Too many amplifiers?

[C.Holland]

I think that its taken many years for them to learn to design and arrange for it. There's some problems still with it, but now we are at a point where they understand how to really utilize the tools.

Think about how some arrangements where when they added the third valve. Or valves in general.

[drumcorpsfever]

Seriously! If you go to a rock concert you know what you're getting yourself into. If I wanted a rock concert I would go to a rock concert. Give me a horn line that can blow the stands back on their own merits, than by one that is supplemented artificially. I think it's a cheap way out!

[Tenoris4Jazz]

What got the amps in originally was to allow the pit members to play the instruments the way they were intended to be played. Wailing with hard mallets on a marimba is not how it's supposed to be played, and the music usually never called for that either. Once the cat was out of the bag though...

[Jeff Ream]

To get the right projection you may need more. Designing for an enclosed NFL venue is a science

[drumcorpsfever]

Any credit that is given toward GE by the use of synthetic noisemakers should generally be subtracted from the musician side of the sheets. For special effects such as solos and other type of show specific needs, I get it. But when it is used over abundantly a corps should not benefit by the overwhelming use of it.

[oldbandguy]

I think some of you are making the false assumption that the "speakers" are simply to make it LOUD. That's not the case with most. I know with some the VOLUME controls are actually set much lower than the equipment could be throwing....but this has been discussed a few thousand times on here.

[jwillis35]

Seriously! If you go to a rock concert you know what you're getting yourself into. If I wanted a rock concert I would go to a rock concert. Give me a horn line that can blow the stands back on their own merits, than by one that is supplemented artificially. I think it's a cheap way out!

This is the reaction I often see. "It's a cheap way out," "it's not needed," "they're doing it mainly to amp the bass," "it's cheating," and on and on.

Sorry, but no. It's much more complex than this. I've heard Bluecoats, Crown, Cadets, SCV, etc. live. Unplugged their horn lines would be incredibly powerful, and their percussion sections are incredible. So why use electronics and amps, because there may be musical textures better suited for such technology. A muted solo will sound better mic'd and allow the soloist to add inflections not possible if unplugged. The same is true if they want to add an effect to the solo. Soloists featured way back field no longer have to blow their brains out to be heard. The Cavaliers put a euphonium soloist way back field this year, and also a few years ago, and there is NO WAY that would have been audible without the mic. A more musical approach, I'd say.

This notion that a "real" drum corps blows its brains out, plays loud all the time, and is filled with real men back when the sheep were nervous is full of potholes, old stereotypes, and an overblown revision of what the "good ole days" used to be like. Technology has made a lot of things possible, and in my opinion a lot of things better.

Yes, it has also caused some problems with finding the right balance in terms of what to use, and how and when to use it. Their are corps using WAY too much synth bass. It's a problem and hopefully that will tone down over time. But I'm willing to put up with some of these mistakes if it means we get all the colors and cool ideas that electronics can bring.

The activity is different now. It's still called drum & bugle corps, but that doesn't mean we ONLY get drums and brass on the field. The guard and pit have changed drastically over the years, and the scoring of visual programs and the overall general effect is often more critical to scoring than just being good at brass and drums. Cadets almost won both brass and drums last year and would have still ended up in 4th place. Now you can add electronics and amplification advancements. I kind of like it. It's new, cool, refreshing, and opening up the creative flood gates. I personally have NO desire to go back to 1970s drum corps, or the 80s. It's neat once in a while to see a throwback show, but if everyone did it I believe it would get old fast.

It's always better to let things advance, even if there are growing pains. If at some point things cycle around to a style similar to the 80s but with some added features, then so be it. But the process has to take us there, and that process should allow composers, drill writers, designers, and teachers to use the tools of the day.

Edited August 11, 2016 by jwillis35

[Cappybara]

This is the reaction I often see. "It's a cheap way out," "it's not needed," "they're doing it mainly to amp the bass," "it's cheating," and on and on.

Sorry, but no. It's much more complex than this. I've heard Bluecoats, Crown, Cadets, SCV, etc. live. Unplugged their horn lines would be incredibly powerful, and their percussion sections are incredible. So why use electronics and amps, because there may be musical textures better suited for such technology. A muted solo will sound better mic'd and allow the soloist to add inflections not possible if unplugged. The same is true if they want to add an effect to the solo. Soloists featured way back field no longer have to blow their brains out to be heard. The Cavaliers put a euphonium soloist way back field this year, and also a few years ago, and there is NO WAY that would have been audible without the mic. A more musical approach, I'd say.

This notion that a "real" drum corps blows its brains out, plays loud all the time, and is filled with real men back when the sheep were nervous is full of potholes, old stereotypes, and an overblown revision of what the "good ole days" used to be like. Technology has made a lot of things possible, and in my opinion a lot of things better.

Yes, it has also caused some problems with finding the right balance in terms of what to use, and how and when to use it. Their are corps using WAY too much synth bass. It's a problem and hopefully that will tone down over time. But I'm willing to put up with some of these mistakes if it means we get all the colors and cool ideas that electronics can bring.

The activity is different now. It's still called drum & bugle corps, but that doesn't mean we ONLY get drums and brass on the field. The guard and pit have changed drastically over the years, and the scoring of visual programs and the overall general effect is often more critical to scoring than just being good at brass and drums. Cadets almost won both brass and drums last year and would have still ended up in 4th place. Now you can add electronics and amplification advancements. I kind of like it. It's new, cool, refreshing, and opening up the creative flood gates. I personally have NO desire to go back to 1970s drum corps, or the 80s. It's neat once in a while to see a throwback show, but if everyone did it I believe it would get old fast.

It's always better to let things advance, even if there are growing pains. If at some point things cycle around to a style similar to the 80s but with some added features, then so be it. But the process has to take us there, and that process should allow composers, drill writers, designers, and teachers to use the tools of the day.

I'm fine with mic'd soloists. Any synthetic bass though, nope, you're never gonna convince that this adds "texture"

[Hrothgar15]

I'd be interested in looking into the process of getting a rules change proposal together for 2018 that disallows the use of synth in low registers.

[Tenoris4Jazz]

I'd be interested in looking into the process of getting a rules change proposal together for 2018 that disallows the use of synth in low registers.

First problem... how would you police that?