glory Posted January 23, 2012 Share Posted January 23, 2012 On top of both effect sheets both sides of sheet Repertoire-----and-----Performance ENGAGE THE AUDIENCE Rep. side To what extent does the realiza'on of repertoire, and conceptual aural vision, engage the audience through compelling impact, contour, shape, pace, development, etc. over jme? Performance side How effecjvely do the performers engage the audience through their excellence, communicajon skills, and emojonal commitment? Seriously? The sheets say this? Conceptual aural vision? Engage the audience through ... contour? How effectively do the performers engage the audience through ... communications skills? emotional commitment? Who comes up with this drivel? How possibly can anyone judge it? Conceptual aural vision? Emotional commitment? If this were a movie we'd laugh at it. HH 6 Quote Link to comment Share on other sites More sharing options...
KakkoiiOtaku Posted January 23, 2012 Share Posted January 23, 2012 Seriously? The sheets say this? Conceptual aural vision? Engage the audience through ... contour? How effectively do the performers engage the audience through ... communications skills? emotional commitment? Who comes up with this drivel? How possibly can anyone judge it? Conceptual aural vision? Emotional commitment? If this were a movie we'd laugh at it. HH 4 Quote Link to comment Share on other sites More sharing options...
soccerguy315 Posted January 23, 2012 Share Posted January 23, 2012 True story. Just last week I pulled out a DVD I hadn't played in a while. I'm listening/watching while doing something else and slightly distracted I think to myself: I don't remember the amps being that loud. The balance is off. Except this was the 2003 championship. A&E didn't start until 2004. It was accoustic imbalance I was hearing. Sometimes too much bass drum. Other times too much this or that. Just the age-old issue with balance - something I doubt these new guidelines can cure absolutely. HH I don't have any problems with performers being out of balance... "too much of section X" happens sometimes. But when all that has to be done to fix it is to turn a knob (as opposed to teaching 14 mellophones to play MF in that section instead of F), it is not acceptable to go through the entire show with "too much of section X". My ears are not nearly as good as the music judges and music staffs in DCI... but for some reason they accept obnoxiously loud amped instruments. Maybe it is a design choice... but then I always wonder who would design their show to be played completely out of balance? If I can hear it, I know the professionals can... Quote Link to comment Share on other sites More sharing options...
whitedawn Posted January 23, 2012 Share Posted January 23, 2012 Seriously? The sheets say this? Conceptual aural vision? Engage the audience through ... contour? How effectively do the performers engage the audience through ... communications skills? emotional commitment? Who comes up with this drivel? How possibly can anyone judge it? Conceptual aural vision? Emotional commitment? If this were a movie we'd laugh at it. I had the exact same reaction. What is this crap? I've always defended the more aesthetic elements of drum corps as things that the really great groups are able to pull off when the design and performance reach a certain level, but trying to quantify these incredibly high level ideas is a joke -- especially when half of the corps have ensemble problems in August. 3 Quote Link to comment Share on other sites More sharing options...
bluecoats88 Posted January 23, 2012 Share Posted January 23, 2012 soccerguy - the hornlines aren't miced so there is no way to adjust their volume by turning a knob as you say. you still have to get all the mellos to play softer if they are too loud in a section. Quote Link to comment Share on other sites More sharing options...
HowFarCanOurBodiesGo Posted January 23, 2012 Share Posted January 23, 2012 It was already on the old sheets (Balance and Blend). The new sheets will not change the judges' behavior one bit, let alone the people who think more amp (and synth) = better. From my standpoint, I'd like to hear a synth that doesn't just merely double the contra line on EVERY SINGLE NOTE, let alone bury it...synths aren't the problem, per se, it's the lack of creativity/musicality in using them. Here, let me direct you to the 2011 Crossmen production... Also, I feel like Troopers were one of the biggest perpetrators of this last season. The 'infinity chord' would have been much more impressive if it 1.) wasn't covered by synth and 2.) crescendo'd in some way, shape, or form. Quote Link to comment Share on other sites More sharing options...
Michael Boo Posted January 23, 2012 Author Share Posted January 23, 2012 Also, I feel like Troopers were one of the biggest perpetrators of this last season. The 'infinity chord' would have been much more impressive if it 1.) wasn't covered by synth and 2.) crescendo'd in some way, shape, or form. This just came up in another thread a few days ago. Please allow me to quote from my Quarterfinals blog on DCI.org. This is from an interview I had with a Troopers staff member in Allentown. Edgar Meyer's "Mama" is the signal that we've found our way home. This is where that LOOOOOOOONG and LOOOOUD chord resides. And, no, the chord is not supported that much by a synthesizer as many thought. I asked the staff about that and was told it is 99% pure horns, and while the synth is there, it is the choreographed staggered breathing of the horns that creates the effect. 1 Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted January 23, 2012 Share Posted January 23, 2012 I believe we will have to agree to disagree. I'll leave it at that. I'll be on Mike's side because my tick may not be the same as your tick. There was no golden standard of what a tick was or wasn't. it was as subjective if not worse than now 1 Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted January 23, 2012 Share Posted January 23, 2012 Seriously? The sheets say this? Conceptual aural vision? Engage the audience through ... contour? How effectively do the performers engage the audience through ... communications skills? emotional commitment? Who comes up with this drivel? How possibly can anyone judge it? Conceptual aural vision? Emotional commitment? If this were a movie we'd laugh at it. HH I dunno....WGI looks for some of those thingsand it works quite well there. Quote Link to comment Share on other sites More sharing options...
84BDsop Posted January 23, 2012 Share Posted January 23, 2012 Does this mean that a 17th place corps can have a better score in a caption than an 8th place corps? Ask 77 Oakland Crusaders.... Quote Link to comment Share on other sites More sharing options...
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