Jeff Ream Posted July 11, 2012 Share Posted July 11, 2012 What's going to happen when a lesser corp puts a Rick Wakeman, or 2, or 3, in the pit and writes everything else in support of the keyboards ? Heck, let's toss in mics on every instrument and a full sound setup like a rock concert and we'll really be getting some where. Six Wives of Henry the VIII - here we come ! Too bad Star isn't still on the field to show us all - how to take this to the extreme. probably get killed on the visual sheets Link to comment Share on other sites More sharing options...
Stu Posted July 11, 2012 Share Posted July 11, 2012 probably get killed on the visual sheets True; there are visual aspects to both drumming and mallet playing. As for you comment that slide whistles and bird calls are percussion "accessories" (even though they are technically wind instruments) that indicates as long as something is used in conjunction with the overall body of percussion, whereby most of the instruments in a particular sub-ensemble are percussion, any non-bell front non-brass instrument can be used as a percussion accessory as long as that instrument is not specifically forbidden by the rules. So, currently in DCI clarinets and saxophones are forbidden by the rules, but guitars and synths are not forbidden; therefore guitars and synths can technically be used as percussion accessories in the front percussion ensemble. Link to comment Share on other sites More sharing options...
jwillis35 Posted July 18, 2012 Share Posted July 18, 2012 demand really isn't an issue as anything electronic is mostly covered by upstairs sheets, and on GE, it's more of did it make it effective regardless of needing 1 finger or 8 fingers to push the buttons,. balance should be addressed on ensemble, tho it can bleed to effect is there are balance issues. To this day, I still suspect balance is an issue skirted by the judging community Jeff, I think you are so right about this. Take the brass judge. Generally this person is on the field (unless they moved upstairs and I was unware). When you are on the field, you simply can't hear the entire brass line in terms of balance and blend. You can hear section balance, and maybe if the brass line is condensed you can take in the full balance. In most cases you are looking at articulations, section balance and blend, timing, tonal production, demand and artistry of the book, etc. Now, I used to think the GE music judge took into consideration brass balance, and maybe they do, but their job is really much more broad in scope. They must take in the total music score (brass, battery, pit) and judge that based on its effectiveness in and of itself, its effectiveness with the visual program and the theme of the show, and then maybe if general balance issues pop up. No where in there is someone just judging the total brass line on their balance, and the same is true with battery and pit. Now in most cases the percussion field judge can get some assemblance of balance because the battery does not usuaslly get split up, but with many of the modern shows we are seeing the battery split and utilizing a lot of field. I'm sure someone has a better explanation for this, but I have also wondered where balance falls into the judging sheets. Link to comment Share on other sites More sharing options...
jwillis35 Posted July 18, 2012 Share Posted July 18, 2012 Oh, and I have a question: I was not on DCP much when these new sheets came out, but is the Music Analysis caption similar to the old Music Ensemble Caption? How does all that work now? I've been more confused that ever before looking at the full caption/recap sheets. Link to comment Share on other sites More sharing options...
Jeff Ream Posted July 18, 2012 Share Posted July 18, 2012 Jeff, I think you are so right about this. Take the brass judge. Generally this person is on the field (unless they moved upstairs and I was unware). When you are on the field, you simply can't hear the entire brass line in terms of balance and blend. You can hear section balance, and maybe if the brass line is condensed you can take in the full balance. In most cases you are looking at articulations, section balance and blend, timing, tonal production, demand and artistry of the book, etc. Now, I used to think the GE music judge took into consideration brass balance, and maybe they do, but their job is really much more broad in scope. They must take in the total music score (brass, battery, pit) and judge that based on its effectiveness in and of itself, its effectiveness with the visual program and the theme of the show, and then maybe if general balance issues pop up. No where in there is someone just judging the total brass line on their balance, and the same is true with battery and pit. Now in most cases the percussion field judge can get some assemblance of balance because the battery does not usuaslly get split up, but with many of the modern shows we are seeing the battery split and utilizing a lot of field. I'm sure someone has a better explanation for this, but I have also wondered where balance falls into the judging sheets. a GE judge will take into account balance if it affects the effects. and you couldnt judge percussion well upstairs in a dome. you'll lose the low end and readbility of the battery because of the brass and amps Link to comment Share on other sites More sharing options...
Jeff Ream Posted July 18, 2012 Share Posted July 18, 2012 The sheets are on DCi's page somewhere Link to comment Share on other sites More sharing options...
Kamarag Posted July 18, 2012 Share Posted July 18, 2012 (edited) And do not give me that, "It is too complicated, or that the youth have to perform on the field, stuff". There are plenty of undergrad music production students who would jump at gaining the experience of controling a sound board for live concerts on tour all around the nation. I will give that to you, and here's why: The sound engineer's job isn't just to tweak nobs. His job is to set up, maintain, and troubleshoot all facets of the sound system in addition to knob tweaking. The engineer must be able to recognize, identify, troubleshoot, and correct hardware and software issues that occur ON THE FLY. Engineers have to be intimately familiar with every single piece of equipment used, and that is not limited to the sound reinforcement gear itself. It also includes any musical instruments, both digital and acoustic, that may be present in the system. Now let's add to that the fact that there are almost no high schools that offer training in any of the above, and very few universities that offer "sound production" classes cover anywhere near the material needed to be truly successful. The courses you really need are only offered at working studios or trade schools (like Full Sail). There are seminar courses available, but they are costly (though well worth the expense). When you are able to find someone willing to do the job for a drum corps, he's going to have to study and measure the acoustics and sound production of the drum corps in question, use whatever gear the corps already has, much of which was probably mistakenly bought because the pit tech that "ran the board" for his indoor line bought thought he knew what he was doing but didn't. That leaves you with three options: 1. Hire a professional, or someone with solid professional experience. This costs money, and you're going to have to commit to letting him run things his way, using his mix. This is what World Class drum corps should be doing. You might luck out and have a trained engineer on your staff already, but it's not something you can count on. I am a trained sound engineer (got that training over several years in the army band), but I wasn't allowed anywhere near the board in 2009 or the first half of the 2010 season because the person who had been doing it refused to admit he was clueless. It wasn't until mid-2010 and the judges actually took issue with the set up that I was asked to help out. Even then, there was friction because he didn't like my mix (though the judges and audiences did). Even if you do luck out with a current staffer, make sure he understand live sound reinforcement, which is monumentally different with working a recording studio. 2. Find a trainee or apprentice. If you can find someone with some knowledge willing to tour for free, more power to you. This is the least likely option, and is very much a case of you get what you pay for. Finding one might be hard though, as they tend to actually have jobs with touring acts, even for minimal pay. 3. Train a member. This will also cost you money. You can identify a potentially competent corps member (or recruit one) and pay for his training. It will cost more than the due he's already paying, but that's the investment part. Even then, you get a minimally trained engineer with no practical experience who you are now asking to set up, maintain, and troubleshoot in an extremely compressed time-frame in one of the harshest environments there is (a touring drum corps). Oh yea, and run the board with no real sound check. Good luck with that. Edited July 18, 2012 by Kamarag 2 Link to comment Share on other sites More sharing options...
N.E. Brigand Posted July 19, 2012 Share Posted July 19, 2012 The sheets are on DCI's page somewhere. Here is the DCI News item explaining the system, which includes the Flash versions of the sheets. Liahona found printable pdf versions of the World Class sheets here. Link to comment Share on other sites More sharing options...
Jeff Ream Posted July 19, 2012 Share Posted July 19, 2012 Here is the DCI News item explaining the system, which includes the Flash versions of the sheets. Liahona found printable pdf versions of the World Class sheets here. thank you...i didnt have time to search Link to comment Share on other sites More sharing options...
N.E. Brigand Posted July 19, 2012 Share Posted July 19, 2012 Thank you... I didnt have time to search. My pleasure. I live to serve. And argue. Link to comment Share on other sites More sharing options...
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