mix) and the Channel AUX input. (For more information on 2 Channel mode, see the section Mixing Signals in 2 Channel Mode found on page 11 of this manual.)

7 VOLUME Control

The Channel VOLUME control is used to adjust the channel headphone output. The Volume control will adjust the level of the front panel headphone outputs, as well as, that channels rear panel headphone outputs.

8 CHANNEL LEVEL Meter

Each Sphone Channel has an 8 segment LED LEVEL meter which monitors the output of the channel in Decibels (dBs) 30 to CLIP. If the LEVEL meter displays a CLIP signal, then turn down the Channel VOLUME, and if necessary, also turn down the MASTER VOLUME. 8
STEREO AND TWO-CHANNEL MODES
Each of the Sphones four channels can be set to operate in two different modes: Stereo and 2 Channel.

Stereo Mode

Stereo mode is a normal operating mode where all mix inputs including MAIN, MASTER INJECT, as well as the Channel AUX input, maintain their stereo image throughout the signal path to each headphone output. The individual Channels PAN control is used to adjust the balance between the Left and Right side. To design a monitor mix in the Stereo mode, follow these steps: Press the ST/2CH switch to the OUT positions, youll notice the switch LED is not illuminated indicating that Channel 1 is in STEREO mode. Make a Stereo connection from your mixers auxiliary or buss outputs to the MAIN Left and Right inputs on the Sphones rear panel. Make a Stereo connection from your mixers auxiliary or buss outputs to the MASTER INJECT input on the Sphones front panel. Make a Stereo connection from your mixers auxiliary or buss outputs to the Channel 1 AUX input located on the Sphones front panel. In the Stereo mode, you adjust the mix balance between the MAIN, MASTER INJECT mix and the Channel AUX input at your mixer by balancing the combinations of auxiliary and bus sends you have connected to the Sphone.

Mixing Signals in 2 Channel Mode
In 2 Channel mode, all mix inputs including MAIN, MASTER INJECT, as well as the Channel AUX input are summed to a mono signal. In this mode, the individual Channels PAN control is used to adjust the balance between the MAIN( which includes the MASTER INJECT), and the channel AUX input. To design a monitor mix in the 2 Channel mode follow these steps: Press the ST/2CH switch to the IN positions, youll notice the switch LED is now illuminated indicating that Channel I is in 2- Channel mode. Make a Stereo connection from your mixers auxiliary or buss outputs to the MAIN Left and Right inputs on the Sphones rear panel.
If a second mix is desired, make a Stereo connection from your mixers auxiliary or buss outputs to the MASTER INJECT located on the Sphones front panel.
Make a Stereo connection from your mixers auxiliary or buss outputs to the Channel 1 AUX input located on the Sphones front panel. In the 2-CH mode you adjust the mix balance between the MAIN, MATER INJECT mix and the Channel AUX input at your mixer by balancing the combinations of auxiliary and bus sends you have connected to the Sphone.
TO LEFT AND RIGHT MAIN INPUT ON REAR PANEL

MASTER LEVEL dB

CHANNEL LEVEL dB
CLIP -30 -24 -18 -0 -6 -CLIP -30 -24 -18 -12 -6 -CLIP -30 -24 -18 -12 -6 -CLIP

CHANNEL 4 POWER

-30 -24 -18 -12

0 +6 CLIP

MUTE / ON ST / 2CH
MUTE / ON ST / 2CH MUTE / ON ST / 2CH MUTE / ON ST / 2CH
12 HF 0 VOLUME HF HF HF 10 VOLUME VOLUME 4

OFF AUX MAIN 8

12 R PAN

Sphone Connections

PHONES AUX IN PHONES AUX IN PHONES AUX IN

SIGNAL FLOW

CUE MIX SET-UP FOR MULTITRACK VOCAL RECORDING
RHYTHM SECTION MIX FROM CONSOLE AUX 1 & 2

SA M SO

Lead Vocal

Backing Vocal

FROM CONSOLE'S DIRECT OUTS
VOCAL MIX FROM CONSOLE AUX 3 & 4
CLIP 0 -30 -24 -18 -12 -6 -CLIP -30 -24 -18 -12 -30 -24 -18 -12 -6 -CLIP -6 -CLIP
-30 -24 -18 --30 -24 -18 -12 -6 -3 0
12 HF VOLUME HF HF 10 VOLUME VOLUME 4

OFF AUX 10 MAIN 8

CUE MIX SET-UP FOR MULTITRACK RHYTHM SECTION RECORDING

Rhythm Guitar

Bass Guitar

Lead Guitar

Keyboards

LINKING MULTIPLE Sphones

Any number of Sphones can be linked together (daisy-chained), allowing you to monitor an input signal over more than twelve sets of headphones, or to give individual musicians more control over their own headphone mix. To do this, simply follow these basic steps: Make a connection between one Sphones Left/Right Link outputs and the next ones Left/Right Main inputs.
Because the Sphone Stereo Link output jacks are electronically balanced, we recommend the use of 3-conductor cable and 1/4" TRS (Tip/Ring/Sleeve) connectors. Even when several Sphones are linked together this way, there is no loss of power or audio fidelityevery Channel on every Sphone will sound just as loud and clear as if it were the only unit connected. The status of the front-panel Stereo/2 CH buttons affects only that unit and has no effect on any subsequent linked units.

Headphone Impedance and Sensitivity Ratings
Virtually all headphones that terminate in a stereo 1/4" plug can be used with the Sphone Headphone Amplifier. This chart provides a partial listing of some of the more popular models, along with their impedance and sensitivity ratings. As described on page 9 of this manual, headphones with lower impedances (or higher sensitivity) will sound louder as compared to other, higher impedance (or lower sensitivity) headphones at the same channel Volume setting. Samson Technologies has no connection with any of these manufacturers, nor do we endorse any particular models for use with the Sphone. This is simply a reference listing for your convenience. For more information about any of these headphones, contact the manufacturer directly.
SAMSON HEADPHONES Model Impedance
PH60 RH100 RH300 RH600 CH70 CH700

Sensitivity

OTHER MANUFACTURER'S HEADPHONES Manufacturer Model Impedance AKG K-ohm AKG K-ohm Beyer DT-ohm Beyer DT-ohm Fostex T-ohm Fostex T-ohm Fostex T-ohm Sennheiser HD-450 (original) 70 ohm Sennheiser HD-450 Series II 60 ohm Sony MDR-ohm Sony MDR-ohm Sony MDR-ohm
Sensitivity 98 dB 88 dB 114 dB 114 dB 91 dB 96 dB 98 dB 94 dB 94 dB 100 dB 103 dB 106 dB

Sphone Wiring Guide

Unbalanced 1/4 Connector
Signal Signal Tip (signal)

Ground

Sleeve (ground)
Balanced TRS 1/4 Connector
Signal (ring) Tip (signal) Ring (signal) Signal (tip)

Signal (tip)

Signal (ring) Ground
Insert Cable 1/4 TRS connector to two 1/4 can be used to connect a stereo signal to the Channel AUX or Master Inject.
Tip (send) Sleeve (common)

Send (tip)

Return (ring) Tip (send) Ring (return) Send (tip)

Return (ring) Common

Common

Sleeve (common)

Sleeve (common) Tip (return)
XLR Balanced Wiring Guide
Hot Common Common (1) Hot (2)

Solder Points Cold

End View

Female XLR

Cold (3)

Hot (2) Common (1)

Solder Points Cold (3)

Male XLR

Specifications
Master Section (Rear Panel) Input Impedance Max. input level CMRR: Master Section (Front Panel) Master Volume control Master Level Meters Master Inject Link Output Connectors Max Output Level Channels AUX IN Connectors Impedance Max. input level Level Meters Channel Controls High Frequency EQ Low Frequency EQ Outputs Max. output level Impedance minimum Global Specifications Frequency response Noise THD Power Supply Mains Voltages USA/Canada Mains Voltages Europe Power Inlet Power Consumption Physical Dimensions Net Weight Shipping Weight 2 TRS Balanced 1/4" (Left-Right) or (Left mono) 15 k Ohms balanced +26 dBu balanced Min 40dB, >55 dB @ 1 kHz

0 - Segment LED (30 to Clip) 1/4" TRS jack (Left-Right)
2-1/4" TRS Balanced (Left-Right) Parallel to Main Input Matches Main Input
1/4"TRS jack (Left-Right) 10 k Ohms unbalanced +21 dBu unbalanced 5 Segment LED (30 to Clip) (load compensating) Mute Switch, ST/2CH Switch, Volume Control Balance Control +/- 12dB @ 10KHz Shelving +/- 12dB @ 100Hz Shelving 3 - 1/4" TRS (Left-Right) Headphone outputs per Channel 140 mW at 32 ohms, 385mW at 66 ohms. 8 Ohms
10 Hz to 32 kHz, +0/- 3 dB > 90 dB, unweighted, 22 Hz to 22 kHz 0.008 % typ. @ +4 dBu, 1 kHz
105-125 VAC ~, 60 Hz VAC~,50Hz Standard IEC receptacle / with fuse 29 Watts Max.
1 3/4" (44.5 mm) * 19" (482.6 mm) * 8 1/2" (217 mm) 5.5lbs., (2.5 kg) 8lbs., (3.6 kg)

MASTER LEVEL METER

REAR PANEL JACKS MAIN INPUT VOLUME

LEFT (MONO)

BALANCED INPUTS CHANNEL LEVEL METER
RIGHT LOW 2 BAND EQ +12 / -12dB HIGH
CH VOLUME REAR PANEL OUTPUTS

SPhone Block Diagram

BALANCED OUTPUTS LOW
ST / 2CH HIGH 2 BAND EQ +12 / -12dB MUTE
LOGIC CONTROL LEFT / RIGHT BALANCE AUX / MAIN BLEND
RIGHT BALANCE AUX (L) MAIN(R)

FRONT PANEL JACKS

MASTER 2CH AUX IN

C O N N E C T I O N S

INPUT/OUTPUT RING HOT COLD PHONES TIP LEFT RING RIGHT SLEEVE GND SLEEVE GND
CH STEREO AUX IN LOGIC SENSOR

HEADPHONE OUTPUT

Samson Technologies Corp. 575 Underhill Blvd. P.O. Box 9031 Syosset, NY 11791-9031 Phone: 1-800-3-SAMSON (1-800-372-6766) Fax: 516-364-3888 www.samsontech.com

Welcome to the percussive world of the Bluecoats drum and bugle corps! The following pages cover everything including equipment, amplification gear, applied techniques and mallet, stick, head and cymbal choices. We hope you find the information in these pages useful for your percussion programs! Please print out and use as you wish! The Bluecoats 2007 Percussion Staff: Michael McIntosh-Percussion Designer Tom Rarick-Percussion Designer Ray Ulibarri-Percussion Caption Head Bret Kuhn-Percussion Consultant Tim Maynard-Snare Technician Chad Schaedler-Snare Technician Eric Ridenour-Tenor Technician Adam Clay-Bass Technician Chris Sakowski-Bass Technician Brad Palmer-Front Ensemble Technician Allen Justus-Front Ensemble Technician Kyle Forsthoff-Front Ensemble Technician Josh Unger-Visual Technician Michael Laird Visual Technician
The Bluecoats proudly endorse the following companies:
For a COMPLETE PERCUSSION ENSEMBLE HOW TO packet by Michael McIntosh, please visit: www.midwestmarching.com www.southwestmarching.com The packet covers percussive arranging, orchestration, timing and ensemble tips and is an invaluable tool for young percussion arrangers and band directors alike!
The Bluecoats New Snare Head
Hybrid Marching Snare Batter Heads The Hybrid marching snare batter head blends two unique high-tensile fibers to achieve only the positive attributes that corps, instructors, and players are looking for. To answer the high-tension requirements demanded by modern drum corps activity, one fiber was chosen for its extreme durability. As a result of its innate strength, this fiber produces the additional benefit of enhanced attack and projection. The 2nd fiber, however, was chosen for its flexibility and stretch. Its elastic nature allows the head to flex under the impact of sticksproducing a significantly softer feel. The inherent give in the batter head allows the air column inside the drum to be moved with greater ease, resulting in a more pronounced snare sound, resonance, sensitivity and dynamic range. Grey Hybrid Item # SB13MHG SB14MHG Batter Description 13 Hybrid Snare Batter -Grey 14 Hybrid Snare Batter -Grey Retail $ $92.00 $96.00
White Hybrid Batter Item # Description SB13MHW 13 Hybrid Snare Batter White SB14MHW 14 Hybrid Snare Batter White

Retail $ $92.00 $96.00

Hybrid Marching Snare Side Heads Drum Corps and marching bands have long chosen to use Kevlar bottom heads due to their durability despite a preference for a more open and sensitive sound. Traditional polyester bottom heads, despite their positive sound characteristics, stretch out too quickly and need replacement frequently. The Hybrid snare side offers the best of both worlds. By imbedding high-tensile fibers in an open weave pattern between two ultra-thin layers of clear film, the Hybrid marching snare side head produces the sound and sensitivity of a polyester bottom with a resistance to stretch that is closer to Kevlar. Item # SS13MH1 SS14MH1 Description 13 Hybrid Snare Side Hybrid Snare Side 1 Retail $ $52.00 $54.00
The Bluecoats Marching Snare Guide
Tim Maynard & Chad Schaedler

IMPLEMENT GRIP

A great quality of sound and approach to the drum starts with the grip of the stick. In order to produce a full, resonant tone from the drum, it is important that your hands maintain a relaxed grip around the stick at all times and allow the stick to resonate in your hand. If you hold the stick too tightly, you dampen the sticks natural vibration and choke off much of the sound which results in a very thin quality of sound. Also, the brunt of the impact from the stick striking the drum will be transferred directly into your hands which can lead to unnecessary injury. Always let the stick breathe in your hands.

Right Hand

The fulcrum point is located between the thumb and the index finger. This is the point from which the stick pivots in your hand. This pivot point should be located at the optimal balance point of the stick, which is usually found around 1/3 of the length of the stick. The rest of the fingers should be wrapped naturally around the stick. They should be loose and relaxed, but can never leave the stick.
Left Hand (for Traditional Grip)
The fulcrum point is again located between the thumb and index finger, with the thumb sitting on top of the index finger between the first and second knuckle. This connection must always be maintained while the thumb and index finger stay relaxed. The stick will rest on the fourth finger just past the first knuckle near the cuticle. The pinky should stay attached to the fourth finger in a relaxed position and the middle finger will rest beside the stick with the fingertip being slightly on top of the stick. Please be aware that the middle finger should simply be along for the ride and not used to generate a stroke by applying pressure in any way. All fingers must remain relaxed in a curved position at all times. Any unnatural straightening or flexing of the fingers simply causes unwanted tension that will ultimately inhibit your performance.

PLAYING POSITION

A proper playing position begins with finding an appropriate drum height. This can be done using the left hand as a starting point. With your arms relaxed by your sides, raise your left hand from the elbow until your forearm is parallel to the ground. Next, simply raise your right hand to the drum, matching the fulcrum point of the right hand to the fulcrum point of the left hand and making sure the stick angles are the same. The beads will always remain in the center of the head, resting a inch apart and a inch off of the head. It is absolutely essential for the beads to remain in the exact center of the drum at all times. If your sticks are not striking in the same location of the drum they will not produce the same sound hand to hand.

STROKE

At the Bluecoats, there are two common stroke types that we employ when playing the snare drum: legato and marcato strokes. Before we define each of these more specifically, there are some key points that apply to both of these stroke types. Every stroke will initiate from a wrist turn with the bead of the stick moving first. This wrist turn is essential in every stroke played. However, do not restrict your arms and try to use only wrist. As your wrist turns, your arm should naturally move. Use all three muscle groups arms, wrists, and fingers for your advantage to produce every stroke. The arm, wrist, and finger muscles must all be present to allow you to execute any type of stroke at any time with ease.

Legato Strokes

The legato stroke is often referred to as the rebound stroke because when using this stroke the player should allow the stick to rebound (bounce) off of the drumhead. The player makes the initial effort to throw the stick toward the head, with the drum naturally rebounding the stick back to the upstroke position. The key to playing legato is not restricting the rebound of the stick. The motion of the stick should never stop it is always moving either toward or away from the drumhead. All fingers should remain on the stick at all times, but they should not hold the stick against the palm inhibiting the rebound. The arms, hands, and fingers remain relaxed, naturally moving with the motion of the stick.

Marcato Strokes

We define a marcato stroke as a controlled rebound stroke. When playing marcato, you restrict the rebound of the stick by using the muscles in your fingers to stop the stick after the stick has come in contact with the playing surface. The fingers, instead of traveling with the natural rebound motion of the stick, provide resistance against the stick motion to keep it from rebounding. Your grip should be relaxed and make sure to maximize efficiency by only using enough energy to get the job done.
How You Feel When You Drum
As you play, you should always strive for a relaxed physical sensation. The stronger a player you are and the more chops you possess, the more efficient you become, hence the more relaxed you are. Physical relaxation also pertains to your brain and state of mind. No matter what the musical or physical responsibility at any given time, and through practicing GOOD habits you are setting yourself up for success by having peace of mind and a strong mental approach to your playing which sets you up to be more consistent. When you play, you should also be breathing comfortably. Learning to breathe naturally while playing anything regardless of difficulty will result in a more relaxed, healthy sound and approach.
Recommendations on Equipment and Tuning
At the Bluecoats, we use Yamaha MTS 14 snare drums for their superior tone, articulation, and durability. The drums are outfitted with EVANS White Hybrid snare batter heads and EVANS MX5 snare side heads. We have chosen the MX5 resonant head for its excellent response and stretch resistance. It also has an internal dampening ring, which reduces unwanted overtones and decreases the need for external muffling. We also use Randall-May carriers and Stadium Hardware stands. We use both the Innovative Percussion FS-MM and AS-MM marching snare sticks. The FS-MM, our general use stick, provides an excellent feel and full-body sound. For particular musical passages, we us the AS-MM which are slightly smaller in size and provide a brighter articulation. We have used the new IP rubber tips on our AS-MMs. The AS-MM is also a great choice for younger players making the switch from concert sticks to marching sticks. In order to achieve an articulate, yet characteristic snare sound, we like to tune the bottom heads a half-step higher than the top heads. This provides us with a desirable blend of attack from the top head with snare response from the bottom head and allows the shell to be a part of the sound. Because of the large number of snare drummers in the line, we do clip several snare guts from the strainer to keep the overall snare sound from being too wet or snare heavy. However, we dont recommend this for a line with a fewer number of players.

The Bluecoats Marching Tenor Guide Ray Ulibarri, Eric Ridenour
The Role of the Tenor Drums
The role of a Tenor drum is to provide the tenor voice in the percussion choir. The tenor drum voice serves as a unique timbre that can support or enhance the Winds. Being tonal in nature, the tenor drums lend themselves easily to doubling melodic contours and adding contrapuntal texture. Each individual must be accountable for their individual performance and awareness of their responsibilities to the percussion ensemble and full ensemble. As a line, the tenors must simultaneously achieve a uniform approach to touch, flow, rhythm, space, and technique (marching and playing). The line must function as a single entity.
The grip that we use is the basic matched grip. The fulcrum consists of two points of contact created by the thumb and the index finger gripping the implement approximately a third of the way from the butt of the stick. The fulcrum should be firm enough to keep the stick/mallet from moving, but relaxed enough to allow the stick/mallet to resonate. The top of the hand should be slightly turned from flat to a 45-
degree angle. The fingers should maintain contact with the stick at all times, cradling it in the bed of the palm.

Playing Position

The bead of the mallet should rest approximately inch above the surface of the drumhead, sloping down at a 10-degree angle. The bead should rest approximately 1 inch from the rim. Default tacit position is defined as sticks split over 1 & 2. Stick movements prior to playing will be defined according to the music. The Ted up approach will be used for the outer drums. Notice that the beads are equidistant from the rim.
The elbow should rest near the players body, but not touching. At no point should tension enter the arms, shoulders, neck, or face. When traveling from A to B, maintain an arc, never pulling the elbows back. When moving to the 6 & 8 drums, the elbows pull back while keeping the shoulders soft and low. (1A
Height of the drum must always facilitate the marching technique and free motion of the legs. Remember relaxation is the key. Height of the drum is important to maximize relaxation and eliminate tension.

Stroke

Approach to the drum: Relaxation is the key. There must not be any tension when approaching the drum. A one drum mentality is applied to movement and motion around the drums, meaning: legato remains legato, marcato remains marcato, multiple bounce stroke remains a multiple bounce stroke, and whip stroke remains whip stroke. Parts should first be learned on one drum to ensure quality of sound, rhythmic accuracy, and muscle memory sensation. Applied to the around, all of these aspects should remain, most importantly, the muscle memory sensations. Stay as relaxed moving around as you would playing on one drum. Shoulders should remain stationary, low and relaxed during difficult scrape passages and crossovers. A good guideline to go by: 70% wrist and 30% finger. Keep in mind; this guideline is tempo and volume conducive.

The Metronome

Consistent tempo is an important part of being a percussionist and the metronome can help you achieve this. However, the metronome should be used as a guide for playing in time and not as a crutch. Using the metronome with half notes instead of quarter notes will increase your tempo awareness. Most of our tempo responsibilities include either playing with a met or playing with another person. It is recommended to practice both.
The Bluecoats use Yamaha MQ-8200 Field-Corps Series marching toms. High schools may want to try the lighter less expensive MQ-6200. We actually use a six drum configuration of one of each 6, 8, 10,12,13 and 14 tom. Other combinations may consist of two 6 toms and either 10-12-13-14 or 8-10-12-13 inch configurations. The smaller drums have less presence in the ensemble but may be the right balance for small bands and students of small physical stature. We use Randall-May carriers and Stadium Hardware stands. At the Bluecoats we also use Innovative Percussion sticks and mallets. We currently are using the IP TS-2 Multi Tom Stick the features a round nylon bead that offers a fuller sound than sticks but more articulate than a mallet. We also use the aluminum shaft FT-4A Multi Tom Mallet and FS-MM marching snare drum stick. For High Schools I recommend the TS-2 Multi Tom stick and the FT-1AH, the latter being more durable and suitable for younger players. As far as tuning the Multi-Toms there are numerous schools of thoughts and approaches. A good rule of thumb is good separation between the drums with thirds and fourths being preferred. At the Bluecoats we use a BbM9 chord with Bb on the 14, D on the 13, F on the 12, A on the 10, C on the 8 and F on the 6. We find this series of pitches desirable because they blend well with the Bb instrument.
The Bluecoats Marching Bass Guide Adam Clay and Chris Sakowski
The Role of the Bass Line
The role of the bass drummer is one that requires many levels of accountability in the following: Individual performance, percussion ensemble and full ensemble responsibilities. The bass line consists of five individuals with exact interpretation of rhythm, space, volume, touch, sound quality, and flow. All of these elements combined create a seamless individual bass line with all of the qualities desired for perfect blend, balance, and articulation. The bass line, within the full marching battery, serves as a foundation for all of the sounds around it. It is the bass voice of the drum line choir. While intensifying impacts, adding volume, and doubling other voices in the ensemble, it can also serve as a soloistic voice. All of these aspects can be utilized in their fullest potential. Along with being the unyielding support of the marching battery, the bass drum section also plays a major role within the entire music ensemble. Providing rhythmic and spatial reference points along with volume, impact, and motion are just some of the main character traits of an effective and impressive bass line. Ensemble cohesion often depends on exact clarity in all fundamental aspects of the bass line.

By defining five key physical requirements of playing the bass drum, the bass line as a whole will reach performance at the highest level. Exact uniformity in technique, touch, sound quality, rhythmic and dynamic clarity are the main ingredients required to establish the perfect sound. There are two aspects of these that must happen simultaneously: Individual accountability and full bass line ensemble awareness. With all of this in place, the bass line will function as a single voice, unnoticeably performed by a quintet.
The grip used is very similar to that of snare drum matched grip, except the hands are rotated so the wrists are vertical instead of horizontal. The thumb and index finger form a fulcrum on the mallet. This should not be a gap between the thumb and the third knuckle of the index. The rest of the fingers should be wrapped around the mallet very naturally. Its very important to not introduce tension in the hand. This grip should be approached with relaxation in mind.
Interpreting 2s, 3s and 4s
Making sure that the members of the bass line all understand how to interpret 2s (ex. 16th notes), 3s (ex. 24th notes, half of a sextuplet), and 4s (ex. 32nd notes) is crucial to their success. Here are four general rules that must be applied in the order presented: 1. The first thing that must happen when approaching 2s, 3s and 4s is that the figure is started in the precise point in time that it is written to begin sounding. If the figure starts on the & of the beat, then the player needs to make sure that this happens first. If he/she plays a 3 perfectly spaced, not too open or too closed, and it is balanced and blended perfectly with the other players but the starting point of the figure is misplaced slightly in time, all chance of smoothness and continuity of the musical phrase are lost. 2. The next step is to make sure the rhythm played after the starting point is correct. The tendency that most players have is to play the rhythms too closed. Sometimes, if the player is playing their figure on the downbeat, it is more difficult to properly space out the rhythm than if it was started on the & because there is not as strong of a beat after it to play to. When starting on the & the figure usually continues up to the next downbeat, which is where the foot hits as well. 3. The next skill to master must be articulation. To get each note to speak clearly, the player must slightly crescendo each one. When a bass drum is struck it has a resonance that can last up to 1 to 3 seconds until it completely dies away. If someone is playing a 4, the attack of the second, third, and fourth notes will be slightly covered up by the resonance of the note played before it. So, if the player plays all four notes at exactly the same volume the articulation will sound muddier. From farther away its almost completely unnoticeable. Using this technique allows each note to be clearly heard over the constantly resonating head and it helps smooth out the musical phrase. The worst habit many bass drummers acquire is accenting the first note of the figure because they are so focused on starting it at the correct point in time. 4. Once the bass drummer has mastered starting the rhythm in the correct place, spacing out the rhythm correctly, and articulating the right way, he/she can now begin to notice how they are blending in with the bass line around them. One cannot really begin to

analyze how they are playing with the other musicians until all 5 of them have mastered the first 3 steps. Balance and blend is not possible at the highest level unless the more basic skills are second nature to the players. If the first 3 steps are mastered, now we do small adjustments to certain phrases to make sure that each player is contributing musically to the entire ensemble.
We prefer the sound of Yamaha 8200 Series Field-Corps Bass Drums. They have a deep, resonant sound and a forceful attack. We use the following sizes: 18, 20, 24, 28, and 32. For high school, we recommend: 18, 20, 22, 24, and 28. Using a smaller 26 as the bottom bass drum will significantly thin out the tone production and limit the lower range of the tuning, so we recommend only considering that option if a thinner sound is what you desire, if you do not have a student that can physically carry the 28, or if you have an indoor winter percussion group or indoor venue. We also use Randall-May carriers and Stadium Hardware stands. We recommend using Evans 10mm single-ply MX1 Marching Bass head. It is equipped with a unique tone damping system that enhances articulation and focuses the low-end. A series of felt damping arcs can be manipulated for indoor or outdoor marching. This product is wonderful because you do not have to spend hours gluing foam to the heads or the shell to muffle the overtones. We recommend using Innovative Percussion FBX Bass Mallets. We use sizes FBX-1 through FBX-5, but with the smaller drum sizes used in high school, we recommend the following: Bass 1: FBX-1, Bass 2: FBX-1, Bass 3: FBX-2, Bass 4: FBX-3, and Bass 5: FBX-4. If you purchase mallets that are too big for the drum size, then you can get a very thuddy sound. We tune our drums to a major chord. Between basses 1 and 2: minor 3rd, 2 and 3: Major 3rd, 3 and 4: Perfect 4th, 4 and 5: Perfect 5th. This gives the bass line a nice intervallic relationship between all the drums. For an indoor percussion setting, we recommend trying to spread the intervals in the top 3 basses further to perfect 4ths since the pitches more easily run together in a boomy indoor venue.
The Bluecoats Front Ensemble Guide Tom Rarick, Brad Palmer, Allen Justus, Kyle Forsthoff
Percussion Gear and Marimbas Vibraphones Xylophone Glockenspiel Timpani

Mallets

4.3 & 4.5 octave Yamaha Acoustalon and Rosewood
Mallets: IP1003, FS250, FS,250, IP2002, IP702
3 octave Yamaha Gold Bars
Mallets: IP1006, AA25, FS320, IP 706
3.5 octave Yamaha Acoustalon
Mallets: FS550, IP902, IP903, IP904, IP1007

3.3 octave Yamaha/Deagan

Mallets: ENS460R, IP903, IP550, IP902

Yamaha Symphonic Series

Mallets: CT1, CT2, CT3, CT4 heads: Evans Strata Series

20, 23, 26, 29, 32

Drumset

Yamaha Oak Custom

20X16, 16X14, 12X9
Sticks: IP5B, BR1 Heads: Evans G1 coated, J1 Etched, EMAD coated

Snare Drums

Yamaha 14 X 5.5 Copper Yamaha 14X 6.5 Maple Yamaha 13 X 4.5 Birch
Sticks: CL1, IP5B Heads: Evans Strata Series

Concert Bass Drum

40 X 22
Mallets: CB1, CB4, CG1 Heads: Evans Strata Series

Cymbals

ORCHESTRAL AND HAND 18 K Constantinople 20 K Constantinople 20 K Constantinople 20 K Constantinople 18 K Constantinople CYMBALS suspended* suspended special selection med heavy pair vintage orchestral medium light pair medium light pair*
CRASH/SPLASH 6 A custom splash 8 A splash brilliant* 10 K splash brilliant 9 K custom hybrid splash 11 K custom hybrid splash 14 K dark crash thin 15 K custom dark crash* 18 K Constantinople crash 19 K custom hybrid crash 18 K dark crash medium thin* HI-HATS 14 K mastersound hihats* RIDES K K K A custom hybrid ride dark medium ride custom dark ride* custom sizzle ride
SPECIAL EFFECTS 16 A custom efx 18 A custom efx 18 Z custom china* 14 K mini china 17 K custom dark china 18 A backbeat ride 19 K custom hybrid china 22 A swish knocker w/8 rivets* 14 ZXT trashformer GONGS AND CROTALES crotales high 8va crotales low 8va Gong Sheet 40 tam tam gong* *-Recommended all around good cymbal for purchase at the high school level
The Bluecoats Front Ensemble

HEAD ORDER

Timpani: Bongo: Concert Bass: 6 CB4014S 6 CB4010S Concert Snare Drums: 6 CT14S 4 CS14S 2 B14GCS 3 S14GENS14GEN20 Drum set: 3 B14GE14JB12G1RD 2 E12JS14HS12HB12GB14GE12JE14JTT12GTT14GBD20EMADCW 3 BD20RGC Min EMAD dampeners 4 AF Patch G1 snare batter 14 J1 snare batter 14 PC snare reverse dot 12 J1 snare batter 12 Hazy 200 snare side 14 Hazy 200 snare side G1 coated tom batter 14 G1 coated tom batter 12 J1 coated tom batter 14 J1 coated tom batter 12 G1 tom resonant 14 G1 tom resonant 20 EMAD coated batter 20 EQ3 resonant frosted Strata 1000 batter Strata 700 batter Orchestral batter Strata 300 resonant Strata 200 resonant Strata 1400 batter Strata 1000 resonant 4 of each: EST22, EST25, EST28, EST31, ESTsets: EB0709 bongo head combo

The Bluecoats ELECTRONICS Guide Front Ensemble Amplification Set-Up Yamaha 01V96 Digital Mixing Console* M-Audio Octane 8 Channel Pre-amp and A/D Converter* Furman M-8L Power Conditioner* dbx Driverack Z60 Complete Equalization and Loudspeaker Management System* Yamaha P5000S Power Amplifier* CBL Performer Series 18 Channel Snake Yamaha CM15V Speaker System* Yamaha CM118V Sub-woofer* Planet Waves XLR Mic Cables Audio Technica Pro 37 Microphones Shure SM57 and 58 Vocal Microphones Audio Technica ATM 25 Dynamic Microphone Audio Technica Clip Mics (Kit Toms) Digital Aerobics Set-Up Apple G4 Powerbook Propellerhead Reason Digital Sequencing Program M-Audio Firewire Solo Samson S-Phone Headphone Mixer/Amp Gator BRB-3U 3-Space Portable Soft Rack Yamaha Studio Headphones Planet Waves Firewire Cable 10 ft Planet Waves Stereo Cable 10 ft Planet Waves to Cable Planet Waves Headphone Extension Cable 50 ft. Speak-on Speaker Cable
*Equipment used for both sonic applications