drumcat Posted December 11, 2007 Share Posted December 11, 2007 http://www.dci.org/rules/pdf/2008/08_sound...lementation.pdf If a corps elects to use amplification and a sound board, the operation of the sound board must be conducted solely by eligible marching members of the corps. Quote Link to comment Share on other sites More sharing options...
madscout96 Posted December 11, 2007 Share Posted December 11, 2007 I'd vote yes. Put the performance back in the hands of the members COMPLETELY. To those who argue "who would wanna pay $2,000 to mix a soundboard all summer?", good point. Directors could maybe charge significantly less for dues for the member who is brought on as the "sound person". If they want someone good, they'll probably have to. Membership limit is 150 now so the corps won't be missing out on as much money as they might have before. Quote Link to comment Share on other sites More sharing options...
drumcat Posted December 11, 2007 Author Share Posted December 11, 2007 I have HUGE problems with how they're manipulated during a show. I have no problem with setting them during warmup by staff. But playing with levels during a show is cheating in my mind. Quote Link to comment Share on other sites More sharing options...
ToferVis Posted December 11, 2007 Share Posted December 11, 2007 I have HUGE problems with how they're manipulated during a show. I have no problem with setting them during warmup by staff. But playing with levels during a show is cheating in my mind. agreed...ESPECIALLY with that rule of amped brass?!!!! "oh wait the trumpets are sticking way out of the ensemble *flips back volume on trumpets* = Score not reflecting the true performance. Quote Link to comment Share on other sites More sharing options...
84BDsop Posted December 11, 2007 Share Posted December 11, 2007 Since the mixing board directly affects the projection of the sound (especially up to the ensemble judges), whoever's behind he controls IS a part of teh performance unit and shoul dbe an actual member of teh corps...not a staffer...if they cabn;t control things properly, sucks to be them....just like if you're a sop player who can't get the idea of releasing properly or not overblowing... Quote Link to comment Share on other sites More sharing options...
cowtown Posted December 11, 2007 Share Posted December 11, 2007 A yes to this one, the mixers really blew it last year by often looking like homeless guys on the boards Always felt it was a cop to not have members on the mixers anyway – doubt they’d do a worse job than the current mixers Quote Link to comment Share on other sites More sharing options...
Lance Posted December 11, 2007 Share Posted December 11, 2007 If corps are going to use it, I want it to sound the best it possibly can. I voted for letting a staff member man the board. Quote Link to comment Share on other sites More sharing options...
MikeD Posted December 11, 2007 Share Posted December 11, 2007 It's not a good proposal. IMO the soundboard should be in the hands of those best able to handle it...staff off of the field... so that the members get the best chance to perform. I like the current rule. Quote Link to comment Share on other sites More sharing options...
DKracing Posted December 11, 2007 Share Posted December 11, 2007 (edited) Isn't usually a pit instructor who "mans the board"? I would think it'd be more beneficial for the members for the instructor to focus on the members' performance without having their attention split by the sound board responsibility. I still say no to the rule though, just thinkin... Edited December 11, 2007 by DKracing Quote Link to comment Share on other sites More sharing options...
MGCpimpOtimp Posted December 11, 2007 Share Posted December 11, 2007 I don't think any of you really know what the staff member does to "operate" the sounds board. I can speak for at least 6 of the top 12 front ensembles, because I've talked to their members about it. They all either hire a sound professional, or have a staff member go through the entire show, and set "scenes" For example, if letter A to B is a bunch of cymbal hits, turn the keyboard mix down, so you don't hear the cymbals through the mics. Letter B to C is a keyboard feature, they'll set the levels to balance properly. After they do this for as many different parts of the show that they want, the staff member simply hits the "next scene" button at the applicable time, and all the levels change accordingly. While the possibility for the tech to "Turn johnny's mic because he's dirting out a run" is there, it rarely, if ever happens. Even if it does, what's the difference between a member out front turning down that mic, and a staff member? To have a member on tour to just hit one button about 20 times a show is a freaking joke. Quote Link to comment Share on other sites More sharing options...
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