Is amplification a success?

[drumcat]

[Danpod]

I think it's been a success so far. I think we've had minimal amp malfunctions throughout the past three seasons and most importantly, no one has been chicken fried by using the equipment in saturated conditions.

[supersop]

Nope!! Although it's nice to hear the true sound of mallet percussion (using the right mallets and playing at the proper dynamics for the instrument), there's a huge disparity as to proper balance for the entire ensemble, mixing between voices within the pit and stray sounds from the field finding their way out of an amp.

I also hate seeing some sound tech/performer in the pit adjusting levels. If you play the proper dynamics and have the board set FLAT, you won't have issues. Just turn down the master and level everything off ....... or hit the power switch (that would be nice).

<**> <**> <**>

Edited February 5, 2007 by supersop

[SkyRyder_FMM]

I would disagree that there have not been major problems. Cadets had some major issues last summer, including problems in Finals that impacted the recordings. SCV had problems in Finals that negatively impacted the recordings. There have been balance issues numerous times. BAC had troubles in 04 at Championships. Each night, the amount of narration varied in direct proportion to the working status of the amps and mics. At the regionals last year, several corps had issues - from balance, to popping, to mics cutting in and out, to sound quality, to delays in setting up and tearing down, etc.

Has the quality of the performances improved measurably? In my opinion, not enough to justify the cost of the equipment and inconvenience of carrying them around all summer. In several instances, the quality of the performances has suffered. Finals performances have been ruined for me by overbearing amps for several corps over the past few years. I'd much rather we do away with them.

[Keith Laubhan]

I'd argue that it's been a success in that several groups have used it in ways that have benefitted their productions greatly, mainly Bluecoats 05 and Blue Devils 04, IMO. Between BD's train noises and udu drum, and Bluecoats log drums and tabla, I think a strong case can be made that amps can make instruments usable that wouldn't have been available to percussion arrangers previously.

I'd agree that some groups have used amplification poorly, too, but I think that the successes outweigh the failures, and I think as time goes by and groups figure them out, that amplification problems will be minimized.

[drumcat]

"The mind, like the hand, is colored by what it holds."

I waiver on this question myself. I think that with two exceptions (SCV 06, BK 04), instrumental amplification has been done well, and generally succeeds. It's added a lot.

If you separate the vocal amplification from the question, which I didn't on purpose, I'd say it's been a rather disappointing effort, "...for now, and forever more."

I would still like to think that someday there's hope to repeal vocals, but otherwise, I'd deem amplification as a qualified success.

[crashhelmi36]

Its hard to give a definitives yes or no. In my opinion, its been used very well (05 Bluecoats, for example), and very poorly (06 Cadets). Should the good uses of it cancel out the bad? No. Should the bad cancel out the good? Also, no.

However, I do think it's shown potential of being used well. I just think it needs to level out.

[Keith Laubhan]

In regards to vocal amplification, I have hope that it'll correct itself. I think popular opinion is that so far it's been less than effective as a design element... I'd guess that show designers and judges probably agree to some extent. Either the quality will improve, or will phase itself out without the necessity of being legistlated.

I base this on my perception of vocal narration in WGI percussion. There once was a time that many, many groups used vocal amplification in their productions, many of which were done poorly. Over time, it seems to me, the number of groups that use it as a design element has decreased, and the times it is used it's generally effective. This certainly isn't a qualified statement, but I've followed the activity for a long time, and I certainly think discretion by the show designers have improved the quality of narration over there.

[rut-roh]

In regards to vocal amplification, I have hope that it'll correct itself. I think popular opinion is that so far it's been less than effective as a design element... I'd guess that show designers and judges probably agree to some extent. Either the quality will improve, or will phase itself out without the necessity of being legistlated.

I base this on my perception of vocal narration in WGI percussion. There once was a time that many, many groups used vocal amplification in their productions, many of which were done poorly. Over time, it seems to me, the number of groups that use it as a design element has decreased, and the times it is used it's generally effective. This certainly isn't a qualified statement, but I've followed the activity for a long time, and I certainly think discretion by the show designers have improved the quality of narration over there.

I'll agree with this. Good points.

[audiodb]

It has been a dismal, repeating failure on several levels.

- Numerous corps have had amplification system failures that have marred their performances.

- Numerous corps have created severe ensemble imbalances at various stages of the season, including DCI division I finals.

- In acknowledgement of the rampant failures of the equipment, judges have been instructed to ignore all amp-related problems (not just malfunctions), yet reward amp-related effects, thus establishing the only aspect of drum corps competition ever given a "free pass".

- In the 2006 version of usage, corps have, for the first time ever, taken the audible result of the performance out of the hands of the perfomers and put it in the hands of a staff member at a mixing board, turning knobs and artificially shaping dynamics.

- The rule itself has proved unenforceable, as corps amplify field musicians without penalty, and now use equalization and other electronic effects not allowed per the rules simply because most mixing boards have those devices included.