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Why amplify solos?


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Can someone please give me a good reason why solos are amplified now? Is it the Bb horns? The lack of producing a quality sound while projecting? I really don't get it.

At the DeKalb show the Blue Devils had a soloist who stood on the sideline for about 80% of the show and played into a mic almost the whole show. He did have a short solo off mic, and sounded great.

The Cadets and PR both had solos not amplified and there was no problem hearing them @ all. In fact the PR trumpet soloist had a huge sound.

I think if you told any 93 BD soloist that in 20 years the solos would use mics, they'd laugh in your face. Thoughts??

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There are more timbres and tones than the sound you get from wailing your brains out to project over the rest of a hornline. Amplification on solos exists right now so those mellower tones are maximized. If it were a question solely of volume, then any good ensemble can play quiet enough to allow a soloist to come out.

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I heard the Cascades last night with their soloists using microphones. I must say that it was awful. It did not leave a good taste in my ears.

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As I posted in another thread, I think BD's flugel solo has a lot of nuances that would be totally lost to the back rows w/o amplification.

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Can someone please give me a good reason why solos are amplified now? Is it the Bb horns? The lack of producing a quality sound while projecting? I really don't get it.

At the DeKalb show the Blue Devils had a soloist who stood on the sideline for about 80% of the show and played into a mic almost the whole show. He did have a short solo off mic, and sounded great.

The Cadets and PR both had solos not amplified and there was no problem hearing them @ all. In fact the PR trumpet soloist had a huge sound.

I think if you told any 93 BD soloist that in 20 years the solos would use mics, they'd laugh in your face. Thoughts??

If you were at the show and you heard the way the amplification was used, did you really need to ask the question here? Or is this just your way of saying you don't like it?

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I heard it amplified and not amplified @ the same show by the same corps. To me, there is no need to do it. Why amp a solo if when he walks to the other 40 he isn't amplified? And yes, I don't like it @ all.Also, check out Glassmen for umamp'd flugal solos in the mid 00's. Worked pretty well for them & a top 5 finish to boot.

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Can someone please give me a good reason why solos are amplified now? Is it the Bb horns? The lack of producing a quality sound while projecting? I really don't get it.

At the DeKalb show the Blue Devils had a soloist who stood on the sideline for about 80% of the show and played into a mic almost the whole show. He did have a short solo off mic, and sounded great.

The Cadets and PR both had solos not amplified and there was no problem hearing them @ all. In fact the PR trumpet soloist had a huge sound.

I think if you told any 93 BD soloist that in 20 years the solos would use mics, they'd laugh in your face. Thoughts??

And that PR trumpet soloist is a petite female no less! :)

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Because it's allowed.

Why is it allowed? Here's the rule change proposal complete with tons of ellipses courtesy of Hop:

----

PURPOSE: (Why make this change-what are the benefits?)

Being able to amplify soloists and small groups will allow for a more interesting presentation from time to time. Perhaps staging can be adjusted ... perhaps a small group can play over top of a beautiful pit feature ... or perhaps a soloist can WAIL over top of a jazz throw-down without being buried inside the ensemble sound.

We have seen the advantage of the front ensemble sound being amplified, and now that the fear of full horn line reinforcement seems to pass, this addition will give to design teams the chance to be a bit more creative in their overall presentation.

CREATIVE IMPACT: (How does this affect the creative aspects of the activity? How does this affect designers/instructors?)

As noted, I think there will be an opportunity for small groups and soloists to take an expanded role in the ensemble. This will allow for staging variation, voicing variations, and who knows what else. Another tool....

AUDIENCE IMPACT: (How will this affect our audience and their perceptions of the activity?)

Well ... it would depend. The avid traditionalist will not be pleased.

The younger attendee, who has a different view of the possibility of the activity would be thrilled I think, to hear a trumpet solo over top of a screaming solo, or to hear the quality of a quartet as they stand at the back corner of the field.

Great presentations equal great response ... 90% of the time.

JUDGING IMPACT: (How does this impact the adjudication process and individual judge?)

None ... they judge what they hear and see.

Edited by skywhopper
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