Eleran Posted August 6, 2019 Share Posted August 6, 2019 Just now, One n Done said: 2. Much of the amplification DOES sound excellent and improve the audience experience. That's a subjective assessment, and one with which not everyone agrees. 3 Quote Link to comment Share on other sites More sharing options...
xandandl Posted August 6, 2019 Share Posted August 6, 2019 2 minutes ago, Tenoris4Jazz said: You had a contest halted because the stadium wouldn't allow props on the field, which resulted in the remaining units being unable to march their shows. So now it doesn't matter how many great MM's we have, if we can't roll out the off-Broadway stage equipment, we don't have a show. You won't see me again. I'm just here to put flowers on the grave. Bye. Yes, DCI is now all about the designers. The blazes with the mms it seems. 3 Quote Link to comment Share on other sites More sharing options...
garfield Posted August 6, 2019 Share Posted August 6, 2019 5 minutes ago, Tenoris4Jazz said: You had a contest halted because the stadium wouldn't allow props on the field, which resulted in the remaining units being unable to march their shows. So now it doesn't matter how many great MM's we have, if we can't roll out the off-Broadway stage equipment, we don't have a show. You won't see me again. I'm just here to put flowers on the grave. Bye. I've admittedly been distracted from the activity this year, but did this actually happen? I seem to have missed the "No Props" story. Quote Link to comment Share on other sites More sharing options...
Eleran Posted August 6, 2019 Share Posted August 6, 2019 1 minute ago, garfield said: I've admittedly been distracted from the activity this year, but did this actually happen? I seem to have missed the "No Props" story. Chester, PA. And at MetLife, Bluecoats were allowed to stop their show in the middle of some rain in order to wipe-down their props (and potentially protect their electronics) for a few minutes, then restart their show from where they left off. Quote Link to comment Share on other sites More sharing options...
Glenn426 Posted August 6, 2019 Share Posted August 6, 2019 11 minutes ago, jwillis35 said: I get what you're saying, but I do not see 70 or 80 wireless mics on anyone's brass line. There may be cases where small ensembles are mic'd, but I have not seen any corps using 30 or more mics on their brass. It's the staging that allows these corps to perform and sound different than in the past...not to mention better overall talent and better brass instrument. And most of what we see in terms of field mics are for FLO or for DCI recordings. IDK, I will double check all this, but I simply do not see that many field wireless mics with the exception of solos or small ensembles. I have not verified this, but the technology does exist to have mics that are not seen to catch and "reinforce" existing sounds without having a mic in front of the bell. https://www.dpamicrophones.com/bodyworn-microphones You do this on every voice in the ensemble and you soon could have an electronic blend that lays right on top of the acoustic blend coming off the field.. 1 Quote Link to comment Share on other sites More sharing options...
gak27 Posted August 6, 2019 Share Posted August 6, 2019 13 minutes ago, One n Done said: Appreciate the feedback from all. Discussion was the goal here. My own feelings: 1. There are larger differences in sound design than most of us realize. 2. Much of the amplification DOES sound excellent and improve the audience experience. 3. It is very expensive to do sound design competently. Some groups already struggle with travel, nutrition, medical staff, and affording quality instruction. It concerns me that the latter items may suffer to afford the upgrade in electronics. 4. This IS a competition. Yes, the rules are the same for all...but few can fully make use of them. If numbers and rankings played NO part in the activity, I suppose I wouldn’t be concerned. But we do assign numbers, and in an already very subjective system of evaluation, amplification influences listeners more than we may know. Sounds like the theme for a show...or a book...oh, wait... 1 Quote Link to comment Share on other sites More sharing options...
Glenn426 Posted August 6, 2019 Share Posted August 6, 2019 (edited) Just found this, It might have been linked already but it was plain for everyone to see that this was coming in 2018.. Aaron Beck. as seen in the video above and below is at the forefront of this technology and bringing about Sound Reinforcement to DCI. He is from Cirque Du Soleil and he has been in Bluecoats staff since 2016. It all makes sense now being that 2016 was when Bluecoats' sound launched into the stratosphere above all other corps.. Edited August 6, 2019 by Glenn426 1 Quote Link to comment Share on other sites More sharing options...
exitmusic Posted August 6, 2019 Share Posted August 6, 2019 Bluecoats make it sound the most natural. Their mixing guys are great. BD makes it sound the least natural. They sound like a #### CD blasted through speakers. Really disappointing, IMO. 3 Quote Link to comment Share on other sites More sharing options...
xandandl Posted August 6, 2019 Share Posted August 6, 2019 18 minutes ago, garfield said: I've admittedly been distracted from the activity this year, but did this actually happen? I seem to have missed the "No Props" story. What Eleran said plus the reason the Denver regional contest was nixed but for home Blue Knights. Both field conditions, some weather conditions, but stadium staff objecting to size and movement of props. It will have to be addressed further in the off season DCI meetings. WGI already addressed insurance and size issues. Now DCI has more complexities. 1 Quote Link to comment Share on other sites More sharing options...
trumpetcam Posted August 6, 2019 Share Posted August 6, 2019 (edited) I would assume everyone can see the corps using in ear monitors now? There are several since 2015.. Bluecoats started this years ago, even before Downside Up. BTW, suggesting someone is using a met is an ridiculous statement. If someone was using a met, it would blow up the ensemble timing since one group would have perfect time and the rest would still be reliant on field time and space.That makes NO SENSE. Thats just crazy talk if you know anything about timing on a. football field. LOL. In ears, BTW, are a perfectly legal way to allow designers to place soloists wherever they want on (or off) the field and for the music team to be able to have them play in time without trying to reinvent the wheel. As someone who plays professionally for a living, this is a good thing!! I'm sure brass guys would prefer not having players 100 yards apart, but if they designers are going to do it, then by all means, we should be using the technology available to help them achieve it. It's not cheating, btw. It's using technology to elevate the activity and move it forward. And I don't care how good of a teacher you are, if visual folks want total freedom, then music folks have to make it work somehow. IMHO, the loud speakers and goo are way worse than kid(s) using in-ears to help hear time from the pit when they are 60 yards away. But that's just me.. I don't care how they do it. Whether its a magic show, Cirque or DCI. Im more concerned with the entertainment than the man behind the curtain. It's still a game and if you choose not to play it, don't complain. Edited August 6, 2019 by trumpetcam 6 Quote Link to comment Share on other sites More sharing options...
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