Would it kill you to play soft?

[cfirwin3]

10 hours ago, Fred Windish said:

The use of electronics is not only growing, but threatens the entire complexion of the activity. We have fields full of the best young musicians of the world and here we are pushing their natural and personal achievements in the direction of the artificial.

 

I ran up to Rochester, NY on July 4th to catch the RPO fireworks spectacular.  In spite of the group being one of the finest in its class, and in spite of my 20-ish yard proximity to the group on the bridge... They HAD to be mic'd in that venue.  This isn't pushing instrumentalists into the artificial... it is pushing venues in to the manageable.

These field solists have never sounded more artful in their natural tone than they do today.  It used to be that soloists had to be belting it or would have to be completely isolated.  Now we can have performance studio quality technique with accompaniment on a ballad.

I'm not complaining.

[2000Cadet]

Personally, I wouldn't mind some softness building up to a powerful hit. Perhaps that's the reason why some people aren't getting up on their feet as someone is complaining about in the "Has the Audience Culture Changed" thread. I see nothing wrong with some variety in sound. 

[CrownBariDad]

3 hours ago, Tommeee said:

I agree, mostly.  Maybe I'm just just not noticing the really good stuff.  

Can some folks point out some concrete examples (from this year) where there are effective and noticeable dynamic changes?  I legitimately want to know where to listen, so I can appreciate those specific moments.  

Listen to the end of "The 20th Century Fox Mambo" in PC's show (this year).  It comes after the shout chorus -- there's a loud held chord, then the tag:  first drums/pit, then add brass little by little until back loud again for the end. 

[RedJazz1900]

 I will first and foremost admit that I have not read this entire thread. However, while I do agree with your comment at some times with some corps, I do feel like the majority of corps are still utilizing a wide dynamic range. Heck, I was watching the Troopers on Saturday night, and was extremely impressed with their dynamics during their ballad, “Both Sides Now”.

 I would beg the question of if the issue is a dynamic issue, or more of a texture issue when it comes to the true integration of electronics.

[cixelsyd]

1 hour ago, cfirwin3 said:

These field solists have never sounded more artful in their natural tone than they do today.

Really?  I hardly ever hear "natural tone" from a soloist today.  Every brass solo is amplified, as if penalties up to disqualification apply for those who do not amplify.  Every ballad solo has added reverb.  Mics mounted on horns yield bizarre distortions of tone (especially for euphoniums).  Some are amplified so much (i.e. Bluecoats lip-slur guy) that you can hear the alveoli expand and contract.

[Jeff Ream]

10 hours ago, CrownBariDad said:

After all these years of face peeling comments here on DCP, and when the Corps oblige, now you want soft???

you win the internet

[cfirwin3]

1 hour ago, cixelsyd said:

Really?  I hardly ever hear "natural tone" from a soloist today.  Every brass solo is amplified, as if penalties up to disqualification apply for those who do not amplify.  Every ballad solo has added reverb.  Mics mounted on horns yield bizarre distortions of tone (especially for euphoniums).  Some are amplified so much (i.e. Bluecoats lip-slur guy) that you can hear the alveoli expand and contract.

Meaning you get to hear him play the horn rather than hear him blast the horn... i.e. the natural tone of the instruments.

[seen-it-all]

Just now, cfirwin3 said:

Meaning you get to hear him play the horn rather than hear him blast the horn... i.e. the natural tone of the instruments.

So all those great soloists from the past who were not mic'd were simply blasting?? No natural tone in there anywhere? 

[cfirwin3]

6 minutes ago, seen-it-all said:

So all those great soloists from the past who were not mic'd were simply blasting?? No natural tone in there anywhere? 

Go back and read my original point.  I said they either were playing out or they had to be isolated.  In the past, in order to hear a soloist on a ballad, they would cut the field instrumentation and the soloist would have to play mostly alone or with the front ensemble.  Sometimes you could turn some of the field ensemble back field... but these are all limited options.  And you would still be essentially too far for the player to actually play soft.

It's an irrefutable restriction in this activity.

Edited July 24, 2018 by cfirwin3

[N.E. Brigand]

9 hours ago, George Dixon said:

So - yes, more soft moments needed. More actual songs with beginning middle and end also needed

Along with softness the trend of playing 16 or so songs in 10 minutes is become a bit much - it's like musical arrangement by warring blender

Meanwhile judges are awarding these behaviors and telling other corps to "turn it up" (meaning the brass line or the amp) and "we've got this musical thought, move onto the next" which happens in about 30 seconds of a song starting

Nicely put.