shawn craig Posted June 10, 2009 Author Share Posted June 10, 2009 This. All of it.Maybe they can do like the early days of electric basses in HS bands and have a uniformed member follow the soloist around with a speaker on a cart. This would work for me as long as they keep the speaker facing backfeild. Quote Link to comment Share on other sites More sharing options...
roosevelt Posted June 10, 2009 Share Posted June 10, 2009 well you're one step ahead of some of those in DCI Well maybe. I actually think that a lot of groups use amplification very well. Typically, if I see them using amplification without noticing (i.e hearing) them using amplification and it all sounds good and balanced then I think it is being done well. The problem is I never figured out how to do it. I couldn't get all of the mics placed right to hear the balance of all the instruments within the front ensemble. I would always hear one instrument over another (too much xyloophone and not enough marimba) or one part of the instrument over the rest (i.e. the bars over the microphone would be to loud). Now, I know that all happened because I lacked the some of the equipment and nearly all of the knowledge on how to do that well. So I gave up. I would love to use amplification again if I had all of the equipment and a person that could teach me how to use it. Like I said earlier, I have not problem with amplification. I have a problem with it being used poorly... unfortunately, I think most groups dont do it well. Quote Link to comment Share on other sites More sharing options...
DoubleHighEZ Posted June 10, 2009 Share Posted June 10, 2009 What if staging sucks, for the soloist and are facing the backfield corner of the stadium? Fire the drill designer! Quote Link to comment Share on other sites More sharing options...
year1buick Posted June 10, 2009 Share Posted June 10, 2009 I'm not exactly sure how this whole loudness thing got into the converstaion. I was just using my friend as an example of a soloitst who didn't need to be mic'd. The example I was trying to use is it wouldn't be fair to him to mic other soloists that perhaps weren't as good as him. (89 corps vs. todays corps is a different topic but was defending 89 Phantom from someone who said they wouldn't be good enough to make finals today so we kinda got off point). However, I will take exception to one of your points here. Being able to project your sound while maintaining tone quality and such is part of what makes one soloists ability. Some are better at it than others. I didn't mean to imply that a soloist's ability to project sound wasn't a plus--just that the additional "over the hornline" statement comment seemed to be a bit much. Either way, I didn't understand how any of it had to do with quality of performance between then and now. (And how did that tie-in with amplification?) Quote Link to comment Share on other sites More sharing options...
summernowplease Posted June 15, 2009 Share Posted June 15, 2009 I wanted to take back a comment I made earlier. I saw brass amplification at a standstill preview performance this past weekend. It is actually a very cool and different sound. I had seen it once before in a rehearsal situation from up-close and was not a fan - in fact I hated it. It sounds much better from far away and is done very tastefully. If the soloist was not mic'd, it would be a completely different sound and I think that it complements the rest of what is happening in the show at the time very well. Just my opinion, but wanted to make it clear that it is possible for someone to like this being done. Quote Link to comment Share on other sites More sharing options...
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