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Is there anything the pit CANNOT do?


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I didn't say there weren't differences between frames, mallets, keys, et cetera. I'm not sure where you got that from the text you quoted above. Different mallets for different circumstances ( such as a M172 versus an M184 for example) is a given and is based upon the performer and staff/teacher/instructor/composer, and something that most organizations aren't going to argue about buying more than one of.... Also, nothing to do with what I wrote. They're not part of the keyboards, you use them to play the keyboard... I wasn't talking about mallets that are inexpensive to have multiple varieties of...

Do you have proof that most organizations have multiple sets of keyboards laying around and the specialized knowledge of what to buy? That's not what I see from the majority of band directors who are not keyboard specialists, but maybe things are more flush in the Pacific Northwest than other parts of the country. Also, I never go that out of my pedagogy classes.

Which high schools or college groups do not care what types of keyboards are used? My experience is that high schools don't really have a ton of money to buy several different types of equipment based on environment. The larger colleges have more money to be picky, but my contacts at many smaller colleges do not have the luxury to have all the best toys for every environment, so they go with what is popular ( IE used by the expert percussionist in WGI/DCI and cost effective).

Do organizations have multiple sets of keyboards? Well, some bands have instruments that they do not bring outside so they do not get ruined. They may have 3 marimbas but only bring 2 outside. And some drum corps have multiple marimba keys (2 sets of rosewood or 1 acoustalon and 1 rosewood) that they switch these out for rehearsal and performance for the same reasons. But you're right that a school may be happy to just have a 20 year old marimba for their kids to play on.... if that... I imagine that such schools if given the opportunity to buy more equipment are looking for the most durable and cheap instrument available.

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Do organizations have multiple sets of keyboards? Well, some bands have instruments that they do not bring outside so they do not get ruined. They may have 3 marimbas but only bring 2 outside. And some drum corps have multiple marimba keys (2 sets of rosewood or 1 acoustalon and 1 rosewood) that they switch these out for rehearsal and performance for the same reasons. But you're right that a school may be happy to just have a 20 year old marimba for their kids to play on.... if that... I imagine that such schools if given the opportunity to buy more equipment are looking for the most durable and cheap instrument available.

I can't say that I disagree with this; thanks for providing me with some information to think about. It's why I come here. If money was no object, it would be great for the majority of schools and other programs to have all these wonderful tools, and it does get back to the fact that many can not, despite what is best for them or the quality of sound they produce. That's why it is great that these companies have stepped up to give us instruments that are flexible enough to be used in all these locations.

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We saw a number of bands at BOA Grand Nationals this past fall mike their better players. My question is where does one draw the line? We were standardized at four marimbas, and then a fifth marimba was launched over the bows of the other corps' equipment trucks and the Marimba Non-Proliferation Act of 2007 went right out the window. Would six be more impressive? It will happen given time. As for trained ears...yes, they will hear a difference, when no one else is playing and one is sitting within close proximity. I remember when Karen Ervin brought out her "A Marimba Recital" and played some pieces on Kelon and others on rosewood. There was a marked difference, but there was a place for the Kelon, which was much more ringing. It actually was quite haunting for a couple of the chorales she played.

Five marimbas opens a LOT of possibilities from a composition stand point. I still disagree with you that you can only tell the difference between rosewood and synthetic bars if you're close and no one else is playing.

The MICS are close to the keys though, so they amplify the sound you'd hear close to the keyboard. Like you said, Kelon and other synthetics ring a TON, rosewood is very dry. Definitely can tell a difference.

corps which can afford to replenish rosewood marimbas each season have a huge perceived advantage over corps which utilize kelon due to their needing to keep instruments in great shape over many seasons.

Do organizations have multiple sets of keyboards?

Any corps that uses rosewood has at least two sets of keys, one for rehearsal and one for shows. Some corps have rosewood practice keys, some use synthetic keys for practice. Rosewood bars can last a pretty long time if you take care of it correctly.

You have to be VERY cautious of moister and direct sunlight. This (along with the obvious) is a HUGE reason why pits always seek out shade. Sun/rain are the enemy. Smart groups will cover their keyboards in-between EVERY rep, and even leave part of the board covered if they don't use that section for the part they're rehearsing. Add on to this proper technique and mallet selection. Knowing that you can only get so much volume from a key, after a certain point (just like a horn) you're just distorting the sound.

I know of several corps (One for sure I was a member, the other on staff) that use the same set of show bars for at least 4 years. After that, the show bars become practice bars, where they last another 4 years. How many corps go 8 or even 4 years without getting a new horn line? What about drums?

To address some of the 'bar bashing" and other technique concerns. Drum corps is a visual activity. During loud sections, pits will exaggerate their heights to make it look like they're playing louder. Just because you see big heights, doesn't mean the players are necessarily hitting it as hard as they can at that height.

ALSO, I just want to get rid of this "concert" vs "drum corps" technique thing. There are PLENTY of world renowned marimba soloists (soloists, they play by themselves!) that play WAY harder with WAY harder mallets than drum corps. They also go through keys WAY faster.

Edited by MGCpimpOtimp
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And lastly 4'' casters are really small and NOT great for outdoor mobility. Most drum corps have 8 - 10 inch tires on their frames. Check the out the Cavies here and their massive tires. https://www.youtube.com/watch?v=10MUmwfDeeM

There are venues that REQUIRE air-filled tires as opposed to casters, unless you want the pit crew to pick up the instruments and carry them on the the field.

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Do organizations have multiple sets of keyboards? Well, some bands have instruments that they do not bring outside so they do not get ruined. They may have 3 marimbas but only bring 2 outside. And some drum corps have multiple marimba keys (2 sets of rosewood or 1 acoustalon and 1 rosewood) that they switch these out for rehearsal and performance for the same reasons. But you're right that a school may be happy to just have a 20 year old marimba for their kids to play on.... if that... I imagine that such schools if given the opportunity to buy more equipment are looking for the most durable and cheap instrument available.

It is my understanding that MANY of the WC corps do this method.

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There are venues that REQUIRE air-filled tires as opposed to casters, unless you want the pit crew to pick up the instruments and carry them on the the field.

I didn't think it was air-filled: I thought the venues required 'rubber' wheels. A lot of the castors on modern multi-frames (the type of frames that are generally built for marching band/winter percussion) are built to specifics of venue requirements and have rubber (or synthetic rubber) "wheel" around the caster

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I didn't think it was air-filled: I thought the venues required 'rubber' wheels. A lot of the castors on modern multi-frames (the type of frames that are generally built for marching band/winter percussion) are built to specifics of venue requirements and have rubber (or synthetic rubber) "wheel" around the caster

Oh, you may be right. We use air-filled wheels on our equipment, and I thought some of the venues mandated it. Maybe just 'rubber' is enough.

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To answer your question about pit sizes and the need for 4 vibes and 5 marimbas. Why would a choir arranger want any more than 1 soprano, 1 alto, 1 tenor, and 1 bass in their choir? Why in the drum corps do we have more than 1 instrument per part? Do you believe than amplified drum corps with 1 trumpet, 1 mello, 1 bari and 1 tuba would sound as rich as having 16 or more per part? (even though we could juice the amps of that 4 member hornline to be as loud as the full one)

The richness of the sound is the reason but richness does NOT have to do volume. No matter how we amplify a 1 marimba and 1 vibe ensemble it won't sound as rich as amplified 4 vibe, 5 marimba ensemble. That's not saying that a 4 person drum corps or choir won't also sound rich and beautiful. But its not the richness that we can appreciate in large outdoor settings not matter how amplified.

But you don't have to worry. I don't see drum corps reprising one of Musser's "Marimba Orchestras" any time soon.

Question - how many different parts do the marimbas & vibes play? Are there (for lack of a better term) 1stmarimba, 2nd marimba, 1st vibe, etc> Or do all the marimbas play 1 part & the vibes play another? Just a curiosity question from an old valve-rotor guy...

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Question - how many different parts do the marimbas & vibes play? Are there (for lack of a better term) 1stmarimba, 2nd marimba, 1st vibe, etc> Or do all the marimbas play 1 part & the vibes play another? Just a curiosity question from an old valve-rotor guy...

There are typically multiple parts for those, as you say. It wouldn't be uncommon to have

* 3 or 4 marimba parts

* 2 or 3 vibe parts

* maybe metallics (chimes & glockenspiel & crotales, though sometimes those are covered by marimba & vibe or auxiliary players)

* a xylo part or two (which, again, might be covered by marimba players)

I haven't looked at a WC full percussion score in awhile, so I'm not 100% sure/confident talking about specifics. What I said about is typical of mallet orchestration in marching band, which I see/write/teach annually. I would imagine DCI WC percussion orchestration is similar, possibly more dense than that (i.e. more than 4 marimba parts, more than 3 vibe parts, etc).

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There are typically multiple parts for those, as you say. It wouldn't be uncommon to have

* 3 or 4 marimba parts

* 2 or 3 vibe parts

* maybe metallics (chimes & glockenspiel & crotales, though sometimes those are covered by marimba & vibe or auxiliary players)

* a xylo part or two (which, again, might be covered by marimba players)

I haven't looked at a WC full percussion score in awhile, so I'm not 100% sure/confident talking about specifics. What I said about is typical of mallet orchestration in marching band, which I see/write/teach annually. I would imagine DCI WC percussion orchestration is similar, possibly more dense than that (i.e. more than 4 marimba parts, more than 3 vibe parts, etc).

It's actually a little bit thinner than that. Generally you try to always have a least 2 people playing a part, sans different harmonies/octaves.

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