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~Synthesizer Position~


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The person performing on the synth is a performing member. I don't know DCA's rules (DCI either, for that matter) on off-field mixer staff.

So ... just trying to absord all of this ... I related the synth in dc to the "mixer board", which took the sound being produced by the corps and enhacned it through the synth process ... so now, wth my new found understanding, is the synth "player" allowed to store "pre-programmed" sounds for pieces of the show, which when played would be void of error? ... the more I learn, the more I just don't know ...

:-)

Edited by ajlisko
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Synthesizer/keyboard player. Stands with the others in the pit. Increasingly includes triggering of stored sound clips. Mixer person (if they have one) is off the field. I am not aware (I could be very wrong) of anybody "live" sampling the hornline and applying effects to that in real-time. Sounds logistically and musically "risky" even if it is legal. One might be under the impression that a DCI corps last year was live sampled and the pitch bent -- but my understanding is that it was simply a pre-recorded sample.

Edited by dannyboy
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Synthesizer/keyboard player. Stands with the others in the pit. Increasingly includes triggering of stored sound clips.

So ... again ... for my education ... we're playing Elenor Rigby and at some point in the chart, I point to the Synth Player and he/she presses the correct button and the piccolo soprano solo from a recording plays (because we have the proper performance rights) in perfect rythm, pitch, inflection, tone, quality and whatever musical evaluation terms you want to apply - because I may not have a player in line that can pull off that solo?

I think I just peeeed ...

:blush:

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So ... again ... for my education ... we're playing Elenor Rigby and at some point in the chart, I point to the Synth Player and he/she presses the correct button and the piccolo soprano solo from a recording plays (because we have the proper performance rights) in perfect rythm, pitch, inflection, tone, quality and whatever musical evaluation terms you want to apply - because I may not have a player in line that can pull off that solo?

I think I just peeeed ...

:blush:

ps ... my apologies if I seem a bit cynical and sarcastic in the above example ... but ... could it get to the point where the majority of "sound" is manufactured? Again, I'm just trying to learn ... but having a tough time grasping this

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A-

Your point is well made and well understood. It is a major concern whether the show designers and corps administrators want to admit to it or not. It speaks to the very substance of the activity.

Are the performers judged and given a score or are the designers judged and given a score?

I posed the very points you made in a thread I initiated back in the early Fall on the DCI forum. You may recall it ran for pages and pages, perhaps the thread with the most posts this off season.

You may wish to review it. It expands knowledge but raises more questions.

I suspect I agree with your sentiments more than usually.

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The easiest way to think about the current rules is:

If it's music that you hear, you should be able to see somebody, somewhere playing it, note for note.

If it's an 'effect', it can be triggered (thunder, wind noise, etc.).

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The easiest way to think about the current rules is:

If it's music that you hear, you should be able to see somebody, somewhere playing it, note for note.

If it's an 'effect', it can be triggered (thunder, wind noise, etc.).

Very_Interesting.jpg

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Synthesizer, shminthesizer, We are receiving the closer Saturday for the horns and the percussion has more than half the book. We are ahead of last with a fuller more complete staff. All we need is a few more members with a mallet player who can play a synth. :sly:

peace,

Lar P

Kilt & Gov love :tounge2:

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