madscout96 Posted January 12, 2006 Share Posted January 12, 2006 Let them put a member behind the soundboard if they wanna waste somebody on that. (Although that would be the last thing I'd want to do all summer as a member of a DCI corps. Can you imagine telling your friends "I play soundboard for...") It's better than telling your friends "I played rolling sundial for... ", or "I was the pink elephant for... " :P Actually, with the corps that carry alternate members with them on tour, you could train a few of those kids to run sound. Maybe it's not what they're there to do, but actually having a positive impact on your corps' performance would be way better than standing on the sidelines doing nothing while watching your corps have a blast on the field every night. You could do that or you could have a member who is there strictly to run sound, and maybe knock off a real good chunk of his/her dues. Quote Link to comment Share on other sites More sharing options...
bawker Posted January 12, 2006 Share Posted January 12, 2006 (edited) I'd rather see a member be designated as "off-field sound guy" than see an instructor wipe the kids' noses for them. This way balance problems can be addressed, but the kids maintain their independence. I agree that's a solution, where corps could get recording technology majors (of DCI-legal age) to run sound. Certainly better than the staff idea. My stance basically comes down to the fact that I want the balance back on my CD's, however I can get it. Since 'no amps' isn't a possibility, I'll go with whatever option gives me the best recording. :P Edited January 12, 2006 by bawker Quote Link to comment Share on other sites More sharing options...
MikeBishop Posted January 12, 2006 Share Posted January 12, 2006 Most of you are missing the point on the first rule change. The point of the soundboard being off the field is so that the corps can achieve perfect balance in what ever environment it may be in, because the person working the board will be in front of the speakers and be able to hear the entire ensemble. For those of you who say it was balanced before amplification, you're wrong. Amplification was brought on to better balance front ensembles with the large brass and marching percussion sections they had to fight with for sound, and to not force the members to have to overplay and sacrafice technique for sound. The only way to get a true balance is from in front of the ensemble. If members cant cross the boundary lines, then a non-member must handle the board, which would probably make them a staff person. This staff person would have no communication with anyone. He/she would in of themselves be controlling the soundboard, and adjusting it so that the balance is perfect in whatever stadium the corps may be performing in. There's no staff member to staff member communication or coordination, nor staff member to corps member communication or coordination. I don't see a problem with the second rule, I don't know much about guard, but it makes sense to me. I think the third rule will pass, two feet isn't a big deal, it lines up with other circuits, and it accommodates to the size of growing front ensembles. Quote Link to comment Share on other sites More sharing options...
skajerk Posted January 12, 2006 Share Posted January 12, 2006 The only way to get a true balance is from in front of the ensemble. If members cant cross the boundary lines, then a non-member must handle the board, which would probably make them a staff person. I won't say what I'd really to say, so I'll ask this... Why wasn't this thought of before amps were legalized? I'd hate to think that it was and no one thought to mention it. Quote Link to comment Share on other sites More sharing options...
MikeBishop Posted January 12, 2006 Share Posted January 12, 2006 I won't say what I'd really to say, so I'll ask this...Why wasn't this thought of before amps were legalized? I'd hate to think that it was and no one thought to mention it. Good question. Quote Link to comment Share on other sites More sharing options...
bawker Posted January 12, 2006 Share Posted January 12, 2006 Why wasn't this thought of before amps were legalized? I'd hate to think that it was and no one thought to mention it. I'm sure we'll get the "it's still something we're experimenting with" line concerning this, if we ever were to get any official feedback on the subject. That's a cop-out, more or less. It's a good point in your post, though, concerning the equipment itself...with the technology being here now...for good... that it be handled at the same level as the rest of the performance. Otherwise, it's a disservice to the other members. Quote Link to comment Share on other sites More sharing options...
mistertoo Posted January 12, 2006 Share Posted January 12, 2006 (edited) . Edited July 14, 2006 by mistertoo Quote Link to comment Share on other sites More sharing options...
Lancerlady Posted January 12, 2006 Share Posted January 12, 2006 (edited) Most of you are missing the point on the first rule change.The point of the soundboard being off the field is so that the corps can achieve perfect balance in what ever environment it may be in, because the person working the board will be in front of the speakers and be able to hear the entire ensemble. I am getting the point. I hate to tell you this but having the sound board off the field is not going to achieve perfect balance in any environment. It's not where the sound board is located but who is running it. A good sound tech can run a board from anywhere and with the correct knowlege in any environment. And the enviornment issues I pointed out do contribute to the problems. As I recall they had some issues at the bigger shows last year for those very reasons. That's just basic Sound 101..have you ever taken a recording engineering class or studied live sound or run a sound board before? I have..and I'm just curious why you say that... Are they gonna run a chord all the way up from the seats? Are they gonna mix from the judges booth? :sshh: This really shouldn't even be an argument, there shouldn't be amps in drum corps period. We didn't need them for all those years to hear the front line and now we don't need them now over powering the horn line. That's why I won't buy the DVD's of today. It's just ridiculous to me. And I have run live sound before and do so now at my Church. And I have extensive knowledge of it since I was in the music business for years, and my husband was a sound tech for many years at Universal. Just a little fyi for those who want to attack my credibility instead of discussing the issues (before it gets started). Edited January 12, 2006 by Lancerlady Quote Link to comment Share on other sites More sharing options...
Slow Adam Posted January 12, 2006 Share Posted January 12, 2006 I volunteer to operate the soundboard. Be sure to turn the knobs all the way to the left okay? Quote Link to comment Share on other sites More sharing options...
MikeBishop Posted January 12, 2006 Share Posted January 12, 2006 I am getting the point.I hate to tell you this but having the sound board off the field is not going to achieve perfect balance in any environment. It's not where the sound board is located but who is running it. A good sound tech can run a board from anywhere and with the correct knowlege in any environment. And the enviornment issues I pointed out do contribute to the problems. As I recall they had some issues at the bigger shows last year for those very reasons. That's just basic Sound 101..have you ever taken a recording engineering class or studied live sound or run a sound board before? I have..and I'm just curious why you say that... Are they gonna run a chord all the way up from the seats? Are they gonna mix from the judges booth? :sshh: This really shouldn't even be an argument, there shouldn't be amps in drum corps period. We didn't need them for all those years to hear the front line and now we don't need them now over powering the horn line. That's why I won't buy the DVD's of today. It's just ridiculous to me. And I have run live sound before and do so now at my Church. And I have extensive knowledge of it since I was in the music business for years, and my husband was a sound tech for many years at Universal. Just a little fyi for those who want to attack my credibility instead of discussing the issues (before it gets started). Your points are valid, but so it mine. If the godo soundtech can't hear the whole ensemble, how can the good sound tech make any corrections? Quote Link to comment Share on other sites More sharing options...
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