Was there use of electronics discussions in 85?

[drilltech1]

As a vibist, I feel fairly confident in stating that the use of resonator fans on a single vibes would make an imperceptible difference outside and would not change the tone quality of the sound.

But then, what do I know? I can't figure out why we need four vibes and five marimbas in every pit when we've got amplification, when we need bigger trucks for the haul and when legalized electronics can alter the sound of any percussion instrument to create any sound imaginable. It's something I've long referred to as the "arms race." Why does one corps, even on a restricted budget, need so many instruments? My opinion (which I reserve the right to be wrong) is, "Duh...because the next guys have it. We can't let them be the only ones."

And don't get me started about some corps removing the synthetic bars of the marimbas prior to contest performances and replacing them with genuine (and very expensive) rosewood bars. I believe I've got a pretty good ear and although I can easily tell the difference between synthetic bars and rosewood bars in a recital-like setting, the difference from more than two feet away in a stadium environment escapes me.

And while I'm ranting, (because it feels so good to finally get this off my chest), what's with the instructors having a triangle player do the repetitive waving in-and-out hand motion after striking a triangle to create a vibrato effect during the sound decay? Really? On a drum corps field? And what about the time I noticed someone bending over a vibes and doing a "waa-waa" reverb effect over the bar by rapidly opening and closing their mouth? Are you kidding me?

Okay...that felt kind of good.

Mike (calling for logic and sensibility on the field, knowing it will never happen) Boo

Thanks Mike for a straight-up answer, although it took a minute to realize that this was the serious Boo talking about something most serious from which he makes his living. As a non-percussionist, what you stated was clear, accessible, and didn't need a degree in drum speak to understand. Your ability to relate it to the financial situations which plague corps is also a nice touch. But I especially like that you can critique the reality of the situation beyond the "Back in my day" thinking which too often throws temper tantrums in the posts ("thunderous goo" and the like) which make a lot of heat but not a lot of light. Guess this is why they'll keep you around for another year.

You've got a birthday coming too, don't you. Maybe since we won't need all those extra equipment trucks for the pit equipment now they will give you one as a birthday gift to store all your articles, speeches, and the beginning of the Boo library.

Edited September 23, 2013 by drilltech1

[MikeD]

As a vibist, I feel fairly confident in stating that the use of resonator fans on a single vibes would make an imperceptible difference outside and would not change the tone quality of the sound.

But then, what do I know? I can't figure out why we need four vibes and five marimbas in every pit when we've got amplification, when we need bigger trucks for the haul and when legalized electronics can alter the sound of any percussion instrument to create any sound imaginable. It's something I've long referred to as the "arms race." Why does one corps, even on a restricted budget, need so many instruments? My opinion (which I reserve the right to be wrong) is, "Duh...because the next guys have it. We can't let them be the only ones."

And don't get me started about some corps removing the synthetic bars of the marimbas prior to contest performances and replacing them with genuine (and very expensive) rosewood bars. I believe I've got a pretty good ear and although I can easily tell the difference between synthetic bars and rosewood bars in a recital-like setting, the difference from more than two feet away in a stadium environment escapes me.

And while I'm ranting, (because it feels so good to finally get this off my chest), what's with the instructors having a triangle player do the repetitive waving in-and-out hand motion after striking a triangle to create a vibrato effect during the sound decay? Really? On a drum corps field? And what about the time I noticed someone bending over a vibes and doing a "waa-waa" reverb effect over the bar by rapidly opening and closing their mouth? Are you kidding me?

Okay...that felt kind of good.

Mike (calling for logic and sensibility on the field, knowing it will never happen) Boo

I think it goes back to the judging the sound by the visual that another thread brought up. If the player LOOKS like they are doing something 'musical', then it must BE something musical, therefore credit-worthy.

I have noted this before, but I judged percussion in the GSC in the mid/late 70's, and there were a number of timpani sections where the hand cranks were disabled. The players would be crankig like crazy, but the pitch never changed. When I made note of it on a tape or sheet, I would get comments from staf in critique that those comments were few and far between, as many old timer judges had no idea what pitch a timpani was playing, whether it was i tune or not, or if it changed as they cranked.

[Michael Boo]

Thanks Mike for a straight-up answer, although it took a minute to realize that this was the serious Boo talking about something most serious from which he makes his living.

I make a living from this? Someone forgot to tell me that.

As a non-percussionist, what you stated was clear, accessible, and didn't need a degree in drum speak to understand. Your ability to relate it to the financial situations which plague corps is also a nice touch. But I especially like that you can critique the reality of the situation beyond the "Back in my day" thinking which too often throws temper tantrums in the posts ("thunderous goo" and the like) which make a lot of heat but not a lot of light. Guess this is why they'll keep you around for another year.

Well, the off-season is still young, so I wouldn't yet jump to that conclusion.

You've got a birthday coming too, don't you. Maybe since we won't need all those extra equipment trucks for the pit equipment now they will give you one as a birthday gift to store all your articles, speeches, and the beginning of the Boo library.

Indeed a birthday is coming up, but all I'm expecting is a card from my insurance agent asking if my driver's license is expired.

[Michael Boo]

I think it goes back to the judging the sound by the visual that another thread brought up. If the player LOOKS like they are doing something 'musical', then it must BE something musical, therefore credit-worthy.

I have noted this before, but I judged percussion in the GSC in the mid/late 70's, and there were a number of timpani sections where the hand cranks were disabled. The players would be crankig like crazy, but the pitch never changed. When I made note of it on a tape or sheet, I would get comments from staf in critique that those comments were few and far between, as many old timer judges had no idea what pitch a timpani was playing, whether it was i tune or not, or if it changed as they cranked.

Uh...wow.

Ever notice the old Fred Sanford SCV timpani lines? They were changing pitches like crazy and they were always meticulously in tune.

[MikeD]

Uh...wow.

Ever notice the old Fred Sanford SCV timpani lines? They were changing pitches like crazy and they were always meticulously in tune.

Oh, absolutely. George Tuthill in Garfield also wrote a LOT of melodic timpani parts going back to 1970. In both of the GSC corps I taught in the mid/late 70's, I insisted on doing extensive ear training over the winter with the timpani line, because I liked to write that way too. One of the corps went to the World Open in 1976 to compete in the class 'B' prelims, and the GE percussion judge actually said on his tape that he felt our timpani line was the equal of ANY on the field, not just the class 'B' corps. The kids were really pumped to hear that.

OTOH...in the same corps, the director said, in earshot of the players, that he would 'trade the whole timpani line for a good rudimental bass drummer'.

[drilltech1]

I make a living from this? Someone forgot to tell me that.

Ya mean the Internet lies??!!!???!!! I thought it had to be true to be posted on the Internet, especially DCP.

http://drumcorpswiki.com/Michael_Boo

http://www.mostlymarimba.com/composers/composers-a-e/778.html?itemid=27

[Michael Boo]

Ya mean the Internet lies??!!!???!!! I thought it had to be true to be posted on the Internet, especially DCP.

http://drumcorpswiki.com/Michael_Boo

http://www.mostlymarimba.com/composers/composers-a-e/778.html?itemid=27

I had no idea the drumcorpswiki.com entry existed. (It's rather out-of-date, by the way. Should I send in some revisions?)

And the entry has been accessed over 2100 times? Geez...I'm not that interesting.

[Ghost]

Ya mean the Internet lies??!!!???!!! I thought it had to be true to be posted on the Internet, especially DCP.

http://drumcorpswiki.com/Michael_Boo

http://www.mostlymarimba.com/composers/composers-a-e/778.html?itemid=27

Now you've done it DT!

[sarnia sam]

but, of all the tunes to break the ice it had to be Alex F? I think that really set the stage for, 'we're running out of musical ideas here.'

Regards,

John

[N.E. Brigand]

It strikes me that the song was probably picked because BAC liked it rather than for its popularity: "Axel F" only reached its peak chart position on June 1, 1985,* presumably some while after they decided to use it in their show.

*FYI, the top ten that week were:

1. "Everything She Wants" (Wham!)

2. "Everybody Wants to Rule the World" (Tears for Fears)

3. "Axel F" (Harold Faltermeyer)

4. "Don't You Forget About Me" (Simple Minds)

5. "Suddenly" (Billy Ocean)

6. "Smooth Operator" (Sade)

7. "Heaven" (Brian Adams)

8. "Things Can Only Get Better" (Howard Jones)

9. "In My House" (Mary Jane Girls)

10. "Fresh" (Kool & the Gang)

According to CorpsReps, the only other song from that list ever to have been played by a corps is "Smooth Operator" in 1986 -- by Boston!