j.morgus Posted August 18, 2009 Share Posted August 18, 2009 maybe I should rephrase... what I was trying to say is, I'm sure anyone who marched in a corps that used electronics/amplification can tell a story about a show they performed when the electronics/amplification didn't work as it was supposed to, at some point in the season. I appologize for picking on your post, as for the most part we are in agreement on this topic. The wording that you used did strike a nerve, though. The powers that be in this activity insist on defining what is done here as "Marching Music's Major League", but more and more of the 'music' is being performed by an increasingly more important section that by no stretch of the immagination could be considered to "march". Not to say that we shouldn't have sideline percussion, but lets call things what they are. Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted August 18, 2009 Share Posted August 18, 2009 What does this have to do with his statement?Simply put, before amplification was allowed, pit members had to slam and ram on their keys, in ways that ARE NOT USED in the orchestral setting, and may have caused some kids to potentially shy away from the drum corps "higher, louder, faster" mentality. With amplification, pit percussion members can now play as if they are truly in the concert hall, without worrying about playing in ways that are potentially damaging to their technique. yet the cavies produced such warm sounds without beating the #### out of the keyboards. i remember being at the top of Ralph Wilson Stadium in 2001 and being mesmerized by the pit sounds. Plus, IMO, few pits have stopped beating the crap out of the boards. they just switched to different mallets to do so. 1 Quote Link to comment Share on other sites More sharing options...
kickhaltsforlife Posted August 18, 2009 Share Posted August 18, 2009 OKay some pits are way to loud... but no one, and I mean NO ONE can say that pits aren't more musical than they ever have been... I mean we are trying to make music, on a football field, in a concert hall, WHO THE #### CARES WHERE... we are trying to make music... pit amplification is a blessing... it was always painful hearing cling, clang, crap, from the pit... the problem isn't the amps... its the corps staff who don't know how to use them... and honestly, it's not really a problem anymore... the most problem is at the beginning of the season where people are still getting balance down all together... and everyone was thrown a loop at LOS... that place has acoustics no one has experienced before... and there is nothing you can do at that point of the season, it is a tedious process getting those volumes right. Synths...boo for corps doubling brass and bass parts... including my own corps... big big BOOOOOOOOO. Most my show was pointless to play.... any other effects added by the synths.. cool... don't really have a problem with it... but doubling brass parts BOOOOOOOOOOOOOOOOOOOOOOOOOOOO! Quote Link to comment Share on other sites More sharing options...
MikeD Posted August 18, 2009 Share Posted August 18, 2009 or not. i was against amplification of the pit because i predicted what it would lead to.and we're 95% of the way there Good...only 5% more to go. It's been great overall. Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted August 18, 2009 Share Posted August 18, 2009 I believe it has. No longer do we hear mallet lines sledging away at their instruments solely with hard yarn, cord, rubber, or brass mallets on fragile rosewood keyboards.I understand that some front ensembles still play with force and articulation. However, amplification allows them to do so with proper piston and/or musser-stevens technique that will not damage their instruments or produce a harsh, brash tone. i'll agree on mallet selection. however aggressive playing is still there. the big issue is the sound guys. they supposedly communicate with people up top, but field level is the worst place to work balance Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted August 18, 2009 Share Posted August 18, 2009 OKay some pits are way to loud... but no one, and I mean NO ONE can say that pits aren't more musical than they ever have been... I mean we are trying to make music, on a football field, in a concert hall, WHO THE #### CARES WHERE... we are trying to make music... pit amplification is a blessing... it was always painful hearing cling, clang, crap, from the pit... the problem isn't the amps... its the corps staff who don't know how to use them... and honestly, it's not really a problem anymore... the most problem is at the beginning of the season where people are still getting balance down all together... and everyone was thrown a loop at LOS... that place has acoustics no one has experienced before... and there is nothing you can do at that point of the season, it is a tedious process getting those volumes right. Synths...boo for corps doubling brass and bass parts... including my own corps... big big BOOOOOOOOO. Most my show was pointless to play.... any other effects added by the synths.. cool... don't really have a problem with it... but doubling brass parts BOOOOOOOOOOOOOOOOOOOOOOOOOOOO! sorry man, but there were issues...HUGE issues...a week before finals. yet those issues got 19's in ensemble music Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted August 18, 2009 Share Posted August 18, 2009 Good...only 5% more to go. It's been great overall. you can keep thinking that Mike. will you hear your beloved woodwinds inside the Echo Dome? Quote Link to comment Share on other sites More sharing options...
do.it.up. Posted August 18, 2009 Share Posted August 18, 2009 yet the cavies produced such warm sounds without beating the #### out of the keyboards. i remember being at the top of Ralph Wilson Stadium in 2001 and being mesmerized by the pit sounds.Plus, IMO, few pits have stopped beating the crap out of the boards. they just switched to different mallets to do so. Which can make all the difference both in tone quality and instrument condition. And I disagree, I believe the stroke technique of mallet players post-amplification has evolved drastically. Even the music has changed. Lush ripple rolls that would otherwise be lost without amplification can now be heard. So can the deadstrokes that were used in shows such as BD '09 and Crown '08. Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted August 18, 2009 Share Posted August 18, 2009 Which can make all the difference both in tone quality and instrument condition.And I disagree, I believe the stroke technique of mallet players post-amplification has evolved drastically. Even the music has changed. Lush ripple rolls that would otherwise be lost without amplification can now be heard. So can the deadstrokes that were used in shows such as BD '09 and Crown '08. funny i could hear dead strokes before amps. I even cleaned a few in DCA. But we can agree to disagree. even with the technique, the real issue is the sound guys. Quote Link to comment Share on other sites More sharing options...
kickhaltsforlife Posted August 18, 2009 Share Posted August 18, 2009 sorry man, but there were issues...HUGE issues...a week before finals. yet those issues got 19's in ensemble music I'm gonna call this year a step back, honestly. I think some corps were crank some volumes for the synths... therefore everything gets boosted... I wish I could have seen more shows outdoors... #### DCI.... side note... i feel like sometimes I shouldn't even comment on the shows I've only seen indoors... cause honestly, this activity sucks indoors... I just don't enjoy drum corps inside... I can never get into the shows... i feel like ugh... just sad... i look up and want to cry. :worthy: :worthy: :worthy: okay mini rant done. Quote Link to comment Share on other sites More sharing options...
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