garfield Posted July 27, 2011 Share Posted July 27, 2011 So that's a tricky line to tread...not sure what the answer is. How would this be policed? How do we determine the "offensive sounds" versus "non-offensive sounds"? Who's the last word on that? Who do both the fans and the corps staff feel comfortable with in that position? An audience/corps audio liason...It's a pandora's box for sure. The answer - to start - is simple, and I'll quote Jeff Reams consistent and loud cry: JUDGE IT ON THE SHEETS That is all. 1 Quote Link to comment Share on other sites More sharing options...
ChiBoyinLA Posted July 27, 2011 Share Posted July 27, 2011 If all of that means that lots of the audience is getting an greatly inferior experience, then it's bad for the activity. THIS. Quote Link to comment Share on other sites More sharing options...
danielray Posted July 27, 2011 Share Posted July 27, 2011 JUDGE IT ON THE SHEETS Quote Link to comment Share on other sites More sharing options...
ChiBoyinLA Posted July 27, 2011 Share Posted July 27, 2011 Front ensemble technique with particular groups has changed dramatically with the use of amplification as has the mallet selection. BD's pit has the most beautiful touch on the instrument. This sound amplified is a very unique and fantastic sound that is only possible through amplification. As far as new members...Piano playing members now get an opportunity to experience the activity which may have been previously impossible if they did not play another instrument. The youth of today is more engaged with the electronics because that is a very natural sound to their ears as they have grown up with synths in all of their music. I am not saying there's swarms of new fans because of it, but to say that it has created NO new fans is negating an entire generation of future marching members that may be more excited about corps because of the advances in technology. In particular, this is an extremely exciting time for front ensembles across the country. So, to bring a couple dozen pianists into the activity, and give a few designers more toys to play with, we're degrading the audio experience of tens of thousands of fans, and increasing costs by thousands of dollars? Not a good trade off, IMHO. How have electronics benefited the other 130+ kids in each corps? 3 Quote Link to comment Share on other sites More sharing options...
garfield Posted July 27, 2011 Share Posted July 27, 2011 Another line on this, from a strictly personal perspective: I have been sitting in the "Prime Seats" for years and, while it's true that the volume diminishes up the stands, the relative level of goo doesn't diminish nearly as much. I'm gonna step out on a limb as a non-judge and suggest what they're hearing can't be too appealing to their ears either. They're just not responsible for judging it yet. Quote Link to comment Share on other sites More sharing options...
N.E. Brigand Posted July 27, 2011 Share Posted July 27, 2011 And IMO, if electronics have allowed us to do shows like Little Geoffrey, I say we're better off without them. I'd hate to be a young man or woman that worked that hard all summer and has to be embarrassed to show the video of what I did to my family and friends who aren't familiar with the activity. I'd be embarrassed to show that video off. And that's just one of many. Last summer I started a thread titled "Close-ups of Little Geoffrey? Would it be better not to show them?" because on a wide angle view, or live, he was much less obnoxious. So I'd say that he could show his family the high-cam video and be perfectly proud. Except that the high-cam DVD actually cuts to a close-up of L.G. at one point! (I think because he dropped a big toss and Cadets asked the video team to substitute a shot from quarterfinals or semifinals.) By the way, the response (#60) to that thread by Brutus explaining why Geoffrey failed as a character is absolutely superb. All that aside, including a character like Little Geoffrey would have been completely possible, and just as effective, or annoying, before electronics. I can't see that he had anything to do with them. Quote Link to comment Share on other sites More sharing options...
The Other Mike Posted July 27, 2011 Share Posted July 27, 2011 A&E in drum corps are ###backwads. Instead of taking a sound from a small stage and spreading it out across a large audience, drum corps takes a 100 yard stage and narrows the sound to a 60' box at the top of the stadium. Who in their right mind thought THIS was gonna work ? Idiots, they are all idiots It's simple, it SUCKS 2 Quote Link to comment Share on other sites More sharing options...
The Other Mike Posted July 27, 2011 Share Posted July 27, 2011 Another line on this, from a strictly personal perspective: I have been sitting in the "Prime Seats" for years Ohh you're friends with Jim ? Quote Link to comment Share on other sites More sharing options...
N.E. Brigand Posted July 27, 2011 Share Posted July 27, 2011 My only caveat with this: mandating this sort of "turn it down" approach is going to step on a lot of designers/arrangers toes. I'm sure no staff want someone giving them a decibel limit for a particular sound. It's the designers' choice how they want to present their material. The designers need to wear tougher boots. There are all sorts of limitations on what they can do, including a prohibition on woodwinds, a limit on the total number of performers, and rules concerning how long the show must be. However, while I disagree with you on almost every point, I do appreciate your attempts to follow up with thoughtful responses. 1 Quote Link to comment Share on other sites More sharing options...
mgarside83 Posted July 27, 2011 Share Posted July 27, 2011 Indeed. I don't understand this argument at all. Sythns were made popular in pop music and rock music in the 70's, and were abused in the 80's. But all of a sudden in 2005 we need it in drum corps.....really!?!? 2 Quote Link to comment Share on other sites More sharing options...
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