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Showing content with the highest reputation on 12/08/2019 in all areas

  1. I’m so excited for next year. Who knows where they’ll place, but this should be a return to form for Phantom Regiment, and I can’t wait to see them. Hearing JD unleash the Buicks with some Mahler is going to be fun.
    3 points
  2. The pure sound of an acoustic mallet section is never inferior to the plastic sound of an electronically amplified / microphoned sound. Acoustic sound does not “suffer.” Any judge who thinks otherwise is just following the herd that’s created this tinny sound that seems like it’s coming out of a tunnel. It’s horrible.
    3 points
  3. my big problem is that A&E fundamentally changes the way we assess balance in an ensemble. when it was acoustic, you could say that certain sections or players within sections were out of balance with the ensemble as a whole. now, balance problems can be because disconnected or malfunctioning wires/mic placement/amp placement/soundboard incompetence, etc. where is the differentiated language in the rubric that addresses how these things impact scores? it shouldn't just be the same as it was back when it was acoustic only.
    1 point
  4. I agree. Bad = tinny, overmodulated, harsh, whatever. Good = nice sound, an enhancement rather than a distraction. The band Mike Davis worked with in NJ a few years ago.... saw them a few times at the USBands shows and they were, IMO, a good example of how to use electronics, especially for a smaller group. Never really heard any tinny, obtrusive, or "artificial" sounds from them. Especially the year or two when they used a cello in their show. 1) The young lady playing the cello was terrific, and 2) the miking was spot on.
    1 point
  5. I've heard excellent mic'ing and horrid mic'ing. If we are talking about terrible mic'ing jobs, yes, it sounds somewhat tinny and generally pretty awful. If it's done well, it supports the more complex parts that the front ensembles are playing now. For instance, 2010 PR was one of the tastiest front ensembles I've ever heard. But without amplification (granted it was little amplification compared to what is being done now respectively and may not even have been intended to amplify the pit considering the mic placement) I wouldn't have been able to hear them at all against the full ensemble. A
    1 point
  6. Yeah I don’t see how he’s been doing it for so long. I would’ve had to take a year off to maintain my sanity. I don’t think some people realize that drum corps has virtually no off season if you work for one of the top corps. It’s gotten to the point now where some staff have openly admitted they started planing for next year’s show before the prior summer tour was even over!
    1 point
  7. we ran around City island watching our dads rehearse
    1 point
  8. Considering less than 50 corps remain from the hundreds upon hundreds we used to have, it is hard to claim "just about everybody followed suit". Oh, the irony. You are the one always saying that judges can only judge what is presented, not what is absent. Now you let the truth slip out.
    1 point
  9. 1 point
  10. I’m not answering your question, and I’m sure you don’t need a snarky comment, but I can’t help myself. When “show designers” have to make YouTube videos to explain what we’re seeing......it sums up the state of modern drum corps.
    1 point
  11. Harloff is a beast! Avon’s still unloading the trucks from GN’s, and MH is modulating to Crown mode. He’s got a work ethic I can only dream about.
    1 point
  12. I miss this Corps! They weren't afraid to go their own way in regards to pit instrumentation. I found that refreshing. (But -- "old school" can still get my attention.)
    1 point
  13. based on some stuff i saw on social media, Surf had 200+ kids show up
    1 point
  14. I would bet an even larger amount of money that the Blue Coats will have no one to audition. Now, the Bluecoats, may.
    1 point
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