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Sampled Old with New? Virtual duets with alumni?


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I think I have a cool idea for the electronics/effects/sampling (yes, I actually said that.) I just heard that 1990s Natalie and Nat King Cole "Unforgettable" where she sings with her dad's old recording - remixed - to make it a duet. What if a corps sampled some "classic" show recordings for looped hits, licks or solo fragments -- DJ Style? You COULD have similar "virtual duets" or hybrid ensembles that span decades. You could, technically, have members from those old shows "performing" in the new show. Thoughts of Chris Metzger squealing a "duet" with some 2016 Madison Scout? How about the classic 1980 Blue Devils' "Dindi" sop duet turned into a virtual quartet? With trombones you say? Sure. Whatever. Maybe the only issue is the rules committee working out the technicalities/time-shifted concept of "age out?" Copyright snags?

Edited by dannyboy
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I think I have a cool idea for the electronics/effects/sampling (yes, I actually said that.) I just heard that 1990s Natalie and Nat King Cole "Unforgettable" where she sings with her dad's old recording - remixed - to make it a duet. What if a corps sampled some "classic" show recordings for looped hits, licks or solo fragments -- DJ Style? You COULD have similar "virtual duets" or hybrid ensembles that span decades. You could, technically, have members from those old shows "performing" in the new show. Thoughts of Chris Metzger squealing a "duet" with some 2016 Madison Scout? How about the classic 1980 Blue Devils' "Dindi" sop duet turned into a virtual quartet? With trombones you say? Sure. Whatever. Maybe the only issue is the rules committee working out the technicalities/time-shifted concept of "age out?" Copyright snags?

This is a great idea, or at least it could be. However, there are three inherent and ginormous problems:

1. Getting the alumni (many of which haven't played in years) to match the performance level would be incredibly tough.

2. Unless one guy in the percussion is in the "pit" with a headset playing to the original and laying down the tempo, it isn't going to stay together.

3. And this is the most important. Matching the tone color and pitch of a current B-flat instrument (or F for our current mellophone players) to the long ago bugle lines in G? Well, good luck with that.

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This is a great idea, or at least it could be. However, there are three inherent and ginormous problems:

3. And this is the most important. Matching the tone color and pitch of a current B-flat instrument (or F for our current mellophone players) to the long ago bugle lines in G? Well, good luck with that.

Just grab a G bugle from the equipment closet. With the supposedly superior abilities of today's player's (vs the kids off the street from back then) they should have no problem!

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99% sure there is something in the rules saying you can't play sound clips that give time. To do it you would have to record the phrase as individuals and have a pit person play them on a soundboard. I know in WGI that's a rule.

Yeah, I'm pretty sure there's a one button = one sound rule, or something along those lines. Which makes me think (not to derail the thread, but...), how does Bluecoats' live sampling and looping during the electric counterpoint section fit into that rule? Doesn't that technically count as multiple sounds/ providing time?
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Just grab a G bugle from the equipment closet. With the supposedly superior abilities of today's player's (vs the kids off the street from back then) they should have no problem!

I would not envy the player that had to switch to a G horn, then back to their Bb/F horn in one show. Yeesh. Not a fun thought.
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