marchinalong8 Posted February 6, 2007 Share Posted February 6, 2007 OOOOOOO mixed opinions. We got ourselves a good old-fashioned debate! I personally believe electronics used to amp pit instruments has been a success. A lot of people when they think amplification, they think Crown 04, or Cadets recently, but there have been many successful instances. Such as the train sounds in BD 04 and the awesome bell sounds in Vanguards ballad last year. Plus I believe it allows the pit percussion to be more expressive musically instead of slamming the keys, struggling to be heard by the masses. Whatever you may think just remember its to better the experience of the kids. Quote Link to comment Share on other sites More sharing options...
PR_ducky Posted February 7, 2007 Share Posted February 7, 2007 It wasn't really necessary. If it was true, then there would be a need for less people in the pit to play the necessary parts. Instead it has gotten bigger and there is now a need for a board operator. I am not saying amps are necessary, just saying they are necessary to keep up with the competition. I would much prefer to not have amps at all (or anything electronic for that matter. Quote Link to comment Share on other sites More sharing options...
sburstall Posted February 7, 2007 Share Posted February 7, 2007 I am not saying amps are necessary, just saying they are necessary to keep up with the competition. I would much prefer to not have amps at all (or anything electronic for that matter. And that's the rub of the issue. It's rarely about need, it's about Jonesing. Quote Link to comment Share on other sites More sharing options...
torn8o Posted February 7, 2007 Share Posted February 7, 2007 OOOOOOO mixed opinions. We got ourselves a good old-fashioned debate! I personally believe electronics used to amp pit instruments has been a success. A lot of people when they think amplification, they think Crown 04, or Cadets recently, but there have been many successful instances. Such as the train sounds in BD 04 and the awesome bell sounds in Vanguards ballad last year. Plus I believe it allows the pit percussion to be more expressive musically instead of slamming the keys, struggling to be heard by the masses. Whatever you may think just remember its to better the experience of the kids. Great post. Great points and well stated! I fully agree. Quote Link to comment Share on other sites More sharing options...
MikeD Posted February 7, 2007 Share Posted February 7, 2007 A lot of people when they think amplification, they think Crown 04, or Cadets recently, but there have been many successful instances. Yes, such as Crown 04 and Cadets recently. Quote Link to comment Share on other sites More sharing options...
corpsreps Posted February 7, 2007 Share Posted February 7, 2007 OOOOOOO mixed opinions. We got ourselves a good old-fashioned debate! I personally believe electronics used to amp pit instruments has been a success. A lot of people when they think amplification, they think Crown 04, or Cadets recently, but there have been many successful instances. Such as the train sounds in BD 04 and the awesome bell sounds in Vanguards ballad last year. Plus I believe it allows the pit percussion to be more expressive musically instead of slamming the keys, struggling to be heard by the masses. Whatever you may think just remember its to better the experience of the kids. While there is some success, the question is really whether it is really does make the experience better for the members. Having to haul around the equpment, find power at rehearsal facilities, practice under different conditions when power isn't available, deal with the weather complications, increased setup time when taking the fields, the need for sound checks, longer time loading the truck, the need for more helpers in getting on the field, the panic that results when you hook up the speakers and NOTHING comes out, the feeling of absolute terror when the system isn't working, the frustration when the sound operator forgets to turn on your mic - dealing with all of this so you can play keyboards during the loud musical moments rather than hitting cymbals, having the option to play steel drum or playing with a slightly less aggressive technique. There are advantages and I would say successes but I'm not sure it makes it a better experience for the kids, so if that's anyone's justification, they ought to think again. I know more than a few current members who'd be happier without the electronics and definitely don't want any more. Quote Link to comment Share on other sites More sharing options...
ChicagoFan Posted February 7, 2007 Share Posted February 7, 2007 (edited) It seems to me that part of the push for amplification has stemmed from an attempt to allow the inclusion into the drum corps ensemble instruments that were never designed or intended to be heard in a drum corps' native environment -- the football field. Bugles and drums were, traditionally, military instruments constructed to be used on the field of battle. They were, therefore, outdoor instruments. Even centuries later, with the advent of the artistically-inclined activity we now identify as drum corps, the primary instruments (drums and bugles -- now multi-key brass) are those capable of projecting their sound in an outdoor setting. However, once we started adding marimbas, temple blocks, rain sticks, finger cymbals, wind chimes and a whole host of other instruments not "native" to the outdoors, we began to run into problems. The only way such relatively delicate sounds can be heard in the cavernous confines of a football stadium is by some type of amplification. I certainly understand the desire of writers/arrangers to utilize a diverse palatte of timbres to achieve a nuanced, layered and colorful sound. And, to an extent, listeners have come to enjoy and appreciate the sonorous variety that results from the inclusion in the percussion ensemble of various non-traditional instruments. However, playing devil's advocate, I can't help but wonder if we've brought this controversy over amplification on ourselves by desiring to bring instruments to the field that really have no business being on the field in the first place. Since our venue of choice is the open air of an outdoor stadium, should not the tools of our medium of expression suit that particular venue? Edited February 7, 2007 by ChicagoFan Quote Link to comment Share on other sites More sharing options...
Hrothgar15 Posted February 7, 2007 Share Posted February 7, 2007 It seems to me that part of the push for amplification has stemmed from an attempt to allow the inclusion into the drum corps ensemble instruments that were never designed or intended to be heard in a drum corps' native environment -- the football field. Bugles and drums were, traditionally, military instruments constructed to be used on the field of battle. They were, therefore, outdoor instruments. Even centuries later, with the advent of the artistically-inclined activity we now identify as drum corps, the primary instruments (drums and bugles -- now multi-key brass) are those capable of projecting their sound in an outdoor environment. Now, when we started adding marimbas, temple blocks, rain sticks, finger cymbals, wind chimes and a whole host of other instruments not "native" to the outdoors, we began to run into problems. The only way such relatively delicate sounds can be heard in the cavernous confines of a football stadium is by some type of amplification.I certainly understand the desire of writers/arrangers to utilize a diverse palatte of timbres to achieve a nuanced, layered and colorful sound. And, to an extent, listeners have come to enjoy and appreciate the sonorous variety that results from the inclusion in the percussion ensemble of various non-traditional instruments. However, playing devil's advocate, I can't help but wonder if we've brought this controversy over amplification on ourselves by desiring to bring instruments to the field that really have no business being on the field in the first place. Since our venue of choice is the open air of an outdoor stadium, should not the tools of our medium of expression suit that particular venue? Quote Link to comment Share on other sites More sharing options...
MikeD Posted February 7, 2007 Share Posted February 7, 2007 I certainly understand the desire of writers/arrangers to utilize a diverse palatte of timbres to achieve a nuanced, layered and colorful sound. And, to an extent, listeners have come to enjoy and appreciate the sonorous variety that results from the inclusion in the percussion ensemble of various non-traditional instruments. However, playing devil's advocate, I can't help but wonder if we've brought this controversy over amplification on ourselves by desiring to bring instruments to the field that really have no business being on the field in the first place. Since our venue of choice is the open air of an outdoor stadium, should not the tools of our medium of expression suit that particular venue? Well, technology makes it feasible to incorporate instruments not usable in the past. Why NOT use them? If miccing an instrument makes it possible to use outdoors, then it becomes suitable to the outdoor venue. Quote Link to comment Share on other sites More sharing options...
Hrothgar15 Posted February 7, 2007 Share Posted February 7, 2007 (edited) Well, technology makes it feasible to incorporate instruments not usable in the past. Why NOT use them? If miccing an instrument makes it possible to use outdoors, then it becomes suitable to the outdoor venue. Technology also makes it feasible to incorporate instruments like electric guitars in a woodwind quintet. Why NOT use them? If miccing an instrument makes it possible to use in a woodwind quintet, then it becomes suitable to the woodwind quintet venue. So really, why leave them out? Oh wait! Because it's a woodwind quintet! Edited February 7, 2007 by Hrothgar15 Quote Link to comment Share on other sites More sharing options...
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