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7 hours ago, Jeff Ream said:

the members have to propose it. despite many rampant conspiracy theories over the yers, directors arent help at gunpoint to vote a certain way

Nor did I say they were.  

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Only on DCP can you get references to The Crucible AND Caddyshack on the same thread.  I’m dead. 😂 

What would I think? The more I hear about this stuff, it impacts how impressed I am with what I'm hearing.  If what I'm hearing is mostly a talented soundboard guy and expensive equipment, then t

But that's just it ... I don't go to a live drum corps show in a stadium atmosphere to listen to musicians play virtuoso scales at mp as if they're in a practice room., just blasted loud through a spe

9 hours ago, MarimbaManiac said:

Yes I work in music technology, but I also have a Master's degree in composition in addition to my degree in music technology, and a PhD in composition and theory. I'm immersed in the instrumental music scene and go to tons of performances with orchestral instruments CONSTANTLY. Here's something you don't realize. The orchestras/opera are a very small part of the new music community. Why? Access to professional orchestras that are willing to play new music is ABYSMAL. They mostly stick to playing music by dead white guys, and leave very little room for living composers. 

So the vast majority of music composed and performed today is for chamber ensembles, small duos and trios, and mixed ensembles with electronics. Technology plays a huge role in the presentation of new music, whether or not you're willing to see that. 

And again, I contend that your's is but ONE experience within the world of modern music.  So for an alternate view, I asked a fairly young (45) composer today whom I know somewhat, who also happens to have a Masters in Composition (from Juliard), though alas no PhD.    You may have heard of him - John Mackey (played by at least one drum corps every year over the last decade, and probably by the majority if not all of DCI's young musicians at one point or another).

Question:   "What are your feelings towards amplification and sound engineering of your compositions?  Are they better off being played acoustically?  Are they improved by A&E?"

Answer:  "I don't want (or typically need) amplification unless specified (such as a human voice singing with a wind ensemble)"

Question: "How about balancing and engineering to correct for the venue?  Worthwhile or too artificial?"

Answer:  "Worth it for recordings but I wouldn't mess with the natural acoustics.  They do this at some conventions and it rarely helps."

I have never questioned your expertise in sound engineering.  I have only questioned your blanket statements that sound engineering is a fait accompli in the entire music world.  It may be the be-all, end-all in your particular music scene, and maybe you don't like Mackey's work, but as a living modern composer his opinions and experiences are at least as valid as your own.


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Sooo...  a wind band composer, whose pieces are played in the same kind of (or same exact) venues as orchestras, with nearly identical instrumentation (basically an orchestra without strings +sax), having the same view that I have conceded many times earlier as an almost identical ensemble in an almost identical space. 

You're right, that's completely different. Compelling argument. 

I think the real revelation here is that you're so hyped to try and prove me wrong on any point that you'd harass John on twitter. 

You sir, are a ridiculous human. Hats off to you for officially letting go of reason. 



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Exactly the sort of response I expected from you.   "The entire music world does it ... Well, the entire music world minus orchestras and operas, but they just play dead white guys not modern music ... Well, not all modern music, because wind ensembles are just as bad as orchestras."   Let us know when the "entire music world doing it" is reduced to you and your three drinking buddies.

So you know him well, to refer to him as John?  


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At every point, I've said that it depends on the group, the rep, and and venue. 

Wind ensembles are very similar ensembles that play largely in the same venues as orchestras, with the same acoustical advantages that come with those venues. If that's not clear to you, then I can't exactly help you. Sometimes logic isn't a skill that can be taught or explained, especially when someone is being willfully blind. 

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Most wind ensembles are playing in High School auditoriums - what acoustical advantages?  But you go ahead and keep up with the personal attacks, because that will continue to make you feel superior, even when you're wrong.

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no idea what's going on in this thread, but wind music outside of the US is a huge deal, not something isolated to hs auditoriums.

the person who said that new music is usually only performed on a smaller scale is right. big symphonies and orchestras play stuff by living composers much, much, much more infrequently than by dead composers, most of whom are white men.  you have to go to chamber performances to hear newer stuff.  

back to non-insulting conversation.  

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5 hours ago, cixelsyd said:

Well, it is intuitively obvious that ANY recording has "passed through the filter of a sound engineer".

based on your two word answer, one wouldn't know you know that.


specifics matter

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