I agree that it was difficult to hear the band on Saturday, in lower level corner near the top endzone. We get a lot of concourse noise in our seats so that makes for a difficult time to hear the band even when they are in the pit during games.
One piece of info that most people don't realize is that the stadium was designed to trap sound in. The slope of the upper and lower deck was influenced by that desire. TCF is a louder stadium than a typical 50,000 seat venue. The result, especially from the field-level, is what sounds like constant background chatter. It's great when we're on defense and everyone is really making a racket as the sound gets channeled toward the field, but works against the band as it cancels out some of its sound. With the addition of the temporary seating on the east side, the acoustics of the building have changed again.
Add to it the fact the we have had three 50K+ crowds that have been quite enthusiastic. The difference in the sound levels between what used to be a typical 35-40K crowd and a 50K+ crowd are pretty big.
Star Wars nerds everywhere would like a Star Wars themed show.
Copyright is the issue here. John Williams is the devil when it comes to copyright permissions. He rarely lets groups do anything other than existing published arrangements. Most of the published marching band arrangements are written for crappy high school bands that are over-simplified. Sometimes you can get permission to adapt an existing published concert or orchestral versions of the scores, but lately he hasn't been allowing that either.
We do have custom arrangements of some music from the original trilogy that we already have the copyright to from before he became a tight-wad with permissions. Every once in awhile a decent arrangement of some of the newer music becomes available so you can piece together a show representing music from all of the movies. It will be interesting to see what published music comes out with the new movie. So, a Star Wars show isn't out of the realm of possibility.
(tOSU used to, and may still, have a band alum who worked for John Williams at some level. Interesting how they were always able to get copyright permission whenever they wanted to do any John Williams music. tOSU also has a significantly larger budget for copyright permissions and custom arrangements--with their instrumentation everything is custom.)
The average cost for copyright permission for a generic rock or pop tune is $430 (up from $350 last year). That's $430 plus the cost of paying an arranger to write the song which can be anywhere from $100-1250. If a medley contains parts of two or three songs, it's $430 per song that is sourced for the medley. That's assuming that whoever owns the copyright doesn't want to charge more. Average 3-4 songs (and/or medleys of songs) per halftime and seven halftimes a year--those costs add up fast.
Add to this, the copyright process can take from weeks to months to complete. Paperwork needs to be submitted in late June to early July to guarantee that permissions come through before the season begins. And, we've just scratched the surface. Bands used to be able to get away with not going through the whole process and performed whatever they wanted. Now, there's YouTube.
Fortunately, some of the arrangers that we've purchased from generally only charge $100 per tune if they have already written that arrangement for another group. But, we still have to pay for the copyright license. Sometimes that license will only be a three year license at which time you have to either renew at the current rate, or stop playing the tune.
A published marching band arrangement is generally a bit less than $100 (the copyright fees are much higher if the tune is published, but the cost is distributed over multiple copies that are sold). The drawback is you're limited to what those companies choose to put out in a given year. Sometimes the selection is pretty good, some years not so good. The song selection is usually set near the beginning of the calendar year, with the arrangements being released for sale in late April or early May. Any summer pop hits come out too late to make the cut and don't come out until the following spring.