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Post by boafan14 on Dec 28, 2019 20:51:29 GMT -6
Just wanted to see what some of y'all think lol. I personally don't think it's that big of a deal, but excessive usage of them is a pushing it imo.
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Post by Samuel Culper on Dec 28, 2019 22:17:58 GMT -6
Is it against the rules?
There's your answer.
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Post by thewho on Dec 28, 2019 22:21:22 GMT -6
I largely was opposed to it in the beginning due to it being something that'd cause the playing field to be even more lopsided because of costs. I'm okay with it now, as the price of microphones have largely decreased to an affordable cost for pretty much most competitive corps-style band programs. (Still a status symbol for me personally)
As far as effect goes, how bands utilize shotgun mics doesn't really matter as long as it is effective. I think for smaller programs it is an indispensable tool to get their performance (music, visual) aspects of their shows to the judges much more effectively. There's still the case where a band like Bourbon County just outplays everyone else in the (national) Class A field, but I've always found myself surprised at how proficient some of the Class A bands are after the use of shotgun mics. Lawrence Township or O'Fallon, as examples separate from Class A, worked well with shotgun mics by appropriately highlighting their musical abilities with those mics and still played big moments that would've not required shotgun mics well (i.e. big hits, etc.).
However, I do have to say that I feel there is a massive value in how much a top band can match their amplitudes with literal physical response. It's worth saying that I think top half of GN Finals (wasn't able to see bottom half) all had awesome shows but the only thing I remember is how much Vandegrift and Carmel literally shook my bones when the other bands didn't. Anyone who knows me knows I have bad ears in general, so I'm fairly sensitive to when a band is or isn't amplified. It bothers me when what I'm hearing isn't matching the actual physics of the soundwaves from the band hitting my body. I'm certainly not going to knock anyone down for my personal preference... just that I don't think bands aren't maxing out that phenomenon that well at all.
In the end, it's not cheating for me. Shotgun mics offer more to the activity than it doesn't and programs should be wise to understand the benefits and disadvantages of it.
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Post by boafan14 on Dec 28, 2019 23:52:58 GMT -6
I largely was opposed to it in the beginning due to it being something that'd cause the playing field to be even more lopsided because of costs. I'm okay with it now, as the price of microphones have largely decreased to an affordable cost for pretty much most competitive corps-style band programs. (Still a status symbol for me personally) As far as effect goes, how bands utilize shotgun mics doesn't really matter as long as it is effective. I think for smaller programs it is an indispensable tool to get their performance (music, visual) aspects of their shows to the judges much more effectively. There's still the case where a band like Bourbon County just outplays everyone else in the (national) Class A field, but I've always found myself surprised at how proficient some of the Class A bands are after the use of shotgun mics. Lawrence Township or O'Fallon, for examples, worked well with shotgun mics by appropriately highlighting their musical abilities with those mics and still played big moments that would've not required shotgun mics well (i.e. big hits, etc.). However, I do have to say that I feel there is a massive value in how much a top band can match their amplitudes with literal physical response. It's worth saying that I think top half of GN Finals (wasn't able to see bottom half) all had awesome shows but the only thing I remember is how much Vandegrift and Carmel literally shook my bones when the other bands didn't. Anyone who knows me knows I have bad ears in general, so I'm fairly sensitive to when a band is or isn't amplified. It bothers me when what I'm hearing isn't matching the actual physics of the soundwaves from the band hitting my body. I'm certainly not going to knock anyone down for my personal preference... just that I don't think bands aren't maxing out that phenomenon that well at all. In the end, it's not cheating for me. Shotgun mics offer more to the activity than it doesn't and programs should be wise to understand the benefits and disadvantages of it. Wow, you must have read my mind or something hahaha. I was curious about this bc thru some close friends in a certain strong semifinalist band (don't really wanna expose them lol) I found out that they're having a hard time deciding if they should continue to stick with no shotgun mics or incorporate into their show next year. They've done incredibly well without them, but they are wanting to know how it would benefit them. While we're at it, what about mic'ing individual players? This is where I have an extremely hard time deciding what side I'm on haha. |
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Post by verysaxy on Dec 29, 2019 8:43:49 GMT -6
I largely was opposed to it in the beginning due to it being something that'd cause the playing field to be even more lopsided because of costs. I'm okay with it now, as the price of microphones have largely decreased to an affordable cost for pretty much most competitive corps-style band programs. (Still a status symbol for me personally) As far as effect goes, how bands utilize shotgun mics doesn't really matter as long as it is effective. I think for smaller programs it is an indispensable tool to get their performance (music, visual) aspects of their shows to the judges much more effectively. There's still the case where a band like Bourbon County just outplays everyone else in the (national) Class A field, but I've always found myself surprised at how proficient some of the Class A bands are after the use of shotgun mics. Lawrence Township or O'Fallon, for examples, worked well with shotgun mics by appropriately highlighting their musical abilities with those mics and still played big moments that would've not required shotgun mics well (i.e. big hits, etc.). However, I do have to say that I feel there is a massive value in how much a top band can match their amplitudes with literal physical response. It's worth saying that I think top half of GN Finals (wasn't able to see bottom half) all had awesome shows but the only thing I remember is how much Vandegrift and Carmel literally shook my bones when the other bands didn't. Anyone who knows me knows I have bad ears in general, so I'm fairly sensitive to when a band is or isn't amplified. It bothers me when what I'm hearing isn't matching the actual physics of the soundwaves from the band hitting my body. I'm certainly not going to knock anyone down for my personal preference... just that I don't think bands aren't maxing out that phenomenon that well at all. In the end, it's not cheating for me. Shotgun mics offer more to the activity than it doesn't and programs should be wise to understand the benefits and disadvantages of it. Wow, you must have read my mind or something hahaha. I was curious about this bc thru some close friends in a certain strong semifinalist band (don't really wanna expose them lol) I found out that they're having a hard time deciding if they should continue to stick with no shotgun mics or incorporate into their show next year. They've done incredibly well without them, but they are wanting to know how it would benefit them. While we're at it, what about mic'ing individual players? This is where I have an extremely hard time deciding what side I'm on haha. All IM gonna say about individuals is that I can’t hear your clarinet soloist from the box... not even really a trumpet. Not mic’ing individual players only works for people with front row seats and barely works for field judges. Shotgun mics enhance the sound and when used properly boost effect. But it’s a big risk, as it can make you sound bad if something is wrong with them, as we’ve seen plenty of times this season. |
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Post by abtwitch on Dec 29, 2019 10:23:18 GMT -6
All IM gonna say about individuals is that I can’t hear your clarinet soloist from the box... not even really a trumpet. Not mic’ing individual players only works for people with front row seats and barely works for field judges. Shotgun mics enhance the sound and when used properly boost effect. But it’s a big risk, as it can make you sound bad if something is wrong with them, as we’ve seen plenty of times this season. I think you’re unclear on the terminology. Shotgun mics aren’t used for soloists, no one is discussing the benefit of micing you’re clarinetist. Shotgun mice are used purely for larger ensembles if not the entire band. |
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Post by jeremiah on Dec 29, 2019 10:23:42 GMT -6
By micing individuals I assume he means individuals in the ensemble, not soloists. It’s not very widespread, but a couple top ensembles and a drum corps or two have decided to wirelessly mic individual players (usually one or two on a part) instead of use shotguns. Why? Simply put, shotguns amplify everything happening on the field from your best mellophone to your worst mellophone. If you only mic your two best mellophones though, it makes it a bit easier to hide the others. And it allows you to adjust ensemble balance by sliding faders on a soundboard. Need more second trumpet? Slide up the fader.
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Post by OldSchoolTrumpet on Dec 29, 2019 17:46:27 GMT -6
By micing individuals I assume he means individuals in the ensemble, not soloists. It’s not very widespread, but a couple top ensembles and a drum corps or two have decided to wirelessly mic individual players (usually one or two on a part) instead of use shotguns. Why? Simply put, shotguns amplify everything happening on the field from your best mellophone to your worst mellophone. If you only mic your two best mellophones though, it makes it a bit easier to hide the others. And it allows you to adjust ensemble balance by sliding faders on a soundboard. Need more second trumpet? Slide up the fader. Can anyone doubt that some day (not necessarily soon) that each horn (or god forbid, woodwind) player in DCI will be individually mic'd, and a sound guy can micro-adjust each one depending on what is desired at any one time. |
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Post by N.E. Brigand on Dec 31, 2019 0:31:38 GMT -6
I think so, yes, although like most other crutches that bands and corps have adopted over the past few decades, I can learn to live with it if it's tastefully done.
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Post by notinband on Dec 31, 2019 16:54:06 GMT -6
I like it if done without overemphasizing the music. I cringe when it is overamplified and sounds unnatural.
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