TRacer Posted July 21, 2014 Share Posted July 21, 2014 I echo the sentiments of a few here: not all disco was bad. Do a little dance make a little love Get Down tonight [The Tom Moulton Mix version is especially good with the extended instrumental] I also got to march under Bobby Hoffman for one season after he left the Bridgemen; he was definitely an outside the box thinker. Quote Link to comment Share on other sites More sharing options...
GUARDLING Posted July 21, 2014 Share Posted July 21, 2014 (edited) I don't really care who started certain things, but the thing that more bothers me is that a lot of what you mentioned have seemed to become "compulsories" in a show. Oh, there's the hornline swiveling their hips, doing pseudo-dance moves, lying on the ground for no reason whatsoever (and looking quite silly doing it). Oh here's the out-of-nowhere-without-much-relation-to-the-music brass runs.. up, down, up down, yay we can do chromatic or easy major scales (usually while standing still) fast, cool right? Solo or Duo guard members doing their own dance routines apart from everyone else to try and convey some "story" that I won't get out of the show anyway, check. Where's the vocals/narrator/synth patch sounds, I know they're coming at some point.. oh there they are, check. you mean kinda like, the age of fast geometric drill, the compulsory company front, the park and bark solo or duet or a trio of screamers, the 50 yard line file for the guard OH and the mandatory flag block EVERYONE did...lol..not that it wasn't cool Edited July 21, 2014 by GUARDLING 1 Quote Link to comment Share on other sites More sharing options...
GUARDLING Posted July 21, 2014 Share Posted July 21, 2014 (edited) I echo the sentiments of a few here: not all disco was bad. Do a little dance make a little love Get Down tonight [The Tom Moulton Mix version is especially good with the extended instrumental] I also got to march under Bobby Hoffman for one season after he left the Bridgemen; he was definitely an outside the box thinker. he sure was ( Bobby ) I got to march under him also BUT also got to work as a young instructor with him.. Unbelievable to put it mildly. I also remember ( UGH ) some great Disco years..lol....fun fun....lol Edited July 21, 2014 by GUARDLING Quote Link to comment Share on other sites More sharing options...
charlie1223 Posted July 21, 2014 Share Posted July 21, 2014 (edited) If the mission statement of DCI is education, then why not? Why not give that student an opportunity to work with a sound designer and be the person that makes it happen? They do in some cases. To me, paying to perform in a DCI corps seems acceptable, but paying to operate the sound board for the corps doesn't. I don't know why I feel that way but it would feel like they were taking advantage of the kid who got chosen to do sound. I would think that you would feel the same way if you are also work in sound engineering. Edited July 21, 2014 by charlie1223 Quote Link to comment Share on other sites More sharing options...
charlie1223 Posted July 21, 2014 Share Posted July 21, 2014 (edited) I don't really care who started certain things, but the thing that more bothers me is that a lot of what you mentioned have seemed to become "compulsories" in a show. Oh, there's the hornline swiveling their hips, doing pseudo-dance moves, lying on the ground for no reason whatsoever (and looking quite silly doing it). Oh here's the out-of-nowhere-without-much-relation-to-the-music brass runs.. up, down, up down, yay we can do chromatic or easy major scales (usually while standing still) fast, cool right? Solo or Duo guard members doing their own dance routines apart from everyone else to try and convey some "story" that I won't get out of the show anyway, check. Where's the vocals/narrator/synth patch sounds, I know they're coming at some point.. oh there they are, check. The nature of dancing and art is compulsory. And I'm not sure what would have to occur programmatically that would make you feel those elements weren't compulsory. I'm sure that if we looked at some of your favorite shows we could analyze how compulsory certain elements were for the time period it was in. Edited July 21, 2014 by charlie1223 Quote Link to comment Share on other sites More sharing options...
C.Holland Posted July 21, 2014 Share Posted July 21, 2014 I get paid for it now, and won't operate it for free at this point in time. But in college, students rarely get the opportunity to mix an ensemble like these are, and you rarely get to work with a sound designer and full ensemble at the same time. UC Irvine, NYU Tisch, NC School Arts, Purdue U, and hundreds of other schools have audio programs that would be good places to get students from. Many of their students go on to film and broadway, but rarely have a portfolio piece like this would provide. If they went to work at many of the summer theatre programs, their living conditions kind of stink, and they tend to get stuck doing lots of menial tasks. Here they would get a way better opportunity. Quote Link to comment Share on other sites More sharing options...
luv4corps Posted July 21, 2014 Share Posted July 21, 2014 (edited) Edit: I predict that this topic will be re-packaged and rehashed many more times as it rages on in perpetuity. All the while, there will still be narration and thunderous goo.... and dancing. And I will still buy a ticket. Edited July 21, 2014 by luv4corps 2 Quote Link to comment Share on other sites More sharing options...
geluf Posted July 21, 2014 Share Posted July 21, 2014 (edited) I predict that this topic will be re-packaged and rehashed in perpetuity. And while the argument ensues, there will still be narration and thunderous goo.... and dancing. I will still buy a ticket. This is about the only constant in the world. Drum Corps Is Dying Thread #49234 Edited July 21, 2014 by geluf 1 Quote Link to comment Share on other sites More sharing options...
charlie1223 Posted July 21, 2014 Share Posted July 21, 2014 (edited) I get paid for it now, and won't operate it for free at this point in time. But in college, students rarely get the opportunity to mix an ensemble like these are, and you rarely get to work with a sound designer and full ensemble at the same time. UC Irvine, NYU Tisch, NC School Arts, Purdue U, and hundreds of other schools have audio programs that would be good places to get students from. Many of their students go on to film and broadway, but rarely have a portfolio piece like this would provide. If they went to work at many of the summer theatre programs, their living conditions kind of stink, and they tend to get stuck doing lots of menial tasks. Here they would get a way better opportunity. For what it's worth if DCI decided to make it rule that the sound board operator (who's main job would be to change scenes during a show) had to be someone under 22 years old I wouldn't object. But I don't think they should have to pay for the opportunity and it should at the very least be an internship position. That said I think the designer or corps staffer should still be the one in the stands adjusting live levels of the front ensemble/synth to provide the correct and desired balance. Edited July 21, 2014 by charlie1223 Quote Link to comment Share on other sites More sharing options...
Cappybara Posted July 21, 2014 Share Posted July 21, 2014 I don't really care who started certain things, but the thing that more bothers me is that a lot of what you mentioned have seemed to become "compulsories" in a show. Oh, there's the hornline swiveling their hips, doing pseudo-dance moves, lying on the ground for no reason whatsoever (and looking quite silly doing it). Oh here's the out-of-nowhere-without-much-relation-to-the-music brass runs.. up, down, up down, yay we can do chromatic or easy major scales (usually while standing still) fast, cool right? Solo or Duo guard members doing their own dance routines apart from everyone else to try and convey some "story" that I won't get out of the show anyway, check. Where's the vocals/narrator/synth patch sounds, I know they're coming at some point.. oh there they are, check. Uhhh there seems to be quite a few compulsory things back then too. I could dissect all the shows from the 80s and 90s down to a boring formula just as well as I could for the 21st century. Actually, I think shows from the 80s and 90s are a lot more formulaic. Quote Link to comment Share on other sites More sharing options...
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