What would you think if...

[Old Corps Guy]

24 minutes ago, cfirwin3 said:

But that is only 30 points out of 100.  The sheet has 70 more points... With a portion out of 40 devoted to anything related to design and aesthetics.

DCI has never been merely a throw down of technical achievement (although fans tend to talk about it that way).

Likewise, you would know as a composer that there is a corner of music that deals in live music with medium.  Why couldn't the aesthetics of this artform be conveyed in drumcorps given the rules?

At the rate we are going, there will be three corps at the top within 0.5 points or less.  every one thousandth of a point means something.

[cfirwin3]

4 minutes ago, cixelsyd said:

Calling BS.  Your opinion on pure acoustic brass sound is already on record here:

 

What are you talking about?  I like it loud, I like it soft.  But I mostly like it done well... and I like to hear it when it is.

What words are you trying to put in my mouth?

Edited August 8, 2019 by cfirwin3

[cfirwin3]

4 minutes ago, Old Corps Guy said:

At the rate we are going, there will be three corps at the top within 0.5 points or less.  every one thousandth of a point means something.

Yes it means something... And not much of something.  But the good news is that there is a scoring category for everything and no one thing holds the show.

[Tommeee]

On 8/6/2019 at 10:13 AM, ftwdrummer said:

Point...

Why are we talking about "rumors of talking about how to do electronics right from previous Jannuals?"

We know that happened. They were very up-front about it. Particularly Michael Martin from Cavies, who was the one who proposed the rule to get rid of it. Damp Otter had a Field Pass about it at the time...don't have a chance to look it up right now because I'm at work and DCI's search function is non-ideal.

“Damp Otter”....   LOLLLLL!!!!!!!

[Eleran]

14 minutes ago, cfirwin3 said:

What are you talking about?  I like it loud, I like it soft.  But I mostly like it done well... and I like to hear it when it is.

What words are you trying to put in my mouth?

I believe you (possibly someone else) referenced a rehearsal comment to the mellos to not worry about volume because the mixer will handle that.  So, if on Friday night in Alabama the mellos perform  perfectly, at mp, and the mixer boosts their level all the way to the judges box, the judges might increase their score from 19.7 to 19.9 in Brass thanks to those marvelous mellos.   The next night, the mellos continue to perform excellently, but at mp not realizing that a fuse just blew on the mixer, and no one in the stadium hears it.  Under that scenario, on the night the lights went out in Georgia their Brass score SHOULD only be a 19.7 (all other things being equal). 

But does that actually happen?  It's not a "tic" penalty ... they just lacked the additive moment to boost their score from 19.7 to 19.9, but it seams that judges tend to not start at 0 on any given night and add to that, but instead start at the previous night's score (i.e. 19.9), even though they won't subtract from that when one of the great elements goes missing.

Edited August 8, 2019 by Eleran

[cixelsyd]

3 hours ago, PamahoNow said:

You mean the Bb horns?

That is another of many examples that fit my description (devices introduced as "options", later becoming the only option that scores with the judges).

The one I think is most timely is the use of amplification for brass soloists.  Looking at the 2019 field, one would think playing an unamplified solo is grounds for disqualification - because no matter what solo, where it is staged, what instrument plays it, where it resides in the range of the horn, how it balances with the ensemble... it must be amplified in some way.

[cfirwin3]

4 minutes ago, Eleran said:

I believe you (possibly someone else) referenced a rehearsal comment to the mellos to not worry about volume because the mixer will handle that.  So, if on Friday night in Alabama the mellos perform  perfectly, at mp, and the mixer boosts their level all the way to the judges box, the judges might increase their score from 19.7 to 19.9 in Brass thanks to those marvelous mellos.   The next night, the mellos continue to perform excellently, but at mp not realizing that a fuse just blew on the mixer, and no one in the stadium hears it.  Under that scenario, on the night the lights went out in Georgia their Brass score SHOULD only be a 19.7 (all other things being equal). 

But does that actually happen?  It's not a "tic" penalty ... they just lacked the additive moment to boost their score from 19.7 to 19.9, but it seams that judges tend to not start at 0 on any given night and add to that, but instead start at the previous night's score (i.e. 19.9), even though they won't subtract from that when one of the great elements goes missing.

That was someone else.

But also, you are giving way more weight to the issue in your hypothetical than it deserves.

So much of the fine nuance (like that being discussed with the mellophones) is ultra nitpicking.  A lot of that stuff has to be addressed over and over again before it gets fine tuned.

Again, people are thinking too hard about the points and what 'gets a point'.

These corps at the top could do the exact same thing twice for the same judges and get scored slightly differently (enough to change their placement)... depending on what aspects of the program (in their category) that the judge picks up on.  It has always been that way in tight races like this.

This doesn't defy inter-rater reliability because the margins and thresholds remain reasonably consistent.

It's often said that a .2 margin in a caption demonstrates competition.  These margins are tighter than that.

It doesn't matter who wins... apart from the title.

[MarimbaManiac]

1 hour ago, Eleran said:

No, not me ... just snarking again on the previous "every music is sound engineered these days" trope.

All music that you hear on a recording that is distributed today is engineered in some way. That's a fact. 

A vast majority of what you hear in a live performance, with limited exception, is also engineered in some way. That's also a fact. 

Not sure why this is even up for debate. Please provide examples of live or recorded music that doesn't fit into the above categories. The only main difference would be instrumental (symphony, opera, ballet, etc) music performed in concert hall. Though there, the room itself has been specially engineered to accomplish the same task, and even THEN amplification and equalization is becoming more prevalent, especially with the rise of the electroacoustic medium. 

[Old Corps Guy]

1 hour ago, cfirwin3 said:

Likewise, you would know as a composer that there is a corner of music that deals in live music with medium.  Why couldn't the aesthetics of this artform be conveyed in drumcorps given the rules?

And there is the reason for my topic previously mentioned.  "New Rule for the next conference"

[E3D]

Last night I had a few toooooooo many and dreamed this thread had 100 pages. 

I noticed that no one replied about how old the sound engineers are?