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bloke wrote: ↑Sun Dec 03, 2023 11:17 am You know it would be a boring job for someone, but a secure personal tuba "cloakroom" would be an awfully cool thing. Something where a picture of a driver's license is matched with the person's driver's license, or something like that. That way people could have access to their own instruments yet without having to lug them around or risk leaving them in their cars and stolen. Arlington is probably a wonderful place, but every place features people who break into cars and take things, and even at church parking lots.

Were this to happen and really get talked up by those who went to it (because they enjoyed it so much), it would be interesting if it would end up changing the formats of the ITEC get-togethers.

If we held if at a time when school was not in session, I'm sure we could get a a student to man the booth if we offered a small fee ($5 a day?) or let them keep tips

LeMark wrote: ↑Sun Dec 03, 2023 11:49 am

bloke wrote: ↑Sun Dec 03, 2023 11:17 am You know it would be a boring job for someone, but a secure personal tuba "cloakroom" would be an awfully cool thing. Something where a picture of a driver's license is matched with the person's driver's license, or something like that. That way people could have access to their own instruments yet without having to lug them around or risk leaving them in their cars and stolen. Arlington is probably a wonderful place, but every place features people who break into cars and take things, and even at church parking lots.

Were this to happen and really get talked up by those who went to it (because they enjoyed it so much), it would be interesting if it would end up changing the formats of the ITEC get-togethers.

If we held if at a time when school was not in session, I'm sure we could get a a student to man the booth if we offered a small fee ($5 a day?) or let them keep tips

Hey,
Why are you wanting to take work away from a struggling 28-year-old adjunct studio teacher?

Here's something I would like to see

A class on Soldering 101, done with torches you can buy at home depot, for people like myself who have the desire to learn.

I'm probably beyond soldering 101 since I''ve actually built a couple frankentubas, but I'm NOT beyond soldering 102. Both classes would be nice.

fwiw...

I'm damn good at soldering (and - if you will - "painting" solder) with cheap/crappy torches...

...but (that having been said), I don't believe people are interested in being impressed by "trick soldering" (any more than they are all that interested in hearing show-offy tuba solos), but I COULD demonstrate basic soldering (along with some tips about how to avoid/minimize messes) with cheap-ass torches (but NOT Harbor Freight propane torches...Those do not light, and do not stay lit....A torch actually MUST light and STAY lit for me to be able to use it to solder...I'm not THAT tricky...)

the longer I do this, the more I realize that my best work is done with this torch, especially if what I'm heating up is small

https://www.amazon.com/Bernz-Matic-ST22 ... B000PS9TQI

the only problem is I've used it so much that I have to use an external flint to light it

I would like to see if maybe a community band with multiple tuba players would perform and a discussion about playing locally if you are not in a music program (major).

I would also like to see less fees to just meet and see the vendors.

.

I think it would be nice if the costs were divided equitably between vendors and attendees...

Vendors are just as much of an "attract" as are any of the clinicians...and vendors' transportation costs (not to mention "table/booth" fees) far exceed any attendee's costs.

Yeah bloke, but they make money.

not necessarily...and - if they do sell ~a~ tuba - hopefully (??) the mark-up covered all of their friggin' costs of transportation, displaying, and of not T.C.B. back home at their stores/shops. Further, un-sold instruments often collect dents and scratches when on display in elephant rooms.

Also...
Hosts (particularly since the host of something like THIS probably wouldn't be doing it for their "tenure folder") work their asses off, so I believe part of any fees should (even though likely grossly under-reimbursed) go to hosts.

I must be Naive...

If we can host this event for minimal cost for the venue, I see no reason to CHARGE vendor to display, I would be hoping they would be willing to just show up at all.

Master classes on how to be a tuba section of three to five in different formations, such as Brass Band vs. wind orchestra.

- staying in-tune and on-time
- alternate breathing
- communication within the section and with other sections
- Techniques to deliver "overwhelming" parts / rhythms / passages as a team effort to an audience.
Breaking down those parts into manageable units rather than settung up a contest of who´s most stealthily f**ing up their part.

There must be "section coaches" serving the top bands who´d be able/willing to demonstrate what makes those sections go...

At least SOME assistance in making the experience non-traumatic for kids who might come along with tuba-loving parents.

Invite quality, lesser-known groups to perform (and don't make 'em submit a 'proposal' which some nobody decides in his wisdom to reject). Like this group, Opus 333, a French saxhorn quartet. I saw them at Knoxville, where they'd been shunted off to some distant classroom to perform. It was the best thing I'd seen at *any* conference, and I've been to a few.

Hmmm...
While I´d applaud the idea of inviting lesser known but high quality acts as mentioned, I can´t wrap my head about the rest of that proposal:
Who was that "nobody" tasked with the decisions You criticise? A curation gremium?

So, who else will get to choose / invite acts instead, and how will those unknown groups attract "Else"´s attention?
The same problem remains even if you assign (i.e. fund) "Else" to travel internationally and scout potential groups.

Tubeast wrote: ↑Mon Dec 04, 2023 6:00 am Hmmm...
While I´d applaud the idea of inviting lesser known but high quality acts as mentioned, I can´t wrap my head about the rest of that proposal:
Who was that "nobody" tasked with the decisions You criticise? A curation gremium?

So, who else will get to choose / invite acts instead, and how will those unknown groups attract "Else"´s attention?
The same problem remains even if you assign (i.e. fund) "Else" to travel internationally and scout potential groups.

Read up the thread. There's currently ZERO accountability for the whack choices being made (eg: Aaron Tindall). A top ITEA leader told me that there's no way to know the criteria which were applied when making those poor choices (!?!) That can't go on.

And as for travel for "international scouting": perhaps look into that interweb thingy? It's all the rage.

Unc' pointed out something that I meant to bring up:

OVERBOOKING of performers'/teachers' presentations...

There only needs to be ONE event going on at any given time.

That's ENOUGH people to present what they have to offer.

A three-ring circus is not necessary.

bloke wrote: ↑Mon Dec 04, 2023 9:23 am Unc' pointed out something that I meant to bring up:

OVERBOOKING of performers'/teachers' presentations...

There only needs to be ONE event going on at any given time.

That's ENOUGH people to present what they have to offer.

A three-ring circus is not necessary.

Kind of piggybacking off the over-scheduling thing, when I was in high school and college, I was all gung-ho for the international conferences. That’s back when it was TUBA. My first international conference was the aforementioned ITEC 1995 at Northwestern University, hosted by Rex Martin.
One of the things I liked was that there was some purposeful downtime, and people could socialize and meet other tuba players. I’ll never forget meeting Roger Bobo, who was larger than life to me, and then and now, one of my musical heroes. We were on the train together to go to Grant Park to see Fritz Kaenzig play the John Williams tuba concerto with the Grant Park symphony. I was a dumb-ass 17-year-old kid that didn’t know my head from my ass, but Mr. Bobo was very nice, and treated me like I was one of his colleagues.
It was the same thing at the 1998 conference at the University of Minnesota. I actually got there a few hours before the conference started, and the very first person I met outside waiting was John Griffiths. He was so kind to me, and he freely gave of his time and expertise.
And there were several opportunities to meet other tuba players, not just established professionals. It was nice just to sit down and talk to other people that did the same thing I do. Oftentimes, we’re the only ones in our school or our group, etc.
And the downtime to socialize/network where I didn’t feel like I was missing an event was nice, too. I have friends that go to anime conventions, and they have plenty of time to meet people that do the same things they do.
So, really some social things where we could just talk to each other and hang/have a few beers, etc., instead of having a scheduled event that everybody feels like they have to do to get their money’s worth or not miss something they would love to see would be very nice.
Because I seem to learn a lot more just talking shop with people that do what I do than I ever did watching a recital or listening to a presentation. Those things have their place, but I think the socializing aspect is far undervalued.

"Why should we allow the attendees time for socializing? After all, they have social media."
- etc.