Andyroo Posted August 17, 2010 Share Posted August 17, 2010 HEY Andy....maybe if I decide to head to Scranton I will stop by Alumni practice say hi buy ya a beer and talk Drum Corps with a real DrumCorps Guy...no bull.......lol..if not soon ( kinda burnt on DC this week ) I guess im gettin soft...lol Great! Come by the practice and we can both harass your relatives. Unfortunately, I don't yet know where that practice will be, so I can't help you there. Looking forward to it.... Quote Link to comment Share on other sites More sharing options...
Brigscontrachik05 Posted August 17, 2010 Share Posted August 17, 2010 odd. i rarely have issues hearing pits at DCA shows, and at DCi this past weekend, I wishing I could hear the battery and brass over them What's odd? DCA pits manage to get the sound through no matter how loud they have to play it. YOU might be happy that you can hear it fine, and it might be fine to YOU, but from what I have gathered, it really sucks for the players to play their parts FFFF to be heard, and there is a lot of parts that do get lost in the ensemble anyway. But since I am a brass person, I guess you and I are just not looking for the same thing when we listen to a pit. And that's fine. But not odd. I absolutely agree, like I did mention in my post, and here is the quote: Although some pits are too loud now in DCI, that some DCI corps are over doing the amps and we are losing parts in the drums and brass. Quote Link to comment Share on other sites More sharing options...
Jami Posted August 17, 2010 Share Posted August 17, 2010 What's odd? DCA pits manage to get the sound through no matter how loud they have to play it. YOU might be happy that you can hear it fine, and it might be fine to YOU, but from what I have gathered, it really sucks for the players to play their parts FFFF to be heard, and there is a lot of parts that do get lost in the ensemble anyway. I've lost count of the amount of times where I was told to literally beat the keyboard to get our point across... and after 7 years of that, needless to say I'm much happier standing in front of the pit now than behind a keyboard - my wrists wouldn't be able to take it anymore. Quote Link to comment Share on other sites More sharing options...
BigW Posted August 17, 2010 Share Posted August 17, 2010 I've lost count of the amount of times where I was told to literally beat the keyboard to get our point across... and after 7 years of that, needless to say I'm much happier standing in front of the pit now than behind a keyboard - my wrists wouldn't be able to take it anymore. I can certainly see both sides of this. I know I've suggested using harder mallets to some bands in an effort to get their sound to carry better, and I've seen kelon bars pretty much mined up from having been whacked to death. Thinking about this in more depth, the Cabs this season are very careful to present opportunities for their pit to be heard and featured where they make sure the other sections aren't stepping on them, good show coordination and thoughtful planning of the program is evident in that aspect. Again, part of all those subtle things you have to do to have a successful effort given what strictures and limitations are in place. Also, if you're not careful, the amplified sound can sound rather 'cheap' for a lack of a better description, something happens to the fidelity that makes it sound like it's coming over a K-Mart speaker behind someone announcing a blue-light special. That's where I get upset..... Quote Link to comment Share on other sites More sharing options...
BigDale Posted August 17, 2010 Share Posted August 17, 2010 LOL, so, Dale- I guess you're an encourager rather than a discourager? snip Let's see, I learned to quickly memorize music (useless skill I guess, huh?) Learned to play across the ensemble (again must be useless)... developed a better tone quality.... ended up with 2 degrees... yeah, I guess Corps was a hindrance to my musicanship, LOL. I don't think I am a rare person. I did drum corps for the experience of traveling, learning about different kinds of music (my first great exposure to good classical music came from drum corps) and getting a good marching experience. I did it for the education. I was able to move up the ranks to more competitive units and really lived for retreat. I sat 1st tuba most all of my time in school and did community band service too. I think it is a great experience for kids, except for the expense. Corps should raise funds and lower fees, so that any kid that wants to can march. I share my experiences daily with my students. Besides, my Westshore jacket looks good out in front of the band. Quote Link to comment Share on other sites More sharing options...
JoeDz Posted August 17, 2010 Share Posted August 17, 2010 Agree with you Jami. Although some pits are too loud now in DCI, amps definitely keeps the pit players from breaking their wrists trying to match the powerful hornlines' volume. It's always been a complaint from my friends in the pit. They have to play wonderful parts as loud as possible and it's completely lost in the ensemble anyway. Some corps struggles with the balance, but amps do help pits to be heard while playing a reasonable volume. That's strange...... I have NO PROBLEM hearing the four Scout House glocks no matter where they are on the field. Their talented writers BALANCE the sounds. I also have no problem hearing the USMC 2-man pit. I also have no problem hearing the Cabs maracas.....or MSJ's tamborines Amplification is a convenient cover up. Write it RIGHT. Stage it RIGHT. When it's time for Park and Bark, send the pit out on a smoke break. Joe Quote Link to comment Share on other sites More sharing options...
JimF-LowBari Posted August 17, 2010 Share Posted August 17, 2010 (edited) That's strange...... I have NO PROBLEM hearing the four Scout House glocks no matter where they are on the field. Yeah, but even as a horn guy I can tell that the Scoot Hoose <$1 to two ex-Guelph Royalaires I met> glocks were build to project from the middle of a field. The bells being used today belong inside with an orchestra (and is not a Freudian slip either ). Edited August 17, 2010 by JimF-LowBari Quote Link to comment Share on other sites More sharing options...
LegalEagle50 Posted August 17, 2010 Share Posted August 17, 2010 That's great you have great hearing. There are very talented writers out there. You choose not to see that because you want things one way and one way only. Quote Link to comment Share on other sites More sharing options...
BigW Posted August 17, 2010 Share Posted August 17, 2010 Agreed on Scout House, but I'd think a glock being played with a copper-ended mallet will get more acoustic penetration than a marimba being played with even hard rubber mallets. I know from trying a glock with copper I'd be wearing earplugs- they'll make your ears ring and are borderline pushing the "threshold of pain" (there is such a thing) envelope for your hearing. Then again, those instruments were designed for outdoor use. It's been a sticky wicket using expensive mallet percussion instruments on the field unless one uses kelon or some kind of all-weather compound for the bars. Weather extremes mess up intonation unless you tune to the mallets, humidity or rain can damage the bars, which are expensive to replace, and you can't use harder mallets because you don't want to split or crack mahogany/whatever exotic hardwood they use bars. I do think careful musical arranging and thought can compensate and overcome those obstacles, and it can be done if one is willing to put the mental effort into it. It's far easier to just write what yah want and turn up an amp when it comes right down to it, and very convienient. Quote Link to comment Share on other sites More sharing options...
Jami Posted August 17, 2010 Share Posted August 17, 2010 I can certainly see both sides of this. I know I've suggested using harder mallets to some bands in an effort to get their sound to carry better, and I've seen kelon bars pretty much mined up from having been whacked to death.Thinking about this in more depth, the Cabs this season are very careful to present opportunities for their pit to be heard and featured where they make sure the other sections aren't stepping on them, good show coordination and thoughtful planning of the program is evident in that aspect. Again, part of all those subtle things you have to do to have a successful effort given what strictures and limitations are in place. Also, if you're not careful, the amplified sound can sound rather 'cheap' for a lack of a better description, something happens to the fidelity that makes it sound like it's coming over a K-Mart speaker behind someone announcing a blue-light special. That's where I get upset..... Harder mallets are great in appropriate spots, but it's just that - appropriate. A lot of times if a part is written in the lower register of a marimba, not only will harder mallets give off an awful & harsh sound, they will crack the keys easily. Amplification, like everything else in this activity, only works when done correctly. There's where the problem lies. Would I have been upset if i had to play on an amplified keyboard on tour? Nope - but only if it was done correctly. And will I be upset if amplication eventually makes its way to DCA for a front ensemble I'm teaching? Nope - but only if it's done correctly. And by correctly, I mean with proper blend and balance, being used to make a section more musical, and also prevent injuries like mine and others I've seen. Quote Link to comment Share on other sites More sharing options...
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