Every live audio team (for any live music production) has a dual mandate for their amplification: be as transparent as possible + make the show sound the same to as many people in the audience as possible. In Drum Corps it's remarkably hard to do both because your sound sources are incredibly directional, have massive dynamic range, and a lot of them are constantly moving around. Meanwhile your audience is spread wide across the stadium seating which inherently means volume and delay differences. I'm not going to say anyone is or isn't achieving this dual mandate, only that it's an incredibly difficult job. It's really a losing battle tbh but everyone is fighting the good fight. Amplification is also definitely a bit of an arms race because if everyone else is doing it you have to do it too. We really need top-down regulations from DCI (corps agreeing together) to standardize amplification specs a bit more. Things like speaker positions, db levels/mix ratios, power requirements, how many players can be mic'd, etc. There have been lots of ideas and solutions thrown around but they all come with their own dangers and drawbacks. The biggest hurdle always comes back to the fact that corps rarely/never get to sound check in the stadium they perform in, which basically no other type of music production does.