One n Done

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Everything posted by One n Done

  1. Apologies for any offense. I get a little displeased at the negative commentary from fellow fans who talk the talk without walking the walk. Especially when placements are down. The only ones truly in the know are those getting a check from YEA or wearing the uniform. I’m no insider or representative of the drum corps. Just someone with an objective view, despite having a keen interest in the corps. You too seem to be a committed fan. But, your frustrations aired here, in the manner you have, will do little good. In fact, they may do just the opposite. I hope you share your conc
  2. George, you seem to fancy yourself as quite the insider at the Cadets. As I’ve never met you, I highly doubt the “insights” you hint at and dangle here. The group is only funding at a “totally competitive level” if the goal was to simply assure a finals appearance. A comparison of IRS 990’s for the top 6 vs. the Cadets would show, in almost every case, a rather large gap. Money matters. Especially now with the top 12 as proficient and competitive as we’ve seen. If competitive success is a precursor to supporting the corps, you will likely be found wanting for the very near future
  3. It’s not a monarchy there anymore. Decisions aren’t made by the director alone. Not when it comes to money, staff, designers, etc...In addition, the current director is very hands off about the design process when compared with his predecessor. Something many here had been begging and pleading for the past several years. It’s been nothing but transition since ‘16, going back to the departure of Gino and Collin. Stability is as much in need right now as are a new drill writer and program coordinator. Despite all the group has been through, they are but 4 placements worse across a spa
  4. There are plenty of adults making money from the activity. Not unlike ultra competitive youth sports. The biggest winners in both are product and equipment manufacturers and retailers. No conspiracy. But it would be naive to think that money doesn’t play a part in the direction of the activity. I don’t think it’s anywhere near being the prime driver for A&E. I think groups want an edge, want to stay in sight of that edge, and yes....sound better. But, don’t think for a moment that money doesn’t matter. I somehow doubt that our corporate partners are in this solely as a result o
  5. At the time of the first audition camp there is little that can be shared about a show. The group will definitely have a new drill designer and possibly other new design staff. It may take a little time to hire these people. Even if this weren’t the case, there is very little that can be set in stone by November. A lot of listening and talk of concept has to take place, and then there’s the fun of securing rights to arrange music. February is more realistic for any sort of program “reveal” to potential members. First drafts of a movement or two may be in members hands by December or Janu
  6. Yeah, we got a few real “peaches” holding court in here don’t we? ✌️
  7. Not so sure it’s quite as black and white as your questions, Brigand. Certain people on here need things to be THIS or THAT, but life is more often shades of gray. I think teams are taking rules right to the edge with sound reinforcement. In a couple instances, they’ve actually crossed that line. Placements matter. Competitors always seek an edge. Do I think it’s NECESSARY to mic 30 odd brass players wirelessly? No. Does it violate a rule? No. Do I think it provides an advantage? Yes. Can all in the top 12, let alone the “have nots” well outside the top 12, afford this? No. S
  8. Not sure what you’re trying to convey with your response, besides a need to be contrary.
  9. You prove my point, somewhat. Ten years ago we began seeing and hearing the obvious amplification of full ensemble brass. We still have groups that consider amplification’s purpose as primarily boosting the front ensemble and generation of sound effects. The best, Bloo, uses amplification to enhance ALL voices in their ensemble as well as create staging possibilities that would be impossible otherwise. I don’t believe that either group you mentioned has the money, audio staff, or philosophy of use that the top 3 have.
  10. I had information that I trusted (and still do). Though I, like others, have had suspicions-I got confirmation from participants whom I do not doubt. It was a little shocking. Especially having recently heard that group. A group without field mics and one that was remarkably louder than it’s close competitors. I shared the information I was comfortable with. Naming such a group is not something I’d do, as there are kids on the field to consider. It’s the actions of the adults that I question and one that I wanted explored in the community. I felt the best way to generate discussion was
  11. Groups use tents for electronics in rehearsal and always have tarps at the ready as well for weather. Loading/unloading will beat anything up over time. More costs of playing this game of ours.
  12. As a refresher, the question of the post wasn’t whether or not amplification was a good or bad thing. I don’t believe anyone is wrong for liking what they like. The intention was more to get folks to consider obvious differences in audio engineering abilities and budget in a competitive setting. At points, I also tried to get people to consider what diverting limited resources might mean for groups and their members. There are more resources demanded than just that of money. All that sound equipment, on average, is unloaded , assembled, moved, disassembled, and loaded TWICE a day.
  13. Well.... It’s finals week and in a day this discussion has generated 30 pages. Trust me, those within the activity are aware of what happens on DCP. If nothing else, it definitely provides some “entertainment”. Change a rule? Yeah, no. If some earnest discussion here helps brings about questions and dialogue within the member corps about audio engineering...probably a good thing. This discussion has had its share of the expected snark and defensiveness one would expect. But, there has also been decent, respectful, well reasoned, and even technical talking points exchanged. Which i
  14. Time any 3 of the top 6 groups. You might be surprised with what you find.
  15. Ummmm, he was co caption head for one year only. 1995. Brass won the Ott, corps came in 2nd.
  16. Appreciate the feedback from all. Discussion was the goal here. My own feelings: 1. There are larger differences in sound design than most of us realize. 2. Much of the amplification DOES sound excellent and improve the audience experience. 3. It is very expensive to do sound design competently. Some groups already struggle with travel, nutrition, medical staff, and affording quality instruction. It concerns me that the latter items may suffer to afford the upgrade in electronics. 4. This IS a competition. Yes, the rules are the same for all...but few can fully mak
  17. That has already happened, and you wouldn’t know it from the stands.
  18. I don’t think many know how big the sound design discrepancies are just within the top 6.
  19. As yet, nobody seems too concerned that an advantage may OR may not be in play. I’m more interested in what fans think vs. who the hypothetical transgressor might be. There’s always been advantages to money. Design, instruction, etc... This may be different. Decibels, tempo, selectively amplifying portions of a group in what are thought to be full ensemble moments. Imagine the impact of having the advantage of projecting tempo to performers that is exactly what the group rehearses at and that accounts for discrepancies in staging/distance. There are maybe 3 groups that can afford the eq
  20. Both amplify the field, but not in the manner or extent “hypothetically” presented.
  21. If you note the absence of field mics and manner of “conducting” it’s sorta obvious. Hypothetically speaking. Maybe 3 groups can afford the “hypothetical” scenarios posited. They compete against a majority that cannot. Again, thoughts?