April 2022 issue ft Shubha Mudgal on the cover! by The Score Magazine

ISSN 0974 – 9128

Vol 15 Issue 2 April 2022

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COVER STORY: SHUBHA MUDGAL

POWER, CLASS & ELEGANCE

– Conversations with Shubha Mudgal MUSIC TECHNOLOGY

How To Select the Right Audio Interface for Yourself

IN CONVERSATION WITH Pratibha Singh Baghel Also Inside: Quirks & Queries- Shreya Devnath, Women who are breaking the conventions in classical music, Revolutionary Women in Carnatic Classical Music and more.

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Unleash your creativity Introducing GLM 4.1 loudspeaker manager software For 15 years, GLM software has worked with our Smart Active Monitors to minimise the unwanted acoustic influences of your room and help your mixes sound great, everywhere. Now, GLM 4.1 includes the next generation AutoCal 2 calibration algorithm and a host of new features – delivering a much faster calibration time and an even more precise frequency response. So, wherever you choose to work, GLM 4.1 will unleash your creativity, and help you produce mixes that translate consistently to other rooms and playback systems. And with GLM 4.1, both your monitoring system and your listening skills have room to develop and grow naturally too. Find out more at www.genelec.com/glm

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POWER CLASS & ELEGANCE Maintaining a power packed female vocals especially in an Indian scenario is quite a challenge to itself. The main reason for this is because, Indian female vocalists are expected to sing soft and feminine without showing overload of power. But Shubha Mudgal is one singer who has broke all such norms with her powerhouse vocals and a smiling face. She effortlessly sings from one scale to another with such amazing ease, which is an eye-opener to many classical musicians. Shubha Mudgal gained popularity with her Indipop music video Ab Ke Saawan in late 90s for the album Pyaar Ke Geet. Her collaboration with Sukhwinder Singh in this album made the album an all time masterpiece.

Along with fusion, Shubha Mudgal regularly performs Hindustani concerts with her own mettle and aura. Her voice speaks volumes of devotion ad amazing energy levels. With a traditional demeanour, Shubha Mudgal has some stunning vocal range and mastery over her renditions and raag aalaps. Score brings you an exclusive conversation with this magical singer to know more about her musical journey. 8

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Picture Credit- Raghav Pasricha

Picture Credit- Dhruv Sethi

You are known for powerful vocals and bringing in amazing vocal range in your renditions. What is the secret behind it?

What was your most challenging experience on-stage? How did you deal with it? Can you share it with us?

I’m afraid I cannot take any credit for that, because the credit goes entirely to my gurus and the rigorous taaleem or training I received from them in the two Hindustani classical vocal forms known as khayal and thumri respectively. I have been studying these forms for many decades now and was lucky to be trained by some of the most revered and acclaimed scholar musicians of our times, namely Pt. Ramashreya Jha ‘Ramrang’, Pt. Vinaya Chandra Maudgalya, Pt. Vasant Thakar, Pt. Jitendra Abhisheki, Pt. Kumar Gandharva and Smt. Naina Devi. It is possible that for those who are unfamiliar with Hindustani classical music, these names might mean nothing at all. But those who are even slightly familiar with classical music would tell you that the mere mention that I am a disciple of these great musicians gives me a certain credibility in some circles.

I have been singing on stage for many decades now so there have been many challenging situations and I would find it tough to determine which is the most challenging situation I have been in.

In the Hindustani classical system, the guru trains a student’s voice meticulously and rigorously, through a series of vocal exercises and pedagogical devices practiced initially under the guru’s supervision, and later, one one’s own. I am fortunate to have been trained in a similar manner.

But to name one of several dire predicaments I have faced, I was once on tour in the USA a long time ago, and at a performance in Washington DC, the crew could not get the audio system to switch on, try as they might. We first waited on stage to do a sound check, all tuned up and ready to check, but when the microphones wouldn’t work, we were asked to move to the green room for a bit while the tech staff at the venue worked things out. In the green room we went through many cups of tea as we waited, but still no luck. Finally, it was time for the performance, and the audience was waiting to be let in, but the audio issue still remained to be sorted out. Mind you, this was a very prestigious venue, and with very competent crew, so this was a freak incident, and completely inexplicable. Anyway, we had to take a call on what to do and I suggested, that if my accompanying artistes agreed, we could perform without amplification. Those members of the audience who wished to stay The

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I consider the unconditional support and encouragement I have received from my parents, Jaya and Skand Gupt, one of the many blessings in my life. I am certain I could never have decided on a full-time commitment to music had they not pointed me in that direction and encouraged me to take a considered decision.

Could you take us through your music learning years? could stay on and listen to an unamplified concert; others who did not wish to try this option could be given a refund for their tickets. This was a tough call we had to take because the auditorium was by no means small, and would take quite an effort on our part. Fortunately, all the artistes in the ensemble agreed, so did most listeners, and so the show went on!

What was the one strong incident in your life that got you to pursue Hindustani music as a full-time vocalist? I have to thank my mother for helping me reach the decision that I would be happiest doing music full time. Soon after I finished my undergraduate studies at the University of Allahabad, she gave me the option of taking a year off from university, to see whether I wanted to pursue music full time or preferred something else. The fact that she gave me the option to make an independent decision in this regard, and also ensured encouragement and support, helped me reach a decision in just about a month.

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That’s going to be quite a long story because by now I have spent over four decades studying music and its still an ongoing process 🙂. Basically, I grew up in Allahabad, (now Prayagraj), and started learning Kathak dance as a four-year-old. I continued to learn Kathak for several years, and my formal training in Hindustani classical started unconventionally late, when I was almost seventeen years old. I must mention that I had ample exposure to classical music as a listener from my childhood, because my parents always encouraged me to listen and took me along when they attended concerts. However, formal training in vocal music started only much later. For several years, I learnt from the scholar-musician-composer Pt. Ramashreya Jha ‘Ramrang’ in the guru-shishya tradition but I also enrolled for a Master’s degree in Music at the University. I have therefore had the chance to learn in both the institutionalized system and the traditional master-disciple relationship. I later moved to Delhi, where I was trained by Pt. Vinaya Chandra Maudgalya for almost eight years. I also started training simultaneously with Smt. Naina Devi, who was an acclaimed exponent of thumri.

I also got the opportunity to learn briefly from two path breaking vocalists and composers, namely Pt. Kumar Gandharva and Pt. Jitendra Abhisheki. Kumar ji resided in Dewas in Madhya Pradhesh and I got the opportunity to stay at his home on some occasions and learn from him. Similarly, Pt. Jitendra Abhisheki also permitted me to stay with at his home in Pune when I came for lessons. Around the mid-eighties, I started getting opportunities to perform at festivals featuring young talent. Initially I would travel for such performances accompanied by my mother and at times, my guru Pt. Ramashreya Jha would also travel with us and even accompany me on the harmonium. Most decisions regarding which invitation I should accept, what repertoire I should present were all guided by my guru at this point. But gradually I learnt how to manage on my own and take independent decisions. It may interest your readers to know that at this point, for young musicians like me, entering the professional space, there was no possibility of getting artiste managers, PR agents or social media managers, legal experts to whet contracts and legal documents. I, like so many others, learnt the ropes while on the job, through good and bitter experiences.

What are the key aspects which Hindustani classical vocalists are missing these days? There are many talented, brilliant young vocalists today, some of whom definitely show the spark that one sees in potential stars. They have talent, commitment, dedication, poise, great training, and superb voices. What they need desperately is an eco-system that will give them enough opportunities to learn, practice, perform, earn adequately and get good, receptive, informed listeners. So many of them have to give up along the way, or make compromises, simply because it is so difficult to make a decent living through being a full-time classical musician. There is no dearth of talent in the field of classical music. But we need to ensure that artistes committed to classical music have

the opportunity to earn a dignified, decent living. To do this we need listeners who will buy tickets for concerts of classical music, and who will purchase recordings and buy subscriptions for platforms streaming classical music. We need supporters and sponsors and investors who will not be short-sighted and evaluate the success of sponsorship only on the basis of audience numbers. The lack of any will and effort to create a vibrant eco-system for classical musicians, on the part of policy makers at the state level, as well as private sponsors and promoters, and even the public, is going to stifle talent if this issue is not addressed on an urgent basis.

Is Classical music based on mood or mindset? What is your all-time favourite raag and why? Instead of using terms like mood and mindset, I prefer to say that classical music requires skilled technique and training that helps the artiste transcend the craft and create art. Without superb technique and craft, you cannot strive to make art. And great art is not, and cannot be made everyday. On some occasions, the artiste is able to transcend and deliver an artistically and aesthetically powerful and moving performance. On other days, it is the technique and craft that see you through. Both must remain in perfect balance. As for favourite raags, I cannot name a single favourite.

How do you motivate yourself to keep your vocals powered and strong? I really don’t have to do anything in particular to motivate myself. The fact is that I love and cherish the music I am studying, and I am convinced that this is what I want to do for the rest of my life. I also accept that there will be ups and downs in one’s journey and that there will be people who might not like the music I make. All I need to do is to The

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ask myself occasionally if there is anything else other than making music that would make me happier. Or would I be willing to change the music I believe in, or my voice to get more acceptance. And if the answer to both questions is no, then all I need to do is to work and study harder and dig my heels in and sing as I have been taught to sing, with sincerity, and I must also accept and recognize my limitations and strengths as a vocalist. Above all, I draw inspiration from maestros of the past, who faced tremendous harships and challenges, and yet, continued to be passionate about their music.

Were there any days in recordings or concerts where you had to motivate yourself ? If yes, how did you do it? During the pandemic and the many lockdowns, we all had to endure, there were several times when I felt that the virtual space and its use for teaching and performing which all of us had to accept, was by no means ideal for Hindustani music. I longed for contact with audiences and students, and often felt terribly low and distressed. The fact that we still do not know if the worst is behind us made things even worse. Through these difficult times, listening to great music in my collection helped me greatly, motivating me to try again, and make use of the online, virtual mode to communicate with both audiences and students, and also to be a supportive listener. As always, support and companionship of family and friends, as well as the good vibes music brings with it, helped me and motivated me.

Modern film music is getting more Sufi influenced and Hindustani influence is getting lesser. Your comment on it? If there has been any study that supports your statement, I am unaware of it. But my opinion is that film music in India has always been hybrid, and continues to be so. So, to say that

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Picture Credit- Yeashu Yuvraj it is currently more influenced by Sufi music may be inaccurate. What is the so-called Sufi influence? Does it mean that modern Hindi film music is more influenced by qawwali, which is possibly the one major Sufi musical form in the sub-continent? I do not hear too much of qawwali in contemporary film music. And when you say it has less of Hindustani influence, do you mean Hindustani classical music, or Hindustani as a language? Having said that, the use of Hindustani classical music has certainly decreased in modern Hindi film music, probably because the composers in the industry are not specialists in classical music as they were in the past. But the basic hybridity that is such an important part of Indian film

music continues to date, with influences from across the world finding acceptance in this hugely popular form of music.

What is your powerful piece of advice to budding classical musicians- gender not bar? It would be terribly presumptuous on my part to offer advice to budding musicians. Advice is best taken from one’s gurus and mentors rather than randomly.

The three life lessons which music has taught you?

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Picture Credit- Raghav Pasricha

Gratitude for having the gift of music in life. Not to take that gift for granted but nurture and care for it. The companionship of music gets you through the many challenges life poses.

Did you ever face a challenge where you had to go against your singing style- whether recording or live? What was it and how did you overcome it? I try and ensure that I don’t find myself in a situation where I am doing something or singing something that I don’t enjoy or don’t want to sing. This means I have to ask for many details before I accept as assignment. For example, what are the lyrics of the song, what is the melody, in which key has the track been programmed. If I am not comfortable with these aspects or with the terms and conditions that come with it, I say a polite no. Sometimes, music directors don’t like so many questions and are offended that I am asking. But fortunately, we were able to part ways before we landed in the studio.

Your take on western influence over Indian music and how modern film music is? I think I have already partly answered this question earlier.

Picture Credit- Raghav Pasricha

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KRIPA KRISHNAN

In conversation with

Charu Hariharan Programming, check! Production of an entire album, check! Composition for films, check! Vocals, check! Mridangam, check! She has ticked many boxes to say the least, yet, she is ambitious for more. Introducing, Charu Hariharan - currently an all-rounded, multifaceted musician with a special inclination towards percussion. She is breaking barriers and paving a path for women to follow with her charisma and conviction in all that she does. Having said that, she still feels she has just scratched the surface. ‘The more you dig deeper into something, the more you realise how much there is to learn’ she says. She describes herself as ‘Curious, passionate and someone who likes to learn’ simply put and she radiates this contagious positive and empowering energy.

Percussion, she says, was something that naturally intrigued her ever since a young age. Her mother, Dr.B.Arundhathi, who is a well-known and esteemed carnatic vocalist, used to meticulously observe her percussion accompaniments, acknowledge and appreciate every single detail. Whether that nature was passed down through inheritance or simply mere observance remains a mystery! ‘Instead of sitting in front of the vocalist, I’d sit in front of the Mridangam and attentively watch how and what they play’ she says. Having said that, being a vocalist is in her blood and part and parcel of being a member of her renowned lineage. She gives full credit to her parents, who were very keen, understanding and encouraging of her passion to pursue the art of percussion.

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Charu started learning Mridangam under her guru Sri. Mannarkoil J. Balaji from the age of 10. She grew up replicating the rhythms played in Raja Sir’s music and essentially reciting all that would play behind the vocals. Although she

is interested in taking part in conventional concerts as an accompaniment, she is more driven to ‘breaking the patterns that already exist’. She is trying to learn how to integrate the sound and dynamics of the Mridangam in all areas and aspects of music. For example, playing the mridangam in a string quartet or at a piano recital.

Coming back to her most recent performance in Dubai, she was absolutely enthralled to have played the Mridangam in a full fledged string orchestra with brass, woodwind and a dedicated percussion section. She played to AR sir’s composition Raga’s Dance, which was an experience on and of its own. She talked about her fascination about the entire experience of playing in a 50-women orchestra alluding to the technical complexities, challenges of coordination, and tempo that had to be in alignment over the course of the performance. It is extremely paramount to closely follow and watch the conductor without whom the entire orchestra will fall apart. ‘I was so curious and enchanted by the entire

Rapid Fire

Her most recent endeavour included a trip to Dubai where she had the opportunity to perform with AR Rahman’s trailblazing, allfemale Fridaus Orchestra. ‘A dream come true to be in person and perform before him’ she says with an exhilarating tone noting the fact that her mother and brother have sung for AR Rahman. ‘He is very keen on rhythm.’ She talks about how each and every song by AR Rahman has a subtle yet well-arranged rhythmic section working in the background. She consciously, and of course by second nature, admires all percussionists involved as well as those responsible for the arrangements in songs though they may only be conspicuous by absence to many. Examples of notable songs with such intricate and entrancing arrangements that come to her mind were Marghazhi Thingallava, Jiya Jale, Ennavale Ennavale, Soukiyama Kanne, and Minsara Kanna.

experience’ she reiterates. ‘Usually as a percussionist, one would follow the drummer; however, in the case of an orchestra, the conductor decides the tempo.’ What’s interesting is that a mere observation of the conductor’s expression and latent gestures may be sufficient to infer the dynamic and orchestration being communicated. The sound comes next as it takes time to travel! ‘We can all attribute our happiness and fulfilment to the major venues we’ve played in or the prestigious events we’ve been a part of but the thing that gives me the most fulfilment is knowing I am pursuing what I am most passionate about on a day-to-day basis.’’ As she profoundly expresses gratitude, she also mentions that it is challenging at times to be intrinsically motivated. At the end of the day you are your own boss! Meditation is also a very fundamental and integral part of her life and she ensures that it stays constant in her ever changing lifestyle! She emphasises that even if you don’t get time to meditate, it is helpful to be conscious and aware of what you do regardless of what you do.

A song you never thought you’d like but happened to devour ‘Karuthavanlam galeejam from Vettaikaran. I thought it’s just a fast number as it passed by initially. But trip over the Synth arrangements in it every time I listen to it’ An artist you newly discovered ‘Nate Smith, 6091 and this amazing albums ‘Grebfruit’ and ‘Grebfruit -2’ by Benny Greb’ What is your strength? (Music + personally) ‘Curiosity and passion’ What is a weakness? (Music + personally) ‘Laziness ‘ Favorite independent artist / song ‘Jacob Collier, Trilok Gurtu, Snarky Puppy, Plini. But as a song, I listen to ‘Flight’ by Anoushka Shankar; one of my all time favorites’ The

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SNEHA RAMESH

Quirks & Queries

SHREYA DEVNATH Take us through your initial learning years of music I grew up listening to my mother sing at home, and was instinctively drawn to the music. So when I was about 7 or 8, she took me to her Guru Vid. Bombay Ramachandran, under whom I learnt vocal Carnatic music for about 3 years. Soon after, I developed problems with my vocal cords, and couldn’t continue singing. That actually made me quite miserable, so my mother decided to put me in an instrument, and her mentor Vid. Sulochana Pattabhiraman advised that we go to Vid. Lalgudi Jayaraman, saying she would put in a word. The absolute legend that he was, Lalgudi Sir kept me on probation to begin with, where he’d monitor my initial learning under one of his students, once every three months. After about a year of evaluating me, he agreed to teach me himself, and there’s been no looking back ever since.

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Who did you learn from and what were your biggest learnings? I learnt from Padmabhushan Sri Lalgudi Jayaraman. Lalgudi sir was of course, in himself, an ocean of learning. Apart from the unbelievable music that he shared, it was passion for the artform that he communicated above all else. An unswerving focus, complete discipline in practise, the quest for perfection, attention to detail.. I remember my first class, I was slouching unknowing to myself, and after reminding me a few times to sit up straight, he simply reached across for my notebook, and wrote Lesson 1 : Sit Straight, and said, ‘we can learn more in the next class.’ That stayed with me ever since, as did all the other little things that he pointed out, how best to staple two sheets of paper, how to always be on time, how to never show up underprepared whether it was for a class or a concert, and above all else, how all this attention to detail translated directly to the music, be it in some minute fingering, some delicate nuance, a glide, a connection between two notes, aesthetics in improvising, and just about any other aspect. Could you tell us a bit more about A Carnatic Quartet and the work you do as a part of it? A Carnatic Quartet has been conceptualised as an effort to explore the coming together of two distinct instrumental artforms, within the Carnatic tradition. The melodic instruments in this collaboration, Violin and Nagaswaram, come from very

different cultural and musical backgrounds, and similar is the case with the Mridangam and Thavil. The intent is to explore each of these instruments, as also the musical traditions from which they come, without restriction, and to witness the magic that happens when they come together. This outfit is conceptualised and curated by me, and I play the violin in this quartet. The artistes of the quartet are: Shreya Devnath (Violin) Mylai M Karthikeyan (Nagaswaram) Praveen Sparsh (Mridangam) Adyar G Silambarasan / Gummudipoondi R Jeevanandham (Thavil) Through the quartet, we explore very many different kinds of

music, interpreting it through our own musical understanding and our respective instruments. We would like to explore freely, without losing sight of our responsibility in doing so. In an age of independent music, you being one yourself, how do you stay ahead of the curve to ensure your audiences always get to hear good music? I think it’s very exciting to be an independent musician, and to be able to share a freely explorative body of work with your audience. I don’t think it’s as much about staying ahead of the curve, as it is about staying engaged with the music and with the audience. To be listening to a lot of music that’s coming out, to be curious to explore new things, and to The

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skew in both the production and consumption of music, in favour of vocal music, or music with lyrics. But as said earlier, I do believe that if your intent in exploring music is genuine, and you have a clear vision of what kind of music you want to make, how you’d like to develop your body of work, there is definitely an audience that will connect with you. And in the times of social media now, it is also easier to connect with that audience directly, and try find your space and ‘your people’ :) Art is all about connection, and once the connection is made, the music takes over and bias or hierarchy will automatically cease to have that much power. You just have to have the vision and grit to stay true to what you want to do, and do it in all sincerity. be constantly connected with the things going on around us, socially, culturally, helps in keeping our music relevant. I believe if your intent is genuine, there is definitely an audience out there who will connect with you. You just have to find your space, without giving up, without feeling forced to ‘compete’, or ‘run the race’. I think there is space for every idea. Name 3 of your most favourite ragas to play Haha, no favourites as such, it’s more about finding the space when we sit down to play, and if we find it, then its a nice bliss playing, no matter what we’re playing :)

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What techniques of the instrument do you still think you can master? All of them! I don’t think there’s any area where I can honestly say I’ve nailed it. Every time I sit down to practise, I can see things in my playing, that range from annoying to embarrassing, where it’s like ‘god, I need to better this so much more’. What challenges do you face as an instrumentalist in the country? Well, every area has its own challenges, whether it is being a musician itself, being a classical musician, an independent musician, or an instrumentalist. That said, it is true, that there is a definite

If you could collaborate with an artist for an album or single, who would it be and why? That list would be absolutely endless :) Upcoming projects I’m super excited about my debut independent album, Songs from the Blue Room! This will be a violin-centric indie album, comprising 5 songs that are freestyle, but have an undercurrent of Indian classical music, since that’s where my roots are. The album is arranged and produced by multi percussionist and music producer Praveen Sparsh. The music is fully finished, and the release should hopefully happen later this year!

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Women who are breaking

the conventions in classical music Carnatic Music is all about discipline, following principles and understanding the conventions before rendition or excelling in performance. But at the same time, breaking certain conventions and rules brings out a unique meaning to the genre altogether. The genre has been undergoing optimistic changes thanks to women artists who have broken conventions in a strong manner. As part of celebrating women’s day month, Score magazine throws light on women who have broken stigmas associated with classical music and how they did it in style: 1. M.S. Subbulakshmi The legendary artist needs no introduction and she has been a pioneer in standardizing classical music to experts and common folk alike. She brought a unique glamor to Carnatic classical music with her impeccable charm, and definitive style in displaying devotion through her immortal voice 2. M.L.Vasantha Kumari: She has brought magical elegance to the instrument veena with her swift renditions and not compromising on the melody at

any stage. Vasantha Kumari has been responsible for inspiring many women to take up veena as a practising instrument by breaking conventional barriers in style of playing. 3. Bombay Sisters Saroja and Lalitha: Since 70s decade, Bombay Sisters have been a popular name in the field of Carnatic music. They brought style to dual renditions with their standardized vocals and mystic aura. Even till date, every female aspiring duo take Bombay sisters as an inevitable inspiration. 4. Priya Sisters Hari Priya and Shanmukha Priya: This duo has been making waves in Carnatic music with their impeccable renditions and sync in voices. The style of dual singing has been brought to light with their immortal renditions and they took Carnatic music to common folk who could thoroughly relish their singing renditions. They have also got prominence as Hyderabad Sisters and given concerts globally in the similar title. 5. Ranjani Gayatri: Singing abhangs without the south Indian accent has been an undoable task for Carnatic musicians but this duo brought abhangs ( a devotional

composition that is sung before the conclusion of concerts) to life in South India. Their amazing on stage chemistry is another add-on along with the convention of singing Marathi in south Indian concerts. 6. Jayanthi Often performed as an amazing veena player as an individual and also with Kumaresh, Jayanthi has been a wonder of veena on stage. She could pull off a three-hour concert in amazing ease and perfection. 7. Sudha Raghunathan With her power-packed vocals and focused rendition even after doing fusion renditions, Sudha Raghunathan is a mustremember name in the field of Carnatic music. Along with long renditions that showcase a raaga lasting for hours, she has been a great name in the world of devotional music as well. 8. Nityasree Mahadevan Carnatic music is all about power, and amazing vocal range. Nityasrree has earned a unique fan base with her power-packed vocals and she demystified the fact that women singers should sound soft and laid-back.

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REVOLUTIONARY WOMEN IN CARNATIC CLASSICAL MUSIC

Being originated in a male-dominated country like India and much more confined to the southern region of the country, breaking barriers in Carnatic Classical Music is not a simple task. But with the changing times and school of thought where women’s independence has been respected and gender equality started gaining attention, more women started changing the face of Carnatic classical music with their novel thinking, innovative ideas and setting new standards. They have also brought in encouraging change to attract more women to take up Carnatic music and excel in the same. Score celebrates and remembers those revolutionary women on the occasion of International Women’s Day month. These women continue to inspire generations ahead to take up Carnatic music and encourage the art form for its ethereal beauty and elegance.

M.S. Subbulakshmi

Hailing from a devadasi background, M.S. Subbulakshmi broke more barriers than any woman Carnatic musician could have imagined. Her suprabhaatam wakes up the divine abodes in the planet and by acting in feature films and portraying Meerabai, her beauty and music is worth admiring for centuries. With a rare metallic tinge in her voice, M.S. Subbulakshmi has set a standard in Carnatic music for women classical singers.

hmi

ulaks M.S. Subb

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D.K.Pattamal

In Indian Classical Music, women are expected to sing higher notes and such singers were much admired from times immemorial. Carnatic music is of no exception to this rule but D.K.Pattamal is class apart. She performed in her comfortable pitch zone and proved time and again that women need to be individual and need not sound falsetto to gain a strong fanbase.

akshmi

ul M.S. Subb

M.L. Vasantha Kumari

Women instrumentalists is comparatively a lesser ratio in Carnatic music with more men taking up instruments and experimenting in the zone. But M.L.Vasantha Kumari’s veena renditions have set the standard for the instruments and many generations that followed. Her rendition style of the oldest instrument of the world still tugs the heart strings in modern times.

M.S. Subbu

lakshmi

Bombay Jayashri

Most of the Carnatic women musicians confined to the purist form of music and performed chowki kaala kritis in concerts but Bombay Jayashri is class apart in her regard. By signing in popular genres and in films, and also going into the international arena by earning herself an Oscar Nomination by the film The Life of Pi. Her impeccable style and aura has earned her many modern fans internationally as well.

kshmi

ula M.S. Subb

Nidumolu Sumathi

Excelling in a male-dominated profession like mrindangam is quite challenging and needs lot of physical and mental strength. Nidumolu Sumathi has proved her mettle in playing the tough instrument. Let us celebrate these women and various other female musicians in the world of Carnatic music and relish the power of feminine power!

M.S. Subbu

lakshmi The

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SHAURYA ADITI SARAWAGI SINGH THAPA

How Rajasthani folk music is dying and how it can be preserved

India has a rich cultural heritage and each state has its own traditions. Rajasthan itself has a melee of folk music, instruments, dances and cultures. The country is vast and diverse an a different dialect is spoken every 100 kilometres. It is up to us to preserve the musical traditions, create interest and spread knowledge. Everybody knows about the Langas and Manganiars of Rajasthan-artists from these two communities go on world tours and have managed to sustain their art as well as be financially secure. But such success stories are rare amongst the hundreds of equally talented artists from the different districts of Rajasthan. Music, dance, and theatre from

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tribal communities like Dholis, Bhopas, Nagarchis, Kalbeliyas, Kanjars, Bhavains, Bhils and Banjaras, are dying. Musical theatre like the Kuchamani Khyal and Marwari Khyal- a type of folk theatre which is narrated through song and dance, is popular in the Marwar region. Such groups would travel with the Maharajas during war, for entertainment purposes. The plays with dance and drama would last more than 12 hours. But unfortunately, the art form is not being pursued by the younger generations who are focusing on studies and moving out of the state to pursue other interests. Kuchamani Khyal is an all-male performance with harmonium and nagara, a loud drum. They perform political

theatre and share dramatic historical stories in the form of song and dance. The interest in these performances is also diminishing and there are very few performers left. Not only does Rajasthani folk music have socio-political relevance, it surpasses religious barriers. These groups are examples of Indian secularism in the sense that even though the Langas and Manganiars are Muslim communities, both sing Hindu songs and perform for Hindu audiences. There were no religious differences between them. Over the years, as tastes are changing, these musicals are fast vanishing. Even during the local village festivals, Bollywood songs are more in demand than their own folk music. Even when

folk artists get to perform, the income is very low which is another reason for the dwindling of folk artists as they are unable to survive on the meagre incomes coming from music but have to have side hustles to make ends meet. Another major reason for the decrease in folk artists is that earlier there was a clear segregation between artists who were usually from the said lower castes and they were patronized by the Jajmans of the higher castes. With social equality, several families have left music which is still perceived as being entrenched in casteism. There are several programmes coming up to preserve these dying arts like Khamayati, to support and facilitate Rajasthani folk musicians. They helps artists showcase their music to wider audiences across the world by documenting their performance, and used modern methods and social media for the process. Not all folk artists get famous like the Langas and Manganiars because only being good at the art is not important, marketing skills are equally important and that is where these programmes come in handy. These days Tuning 2 You, a film series created by Soumik Datta Arts and Weavers Studio Centre for the Arts with support from the Bagri Foundation is going to the villages themselves and capturing the raw material on film, before younger generations lose interest and the traditions are lost. Another company, Amarrass Records is attempting to find new

solutions and find a sustainable way forward to preserve, and promote music that matters. Komal Kothari, a musicologist from Rajasthan is credited with bringing folk music in front of an international audience. He studied folk music, and music instruments along with the writer Vijaydan Detha. He founded the Rupayan Sansthan, which documents Rajasthani folk traditions. Detha also wrote the script for the 2005 Amol Palekar film Paheli, which starred Shahrukh Khan. A five-day Rajasthan International Folk Festival (RIFF), Jodhpur RIFF is a not-for-profit roots music festival endorsed by UNESCO

as a “Peoples” Platform for Creativity and Sustainable Development”. It takes place in October every year at the Mehrangarh Fort, to promote music from the desert villages that is dying a slow death due to lack of patronage and popularity. Mumbai-based Sufi and folk vocalist Rekha Bharadwaj, also collaborated with female folk musicians in Rajasthan-the Maand and Bhopi legends, Bhanwari Devi Bhopi and Rehana Mirza. Times are changing, and artists are pledging to restore folk music to the glory it deserves.

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A REVOLUTION - RODE WIRELESS GO II AND GO II SINGLE The world’s smallest and first truly wireless microphone has been reborn. The Wireless GO II is an ultra-compact and extremely versatile wireless microphone system consisting of a dual channel receiver and two transmitters. Incorporating the same unique form factor and professional sound quality as the original Wireless GO with groundbreaking, patent-pending technology, the Wireless GO II is the perfect microphone for a wide range of content creation applications. Now The Wireless GO II is also available in a single set. Offering the same ultra-compact form factor and unmatched feature set as the original, but with

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just one transmitter instead of two, it’s the ultimate wireless microphone for solo content creators. The receiver in the single set is identical to the dualchannel edition, meaning in future an additional transmitter can easily be paired for dualchannel recording.

•

• •

Salient features: •

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Dual channel wireless microphone system for recording two sound sources simultaneously Series IV 2.4GHz digital transmission, 128-bit encryption – crystal-clear audio at up to 200m (line of sight), optimised for extremely stable operation in

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dense RF environments 3.5mm TRS analog output, USB-C and iOS digital output – universal compatibility with cameras, mobile devices and computers On-board recording – over 40 hours of internal memory Option to record each channel separately or combine them for ultimate flexibility in post-production Safety channel, flexible gain control (three-stage pad, expandable to 10-stage) In-built rechargeable lithium-ion battery – up to 7 hours battery life Designed and made in RØDE’s precision manufacturing facilities in Australia

The Wireless GO II and GO II Single takes wireless versatility to new heights. Featuring a 3.5mm TRS analog output for plugging into cameras, plus a digital audio output via USB-C for plugging into smartphones, tablets and computers, it is perfect for content creation, filmmaking, on-camera or onstage presentations, vlogging, YouTubing, livestreaming and more. On-board recording means you never have to worry about dropouts or audio issues again, while the flexible gain control lets you precisely tailor the output to your device. The Wireless GO II also offers the option to record each channel separately or combine the two, ensuring ultimate flexibility in post-production. The Wireless GO II offers the pocket-sized form factor. The transmitters and receiver weigh less than 32g, taking up virtually no space in a camera kit bag,

backpack, handbag or briefcase. The transmitters and receiver come auto paired, ensuring a seamless set-up process every time. RØDE’s Series IV 2.4GHz digital transmission with 128-bit encryption delivers a range of up to 200m (line of sight) and is optimised for extremely stable operation in areas with a high level of RF activity, including dense urban environments, shopping malls, universities, convention centres and offices. Each transmitter features a high-quality in-built omnidirectional condenser capsule for completely wireless recording, plus a 3.5mm TRS input for plugging in a lavalier microphone. The Wireless GO II and GO II Single is also supplied with twist-and-lock furry windshields for recording in windy or adverse weather conditions. Crystal-clear, professional sound in any situation.

There are also a lot of Rode accessories available to pair up with your Rode Wireless GO II and GO II Single according to your need. RØDE Central is an easy-to-use desktop and mobile companion app for the Wireless GO II that allows for complete device configuration. It also allows you to optimise and export the onboard recordings, access device information, and update to the latest firmware. Download it for free to unlock the full potential of your Wireless GO II and GO II Single. RØDE Connect is a free podcasting and streaming software solution that is now compatible for use with the Wireless GO II. RODE Connect makes it easier to record or stream with professional-quality audio from your computer.

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SHAURYA SINGH THAPA

Falguni Pathak’s Meri Chunnar Udd Udd Jaye explored a bold romance for its times Score Indie Classics Falguni Pathak is often thought of as that “one Garba singer who performs every Navratri” but she is much more than that. It is true that Pathak played a major role in making Gujaratilanguage garba music more mainstream by rebranding it with pop beats but her music also stood for expressing one’s identity however they wish to. Sporting short hair and wearing androgynous clothes, she defied the look of what a female popstar should look like. She set herself apart with her unconventional appearance and even her feel-good music seems to be reflective of a wave of change. In fact, some of her music is regarded highly amongst queer listeners in India and they have even crowned her as a “queer icon”. Whether this was Pathak’s intention or not, her discography has helped in destigmatising identities that don’t conform to the usual heterosexual notions of society. In this context, it is important to discuss Pathak’s breakaway hit Meri Chunar Udd Udd Jaye.

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The early 2000s-era classic is a romantic song in its essence as the singer feels the warm, fuzzy feelings while spending time with a new lover. Even bolder is the choice of the music video that was quite bold for its times. The video starts off with a young girl (played by actress Ayesha Takia way before her mainstream fame) living in a posh house as a dove-eyed boy stares at her. It is clear that the boy is infatuated with a girl and is probably all set to marry her in 90s Bollywood-like fashion. However, the female protagonist hides a secret.

A garlanded woman in a whitesari poses inside a painting that is reminiscent of Raja Ravi Varma’s artworks on Hindu nymphs and goddesses. As the sari-clad muse comes to life, Ayesha Takia’s character instantly befriends her. It is hinted that this friendship turns into love as they love spending time with each other and engaging in silly dance routines. It might just be a deep friendship but what is clear is that Takia’s glances towards her painted friend are way more loving than her reactions towards the aforementioned boy who does nothing except flaunting his jawline. Towards the end, the boy catches Takia and her companion dancing together upon which Takia’s face evokes signs of stress. And just like that, the video ends abruptly. While the video caught the

fancy of several young indie-pop listeners of that decade, it has been interpreted with a new lens by listeners today. Pathak has never explicitly commented on the queer undertones of Meri Chunar Udd Udd Jaye but it is clear from the video’s ending scene that the central romance (or friendship as some might see it) was forbidden in nature. That’s the reason why Takia’s character wishes to hide her newfound partner away not only from the boy who is after her but also her mother and the house’s butler. Given the fact that the 2000 song was released just a few years after Deepa Mehta’s highlycontroversial lesbian romance Fire, it was obviously not a wise marketing choice to explicitly depict a same-sex relationship. And yet Meri Chunar Udd Udd Jaye’s subtle attempts at subverting the “boy-meets-girl”

formula marked a bold choice for an independent Indian pop single. Today, Falguni Pathak continues to enjoy her status as the “Dandiya Queen” and no high-profile Navratri performance is complete without her tunes. But apart from her popstar persona, Pathak’s throwback single is influential in breaking away from mainstream pop conventions. The

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SHAURYA SINGH THAPA

ANNAPURNA DEVI A Forgotten Genius

Even though she was the daughter of Maihar gharana founder Ustad Allauddin Khan, Annapurna Devi (who was born as Roshanara Khan) carved her own niche with the Surbahar (a kind of bass sitar). Unlike other players of this particular instrument, Devi played the Surbahar in the style of Rudra Veena.

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Despite her unique style and prowess, she couldn’t really achieve the mainstream success of her husband (who was 21 at the time of marriage) because her public events were extremely limited. And when Shankar decided to divorce her 41 years after their marriage, his wife was so devastated that she decided to never perform for the public at all.

Pandit Ravi Shankar is renowned all over the world as a sitar virtuoso, a legacy that carries on even after his death. While Shankar’s musical genius cannot be denied, it is interesting to note that another sitar maestro lived behind his shadow. Married to Shankar at the mere age of 14, Annapurna Devi was considered to be one of the best practitioners of the instrument.

In fact, some even claim that Shankar was prone to envy when it came to the initial performances with his wife. Before Shankar attained a worldwide presence with the Concert for Bangladesh and by befriending The Beatles, the couple used to perform together. As an obituary in The Guardian says, ‘Yet, often, Annapurna claimed, it was she who got the more favourable reviews, saying: “[Ravi] was not happy as I received more appreciation than he did from both the audience and critics whenever we performed together.”’ Shankar had always denied these claims but it is just unfortunate to find Devi turning herself into a recluse after the split. Many Hindustani musical artists achieve peak fame in their elder years when they end up achieving “Ustad” status. Annapurna Devi could have maybe excelled a lot if she continued with her compositions. But for vague reasons (or what is rumored to be the shock of her split with Shankar), Devi could never perform again. Thankfully, she still offered lessons to musicians, that too witout charging any fees. Not many would know but it was Annapurna Devi who had tutored future geniuses such as flautist Hariprasad Chaurasia, and sitarist Nikhil Banerjee. So, even though she didn’t attain extreme popularity, she

did leave a respectable legacy that was carried forward with some brilliant exponents of Hindustani classical music. Talking about Hindustani, many female artists have been historically sidelined just like any other music genre. While a layperson would still mention Carnatic legends MS Subhalakshmi or Shubha Mudgal’s name when it comes to classical vocalists but no Indian layperson would be aware of any specific woman instrumentalists in the scene. The times are changing now and more and more women are getting considerable freedom in picking up instruments that were otherwise traditionally reserved for men. For instance, Dr Radhika Veena Sadhika picked up the vichitra veena against the conventions of the classical laity, becoming the first female player of the instrument. Shankar’s own daughter Anoushka Shankar is a global sitar phenomenon. But amidst such talents, one can only wonder how Annapurna Devi would have shined if she got more exposure. Always a shy and reserved genius, the Padma Bhushan awardee spent her final years tutoring students, feeding pigeons, and taking care of her faithful dog Munna. Some of her individual performances on the Surbahar as well as her duets with Shankar can still be found in all their black-and-white yesteryear glory on YouTube.

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AKARSH SHEKHAR

Record Guitar

Flawlessly

With These Tips Recording a guitar can be simple or complex, depending on the hardware and software you use. If you’ve never recorded guitar before, it might seem intimidating. In this article, we’ll answer some of your general questions about guitar recording.

Recording a guitar in mono or stereo

It’s important to understand that choosing to record your guitar in mono or stereo can have a huge impact on the choices you make later on. The best method is to record the guitar in mono. If you want to record using multiple microphones, save each microphone in a separate tab and record each in mono. So you have to get two records at the same time. Let’s take a closer look at the different setups you can use to understand why you don’t need to record electric and acoustic guitars in stereo. There are two basic ways to record the electric guitar. These are; recording directly or mixing the guitar amp.

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If you are connecting your electric guitar to an audio interface, record in mono. You don’t need to record in stereo when recording your electric guitar directly to your PC. If you record in stereo, you record two repeating channels instead of one. This makes two mono sounds, which makes no sense as there will be no difference between them. If you want to record your guitar amp with a microphone, you are recording in mono again. If you place a microphone in front of your amp, the recording you will receive will be mono. If you want to use multiple microphones to record your guitar amp (for example, one close to the speaker and the other far), it’s still better to record in mono. Record in mono but send the two microphones to two separate channels on your DAW. For example, take the second recording at the same time by placing the microphone in front of your amp in one recording and the other in a different location. In this way, you can have the chance to shape two different sounds as you want. Some guitarists believe that you should record the acoustic guitar in stereo. The idea is that you record with two microphones and blend the two into one stereo recording. This works fine, but it’s still better to send each microphone to a separate channel on your DAW and record each in mono. If you have three or four microphones, you’ll have the most flexibility for mixing

different tones when you record them all in mono as separate tracks. For example, you might have one microphone close to your guitar’s sound hole, another near your keyboard, another a few feet away from you, and another on the other side of the room. When you record all four microphones in mono on separate tracks, you can mix them as you wish, slide each microphone into different positions, or apply EQ or effects to any of them. In this way, you can create excellent sound recordings. But if you create each of your microphones as a stereo recording, the sound you can produce will be limited.

Why does my guitar recording sound bad? Your guitar recording can sound bad for many different reasons. You can avoid these mistakes as much as possible with fine tuning by learning the programs you play the guitar well. Here are some reasons why your guitar recording might sound bad: • Recording at very high or very low volume (dB). • Recording with a low bitrate or sample rate recording. • Not using a quality audio interface (Sound card). • Not using proper EQ. • Poor microphone placement (more noticeable in amp recordings). • Problems with your sound card. The

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NAVYA C

Fusion Talks:

Conversations with

Pratibha Singh Baghel Handling a fusion album not only needs deep knowledge in various genres of music, but also extraordinary prowess in performance. With contrasting genres merging at a crossroad, the path is quite challenging and tough to take up. But the dynamic Hindustani vocalist Prathibha Baghel collaborated with composer and violinist Deepika Pandit and released a new fusion album “Inheritance”. The album supposedly focuses on ancient poetry and aesthetic lines for unique compositions. The album has various elements of music fused into one entity such as Hindustani classical, western classical and Sufi. Score brings you a candid conversation with the artist who is already making waves in the world of Fusion music :

Can you tell us more about your newly released EP Inheritance in collaboration with violinist Deepik Pandit? Inheritance is a revival of four traditional classical thumris. I have been singing these classics for years, including in concerts. Then Deepak Pandit ji and I thought of recording it with Sufiscore’s help. It took two years for us to go through every possible rendition of these classics and then we both came up with the idea of keeping their authenticity intact, and merge it with western musical approach that Deepak ji is known for.

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Inheritance is promoted as a tribute to the Hindustani classical form thumri - can you tell us how and in which way the album throws light on the composition form?

many legendary artists like KL Saigal and Jagjit Singh ji. ‘Babul Mora’ is an expression for me and I’ve always wanted to sing ‘Babul Mora’ on an album because I personally connect to it. Also, the way it has been directed by Ravi Jadhav made me connect with the song even more. It being a bidaai thumri, it expresses my exact emotions which I could never express to my father. The father and daughter relationship is very special and there have been very many things left unsaid between my father and I.

Inheritance is a piece of art where we have tried to maintain our roots. All the thumris are raag based so we have kept the authenticity of the raag intact and have merged it with western orchestra to present it as a fresh piece of music. What were the challenges you had to face while composing and recording for Inheritance? Can you take us through on what the audience can expect from the album? It can be very challenging to do something like Inheritance in these trending times but the hunger of keeping traditional music alive kept us going on, and most importantly the support/appreciation that our seniors who we look up to, has given us the courage to do this. While we were working on Inheritance we were not sure if people will accept it. But thankfully the EP is getting very good reviews from all over the world and we couldn’t be happier. How was your experience working with Sufiscore? How have they helped in the album making process for both Bole Naina and Inheritance? Sufiscore is a platform that has received a lot of love and fans

all over the world with the kind of music it is releasing and promoting. I think Sufiscore is the only platform where they give you full liberty to create the best music. Ee did our first album Bole Naina (Silences speak) with Sufiscore which was composed and brilliantly produced by Deepak Pandit ji alongside great musicians like Gaurav Vaswani and Prashant Sonagra. In Bole Naina, we also had to opportunity to have the album written and recited by legendary Gulzar saab and Ustad Zakir Hussain in the title track. My second collaboration with Deepak ji is Inheritance, which is again with Sufiscore, and it has been a great experience. Can you tell us more about Babu Mora, the first single and video released from Inheritance?

How important do you think lyrics, poetry and lines are for making a composition into a masterpiece. Who were your influences? I feel half the battle is won if you have good lyrics or poetry. Even if you make a simple tune on that the song would sound good but if the composition is made in such a way that blends with the poetry it becomes a masterpiece. I love how Madhurani ji used to compose. If you can feel the foetry while listening to the composition, it has done its job. I have been always influenced by artists like Mehdi Hasan saab, Hariharan ji and Madan Mohan ji.

Nawab Wajid Ali Shah’s ‘Babul Mora’ has been sung by so The

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tanpura and click first. After I dubbed my final vocals, Deepak ji started the arrangements. It’s difficult to control and sing when you don’t have a track. So I sang for hours and from that we had to pick and choose which lines to keep for a 7 mins track.

How challenging it was to bring western classical elements into a Hindustani / Sufi based compositions in Inheritance? I remember we were planning to go to Budapest to record the symphony and shoot with them live. And then the COVID lockdown happened. So, Deepak ji recorded the whole symphony online. It’s challenging to depend so much on technology but the best part that it also gave us an option on how to make it happen. Deepak ji is known for his brilliance in Indian classical and western classical so for us it was a plus point. It is very important to connect to every generation so the only way we can keep Indian classical music alive is through fusing it with a modern approach so that every kind of audience listens to it. Our goal is to make Indian music reach different corners of the world. Can you share any interesting incidents that happened during the recording of this album? We recorded all the final vocals first which is opposite to how we usually go about the recording process. I sang with

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How do you balance the spirit of both Hindustani and Western Classical music - as you are knowledgeable in both the contrasting genres? I have learned Indian classical music but in western I don’t have much command as it’s completely different from my singing style, so thank you for your kind words. I use vocal techniques and try to balance my vocal texture according to the demand of the song. Your valuable piece of advice for budding musicians and vocalists who are willing to pursue Hindustani classical music? I believe that whatever you do or want to get into, know and learn the basics of it. Hindustani classical music is an ocean of great knowledge. If you have the knowledge you can present your art in the best way. A lot of purists are against fusion as they feel it tampers with the sanctity of Hindustani classical music. How do you perceive this notion? Do you think fusion is a good change in the world of music as the range of audience gets broadened? There are different ways of presenting the same thing. I

personally believe there is no harm in making fusion music till the time the authenticity is not diluted. These days when people only want to listen to dance numbers so how will they appreciate the nuance of ‘Bada Khayal’? If we want people to know and enjoy Indian classical music, we have to present it interestingly. It’s exactly how a mother says no to junk food outside and makes a healthier pizza at home. We want the current and next generation to follow classical music and endeavours like Inheritance are a way to make that happen. Your greatest musical influences, genre no bar. My musical influencers are varied and range from Lata Mangeshkar to Celine Dion, Hariharan and Mehdi Hasan. What do you love doing when not pursuing music? I love to spend time with animals whenever I can. And, I also love to read and write poetry. Your biggest motivating factor when it comes to composing and performing music? I feel music is the language of every kind of emotion. It can be felt, conveyed and experienced. When people say that my music gives them happiness and joy, I feel motivated to continue.

SOUVIK CHAKRABORTY

The King of

Benarasi Gharana, Pandit Rajan Mishra.

A retrospective.

The Benaras Gharana of Hindustani music had been long decorated by the greatness of Pandit Rajan Mishara and his brother, Sajan Mishra. The Benarasi Gharana is a cultural reservoir that includes various forms of classical music, through vocals, instruments, and dance forms. The Mishra brothers were known for their unparalleled contribution in popularizing and propagating the beauty of this versatile genre of music. Benaras had also been the soundscape for many stalwarts like the great Pandit Ravishankarji. And, certainly, the Mishra brothers took it to a new level through the rendition of their gayaki, or singing style in Khayal. From his early days in childhood, he had been blessed with the teachings of Bade Ramdas Mishra. He was pillared by great musicians, his father, his uncle, and his grandfather, al had contributed towards fine-tuning and sharpening the talents that this young boy had. Thanks to his great tutelage, by the age of 10, he and his brother had already started singing for a live audience.

Rajan Mishra was known for his affinity towards the philosophies and the teachings of his gurus. He had his allegiance towards the likes of Osho and the Sadguru. He loved treading on the spiritual planes and it created a different euphoria in his music. Such thoughts and expressions percolated in his music too. So, instead of focussing on catering to his audience, he focussed on attaining inner peace through his music. Rajan Mishra composed his bandishes for devoting his commitment to the guru through his verse. The idea was to enjoy his creation himself so that the audience feels at one with the true qualities of his sounds.

the intent behind the music that had appealed to his audience for generations. The aura of a divine presence and an artistic statement on society and the world manifested wonderful concerts out of this duo. One such notable event would be the ‘Bhairav se Bhairavi Tak’, a marathon run of over 50 concerts in 13 countries. Through these, he believed that the world will come to a fulcrum of thought and reflection. He wanted his audience to take a pause and see the world within, away from the earthly pleasures of life. It is this passion that makes his music, so enthralling.

Despite his stellar career and the Exploring the minute poignancy honors of the title like Padma of music was a characteristic of Bhushan. Panditji’s last days his music, so instead of flaunting were in pain and suffering. The the murki or harkat. He focussed coronavirus took him down on the genuine emotions and he soon needed intensive inherent in the melodies of the care. However, his family had music. It is believed that he kept complained about a lack of his audience so enthralled that proper medical facilities and they would often not disturb support, during his final hours. the trance-like air of a concert. At times, they would not even Panditji’s demise is a great applause fearing it would break loss to the musical fraternity, the spell of his music. Bhajan, he was a man who brought the tappa, tarana, thumri, and the classic to the contemporary with much-celebrated khayal style tremendous ease. Perhaps, such of singing, shone through the finesse would never be mastered two brothers. But, it was truly by anyone. The

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AKARSH SHEKHAR

Womagination: The Most Iconic Female Musical Artists Music has served as an instrument to address issues such as freedom, sexuality, and female empowerment. Thanks to music, women have been able to raise their voices to question social conventions, claim their rights, and demand equal treatment. Here are some of the women who shattered traditions, redefined female identity, and inspired a new generation of artists.

Joan Jett

Janis Joplin Patti Smith Joan Baez Björk

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Debbie Harry

Aretha Franklin Debbie Harry

In the late 70s and early 80s, women began to gain more prominence in the world of music. Within this new trend, emerged the ethereally beautiful Debbie Harry. The Blondie vocalist took the reins and assumed the leadership of this rock band in a time of change. The personality and image of Harry played a prominent role in the success achieved by the band. In this way, Harry was breaking down prejudices and went on to influence numerous female artists after her.

Debbie Harry

Joan Jett

Considered by many to be the queen of rock and roll, Joan Jett is another prominent female figure in music history. In her teens, Joan formed the band The Runaways with future guitar legend Lita Ford. Composed entirely of women, the group released five albums before dissolving in 1979. Later, and after releasing two solo albums, the American created a new group called Joan Jett and The Blackhearts with which she continued her musical career. The songwriting, attitude, and ideals of this excellent vocalist and guitarist have inspired many women to create their own musical projects.

Janis Joplin

In the late 60s, Janis Joplin revolutionized the music scene.

With her rebellious attitude, magnificent compositions, and unmistakable voice, the singer achieved enormous popularity. She lived a life without limits and became a symbol of the hippie movement and counterculture. Though her brief career was marred by excess, Joplin had the courage to stand up to established norms and stand up for freedom. Without a doubt, she left an indelible mark on the history of music and her nonconformity served as an inspiration for many other women.

Patti Smith

Born in Chicago, Patti Smith was one of the great forerunners of the punk phenomenon in the 70s. Based on her daring and talent, the composer managed to subvert the role of women in the world of music. In fact, on the cover of Horses, her debut album, Smith showed an image that totally broke with the classic canons of female beauty. Her androgynous appearance, rebellious spirit, and movements on stage served to dismantle some of the stereotypes of rock.

Aretha Franklin

Defender of racial rights and women’s rights in the 60s, Aretha Franklin is one of the artists who has caused a significant impact on the music scene. Although her style is characterized by sounds from

soul music, the performer also explores other musical genres such as jazz, blues or funk. Aretha can boast of being considered one of the best singers in history.

Joan Baez

American folk singer Joan Baez played a prominent role in the social movements of the 1960s. With her powerful voice and her guitar as weapons, Baez dedicated herself to denouncing social and sexual discrimination. Her political activism landed her in jail several times and her music reflects her tireless struggle. The artist also invited Bob Dylan to participate in her concerts. She covered many of his songs and helped him in his musical takeoff.

Björk

Known for her avant-garde style and eclectic music, Björk Guðmundsdóttir is one of the most creative and original figures on the music scene. It was in the nineties when this versatile artist broke many of the established schemes with her innovative ideas. Since then, the Icelandic has continued to experiment with new sounds and created new projects that extend beyond music.

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AKARSH SHEKHAR

HOW TO SELECT

THE RIGHT AUDIO INTERFACE FOR YOURSELF? An audio interface is an unexpendable part of any professional recording setup. If you want to record music, you must get an audio interface. These questions will help you get the right one for yourself. How many inputs and outputs do I need for what I want to do? The first question one should ask when looking for a new interface is the most important. Keep in mind that you want to record with your interface. If you want to record a drum set you are looking for four, eight, or more channels to record everything but if you want to make a demo and record your guitar along with your voice, two channels are perfect for this. On the other hand, if you want to record your guitar clean and apply external effects or reamplify what you recorded, you will need to look at the outputs of the interface.

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What type of connection do I need? If you’re looking to record with microphones, you’ll need an XLR connection, as opposed to line inputs for recording instruments. Luckily, the vast majority of interfaces have combo inputs for both, and some include more line inputs and outputs on the back (like the Presonus Studio 68c). If the previous question showed you that you need a certain number of inputs and outputs in your interface it is very important to make sure that your next interface has the correct connections for your project. On the other hand, it is also important to make sure that the interface that you are going to take home has a connection that your system supports. There are different types of connectors in the world of audio interfaces: USB, USB-C,

Thunderbolt, Firewire, PCI-E, and more. It is important that not all are compatible with each other or with different systems. Before buying your interface check that you can connect it to your computer without complications.

What quality am I looking for in my interface? Luckily, the vast majority of input interfaces have incredible audio quality. These interfaces will be enough to record your ideas in a home studio context. Now, if you are looking for something more in terms of audio quality or you have specific specifications regarding the quality of the interface components, you can look at terms such as frequency range, dynamic range, bit depth, noise levels and even aspects such as the construction of the same interface.

How much do I have in my budget? Taking into account the answers to the previous questions, we should have narrowed down our candidates quite a bit. What remains in the decision is partly the budget you have. It is possible that for a little less you can take the same functions and add some headphones to your study. It is important to stay within your budget when choosing the interface since, as much as it is an essential element of the study, there are other types of equipment that you must acquire to put together your perfect recording setup.

What else am I looking for in my interface? Today’s interfaces have much more than pre-amplifiers and converters. There are models that include internal processing (such as Universal Audio’s Apollo line ) or specialized tools (Presonus IoStation 24c or Audient SONOS for example). In addition, there are interfaces with other very useful elements such as MIDI interfaces, meters, comfortable knobs to work with, switches to compare your sound on different devices and more. If you need a specific function on your equipment, it is important to take it into account when looking for the ideal interface for you. There is no “one size fits all” solution, so choose accordingly.

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AKARSH SHEKHAR

Women And Musical Instruments Are there instruments for men and instruments for women? This question can lead us to the root of many behaviors in our society and in the history of recent centuries. It is not necessary to explain that gender issues have intervened and continue to intervene in the majority of activities and decisions of daily life. As if it were a transparent lens that varies everything, discrimination and habits related to sexual categories affect all aspects of life. Also, the music, and much more than we can imagine at first. Without going into the exciting labyrinth of tensions between genre and musical situations, we will dwell only on some examples related to playing instruments.

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Instruments and musical specialization, especially when practiced professionally, has been an almost exclusively male affair. Until a few decades ago, the cases of female instrument players were very rare (much earlier they were singers, dancers or instrument players considered simple or non-professional), so much so that before the 20th century few could provide the name of a female violinist, bassoonist, cellist or trumpeter (we are sticking with classical music here). Paradoxically, if we now review the proportions of orchestral instrument students in conservatories, we will find a clear female majority. What happened? What has changed?

There is no word in the Wikipedia entry for ‘cello’ that explains that the placement of the instrument in the hands of women has changed substantially in the last two centuries. In the articles corresponding to the first internationally known women cellists, no one talks about the position of the instrument either. In fact, to find out which were the first cellists to play with the instrument between their legs, we ourselves had to resort to the oral recollections of some musicians and directors about to retire. And yes, for many decades of the 19th century, within a tradition that dates back to the 18th century and was only broken by some woman who could afford it, like the king’s daughter Henriette de France (1727-1752), who was portrayed by Nattier in 1754 with the viola da gamba between her legs. Around that time, almost every woman who dared to play the cello had to do it one way only, ‘pudica’, that is, placing the instrument in front of the legs, in a forced position and with a notable inclination; or, also, with the cello in front of a leg that flexed backward, in a very uncomfortable way; or even with the instrument simply to the side, as seen in some paintings (you can consult Lidia Cabot Perry, 1892, placing the instrument in front of the legs, in a forced position and with a notable inclination; or, also, with the cello in front of a leg that flexed backward, in a very uncomfortable way)

Guilhermina Suggia (18851950), the daughter of Porto and a family from Italy, was the first woman to place the cello without hesitation between her legs, as men did, and develop an international career with the instrument. Suggia studied in Paris with Pau Casals, and they lived together from 1906 to 1912. Another prominent female musician of her time, Beatrice Harrison, born in 1892, also adopted the ‘masculine’ position.

It is not, however, strange, if we remember that until recently, many women across the globe sat ‘sideways’ to get on behind the motorcycle of a man in the family. A lot of them still continue to do so, especially outside the big cities, even though it’s extremely dangerous to do so. There are also numerous images of the women of the Central European aristocracy riding sideways on the horse’s saddle. All of these were justified by a clearly controlling and typified concept of gender ‘modesty’. The

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AKARSH SHEKHAR

THE BEST APPS TO HELP YOU WITH STAGE LIGHTING ASTERA APP

The Astera app offers fast, intuitive control of complex lighting setups with fully customizable programs and effects. It is designed to work seamlessly with other control methods. You can set DMX addresses and footprints for CRMX control and Astera’s IR remote can be used to send app commands to individual lights. Talkback, its two-way communication applied to wireless event lighting. You get a list of all your lights and their states, even when you control them with DMX. And you keep a permanent overview by filtering and sorting by different criteria, changing the DMX addresses of your light, footprints, etc. without touching the lights. Select multiple lights and change their settings to save even more time. Create complex

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programs of colors, effects and settings. The lights will remember and repeat these effects without the need for a constant wireless link. DJ feature, auto BPM analyzes beat and matches programs, flash buttons can trigger special effects while held down.

SWEETLIGHT

This app makes stage lighting design fun and easy, and is available for download to your Windows or MacOS computer. For Theater, From a vertical list, you can select the next scene and trigger the transition with a simple “go” button. In real time, you can rearrange the list while you’re running a scene. You can control and modify the show regardless of last minute changes. This turns the software into a theater lighting console. Under Synchronized shows, with the help of the cursor,

you can move from left to right in a timeline view that can automatically trigger scenes accompanied by a video and/ or audio file in real time. Create and save complex timeline projects in sync and with just one button you can play them.

UPRTEK

An LED lighting expert in theater lighting design tells us that the price of most theater lights is high, and the dimming system can only be used with the same lighting brand, the closed system can not customize customer needs. Through the self-developed library of the UPRtek uSpectrum PC software, there is an application program for the lighting control system (Color Navigator). Now, the LED light source is maturing, professional lighting designers have also started to use a wide range of LED lights due to the low temperature and energy

saving characteristics. These advantages have come from a new direction of thought to control the color change of stage lighting. If color mixing technology for LED lights is an open resource, is it capable of helping professional lighting users? If cost effective, is it possible to replace the light color changing system? These questions may be the reasons why the use of LED lights is not yet widespread throughout the professional stage lighting market. In the case of an electronic music nightclub, the dance floor is not so essential since dance music allows attendees to enjoy themselves from the place they sit. If this is your case, you should take into account if the DJ area will have a greater role or if you want the entire club space in general to offer a light show.

DMX3 FREESTYLER

Freestyler DMX is a software for the control of DMX lights Created by Raphael Wellekens and used by thousands of DJs, clubs and lighting designers around the world, it can be downloaded and used completely free of charge from its official website. The creator of the software only asks for a small donation if you like the software after using it. To control your lights you just have to install the software you buy or have a freestyler compatible DMX interface, configure your lights and design your show. The

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AKARSH SHEKHAR

DRUM PROGRAMS THAT

WON’T LET YOUR

RECORDINGS MISS A BEAT Whether you’re creating drum tracks for a quick play or creating professional-sounding tracks for your recordings, get yourself one of these drum plug-ins. While nothing beats a real drummer in a well-equipped studio, you might be surprised at how well drum plug-ins sound. What is a Drum Program? If you have never used a drum program before, you need to know what these programs do. If you have knowledge about add-ons, you can skip this section. A plugin is a separate piece of software that can run on its own (called standalone) or run inside a DAW (like Ableton or FL Studio). The plugin allows you to access different sounds or process your recordings via computer in different ways. Guitarists often use plugins to simulate guitar amps and effects, but plugins can do much more than that. You can run and use drum programs independently, or you can use them with the help of a DAW program. Each drum program includes features with different styles and rhythms. You can create your own patterns using these programs using the mouse, keyboard or drum pads, and if you want, you can color your music with readymade rhythms.

What are the Drum Playing Program Formats? There are several different format plug-ins and the format you use depends on the DAW (Digital Audio Workstation) you are using.

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The four types of audio plug-in formats are: • VST: used in most DAWs • AU: Ableton Live, Logic Pro • AAX: Pro Tools 10 and above • RTAS: Pro Tools 10 and earlier

Each of these plug-in formats can have different versions. VST2, VST3, AU2 etc.

Best Drum VST Plugins Superior Drummer 3

The two most popular options for easy-to-use drumming software seem to be Superior Drummer 3 and Addictive Drums 2. Some musicians think the Superior Drummer provides the most realistic-sounding drums. Both make for great drum sounds when used correctly, so it’s worth comparing features and price to find which one is best for you. Superior Drummer 3 has a modern, easy-to-use interface. It has more features than Addictive Drums 2. Superior Drummer 3 comes in a huge 230GB package with electronic and acoustic drum kits. If you’re just looking for a simple drum kit, this program might just pack in way too many features for you. So decide accordingly.

Addictive Drums 2 One of the reasons why many people prefer to use Addictive Drums 2, which is on the list of drumming programs on the computer, is because it is incredibly easy to use. You can quickly get a realistic drum kit without tweaking or changing

settings.

EZDrummer 2 EZDrummer 2 is a slightly older plugin among quality drum programs, but many people still use it. The EZ Drummer 2 is made by Toontrack, the company that made the Superior Drummer 3. Compared to the other options we’ve shown in this post, the EZDrummer 2 has basic capabilities in terms of features and sounds but is very fast and easy to use.

MT Power DrumKit 2 If you’ve never used a drum plugin before, you might be hesitant to spend money on one. The good news is that there are several great free drum programs you can use. One of the best options in that scenario is the MT Power DrumKit 2. This wonderful tool is completely free and easy to use.

Steven Slate Drum 5 Steven Slate Drums 5 is worth checking out because there are both free and paid versions depending on the sound range you want. It is a great drumming program as it has many features in its new, modern and free version among drum programs.

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ISE 2022

PREVIEW & OVERVIEW General overview for Media to take relevant highlights for their ISE Preview issues... It’s just six weeks until ISE 2022 opens its doors for the first time in Barcelona, and with seven conferences, around 800 exhibitors across six Technology Zones and a whole host of lounges, experiences and showfloor features, it’s shaping up to be an engaging, informative and eye-opening week at the Fira Barcelona, Gran Via. Visitors will find it particularly easy to navigate the showfloor this year, thanks to the dedicated Technology Zones that group together exhibitors in major technology areas. While Halls 3 and 5 contain ISE’s flagship exhibitors, plus companies whose multitechnology offerings do not fall easily into a single Technology Zone, elsewhere you’ll find Audio and Lighting & Staging in Hall 7, Digital Signage & DooH in Hall 6, and Residential & Smart Building along with Unified Communications & Education Technology in Hall 2. • NEW: Unified Comms & Education Technology (Hall

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• • • • •

2) – newly combined zones NEW: Residential & Smart Building (Hall 2) – newly combined zones Multi-Technology Zone (Halls 3 and 5) Digital Signage & DooH (Hall 6) Audio (Hall 7) NEW: Lighting & Staging (Hall 7) – featuring special Lighting Demo Zone

Conference Programme This year’s conference programme covers a whole host of hot topics across multiple verticals, starting with the full day Smart Building Conference on 9 May, the day before ISE opens its doors. With a focus on smart, safe and sustainable building technologies, SBC will welcome speakers including Erik Ubels, Owner, Metisreal, Kathy Farrington, Global Lead for Digital Buildings Program (Bos) And IOT Team Manager, Google, and Matthew Marson, UK Sector Director – Manufacturing + Technology, Arcadis. The Control Rooms Summit will kick off the content programme on 10 May. This half-day event will explore the way control rooms are changing and how the community

must work together to deliver appropriate and outstanding new models. It will be followed by the first standalone Smart Workplace Summit, which will delve into the innovations reshaping the workplace. Digital Signage Summit will return on 11 May with a packed agenda covering green signage, industry consolidation, best practice and the latest tech trends. Speakers include Kai Hendrik Müller from Porsche, Valentina Candeloro, Director International Marketing, Mood Media, and Judith Palmés Bosch, Managing Director/Business Consulting/ Customers and Services, Accenture. On the afternoon of 11 May, the Digital Learning Summit will look at digital transformation within higher education. Zoom will give an inside view of its success and insights into its product roadmap as it positions itself at the heart of the learning ecosystem. There will also be great success stories of universities developing creative solutions to deliver hybrid learning at scale. Taking place on the morning of 12 May, the first Superyacht Technology Summit will host

inspiring global technology speakers and thought leaders discussing the integration process, immersive hands-on demos and workshops, and Tech Talks explaining how to succeed in the industry and highlighting how bluechip companies can work successfully with superyacht R&D teams. At the Live Events Summit, experts from the world of pro audio, top manufacturers and professionals at the coalface of the live events industry will be sharing their expertise on topics including immersive audio, remote mixing and networking.

Association Activities In addition to these conferences, AVIXA and CEDIA will also be hosting extensive education programmes and special events. CEDIA’s comprehensive offering will be delivered by subject matter experts from across the globe and also includes the opportunity to take CEDIA training in

Spanish along with a wide range of opportunities to learn new skills. Sessions begin on the morning of 10 May with a Future Technologies Update led by Rich Green. Other topics up for discussion include design documentation, power and energy storage, WiFi6 and WiFi 6E, and video technologies. CEDIA will also host a number of more business-focused sessions, including 20 Ways to Increase Profits, A Project Manager’s Guide to the Financial Stuff, and Building your Business with Training. AVIXA will kick off its ISE offering on 9 May with a regional meetup for the French AV community. It will stage similar events throughout the show for Italian and German attendees. On 11 May, the AVIXA Women’s Council will host a Shared Experiences Panel in the Projection Dome in Hall 5. Panellists will discuss practical ways to inspire and empower women in AV and look at what companies are doing to tackle gender imbalance and promote

and encourage women in the workplace. The following day will see two panel discussions organised by AVIXA’s Diversity Council taking place on the Conference Stage in Hall 5. First up is Designing for Equity, Inclusion, Accessibility, which will look at equity in leadership and building a culture of inclusion, the benefits of diversity and how technology helps diversity efforts. This will be followed by Intersectionality and AV/ IT/AI. Intersectionality is the acknowledgement that everyone has their own unique experiences of discrimination and oppression and we must consider everything and anything that can marginalise people. This session will discuss how to create safe spaces and build communities, while establishing paths and opportunities for individual and organisational growth.

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Sound Xperience will take place at the Eventos Filmax Cinema Gran Via complex, a few hundred metres away from Hall 5. The cinema will host a number of uniquely configured audio spaces allowing leading audio brands, including Martin Audio, L-Acoustics and Adamson, to present a realistic representation of their latest technologies. Equipped with the latest Dolby digital cinema surround sound processors and high-end Barco projectors, the rooms range from in size from large-scale spaces to more intimate venues.

AVIXA is also organising the AV Experience Zone, also in Hall 5. Featuring Spanishlanguage content showcasing cutting-edge AV solutions and the latest trends within the industry, different sessions will be held for targeted vertical market audiences, professional technicians and students. Also focusing on students, AV Career Day returns to ISE on 11 May. Organised by AVIXA, CEDIA and ISE, this year’s event will see participants come together in the Projection Dome to enjoy panel sessions and presentations before heading out on guided showfloor tours and finishing with networking drinks.

Show features and experiences Also sure to impress visitors on each day of the show, the ISE

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For those interested in the worlds of audio and live events, the Live Events Arena in Hall 7 has been specially created to augment the visitor experience. As well as the latest solutions for the sector, the arena stage will host 15-minute product demonstrations to provide a more detailed understanding of the latest technologies. A dedicated networking space will also be available. Visitors looking to unearth new technology and identify opportunities for collaboration should head to the Discovery Zone in Congress Square. Featuring exhibitors including DronePixel by Ehang, Convergent Design, StreamIt, Imago, PlaceOS and more, the Discovery Zone will host everything from young ground-breaking companies to prestigious PLCs. Congress Square will also be the location of pavilions organised by Barcelona City Council and the government of Catalonia, hosting local and regional exhibitors.

Making its debut in Hall 6 at ISE 2022 will be the Retail Experience/Digital Signage Avenue. This multi-application show floor feature will bring together and present a selection of the world’s leading digital signage and DooH technologies. Visitors will be able to experience state-of-the art digital signage in action and find out how it is being used extensively for advertising and information delivery.

Lounges

A number of lounges will be situated throughout the show. In Hall 2, ISE will host a dedicated Influencer Lounge where social media influencers will interact with exhibitors and create and post showrelated content. Facilities will include a podcast studio, photobooth, meeting areas and a live Twitter wall. Also new for this year, Women in Live Music (WILM) will host a lounge in Hall 7 as part of an ISE-supported initiative to encourage more women to visit the show and to join the AV industry. WILM will be joined by representatives from Women in Lighting. Malle Kaas, founder and CEO of WILM, says: “We hope to encourage more women to come to the show by offering them a ‘safe space’ where they can hang out and connect with other women. But I also hope that both exhibitors and male guests will visit the lounge and learn more about the industry from a woman’s perspective.”

Awards and events ISE attendees will also be able to explore IOT Solutions World Congress (IOTSWC), the largest international event devoted to industry transformation through disruptive technologies, which runs from 10-12 May at the Fira. The sixth edition of IOTSWC will take place under the theme Game-changing technologies for industry transformation and the two events will provide a unique opportunity for visitors to explore the crossroads between different sets of disruptive technologies. Visitors can access the IOTSWC exhibition area at no extra cost, while those registered to any of the ISE conferences will benefit from a 50% discount on the IOTSWC congress programme – and vice versa. The ISE Open Innovation Challenge, hosted by ACCIÓ (the Catalonian Agency for Business Competitiveness) and Enterprise Europe Network,

will take place in the Catalonia Pavilion throughout the show, with eight corporations looking for new technologies and solutions partners to help solve a range of business issues. The event features challenges across seven categories: live events; broadcast and content creation; residential and smart building; hotels and hospitality; digital signage & digital out-of-home media; unified communications & education technology; and audio.

trade show marketing, the awards acknowledge ISE exhibitors and their standdesign efforts. Every stand on the ISE show floor is automatically entered into the free competition and judged on site during ISE 2022 by world-renowned designers and marketers. The winners will be revealed at the Stand Design Awards Ceremony, which takes place at 16:30 on Thursday 12 May on the Live Events Stage in Hall 7.

Technology providers that have the potential to help solve these challenges can register to participate in the event and arrange physical or online meetings with the companies involved. On-site corporate challenges will take place between 10:00 and 12:30 and between 13:00 and 15:00 each day of the show.

Make sure you are following ISE on twitter, LinkedIn and Facebook and use the hashtag #ISE2022 for up-to-the-minute news, event highlights and exciting announcements.

And, of course, no ISE would be complete without the Stand Design Awards. Managed solely by EXHIBITOR magazine, an award-winning print and online magazine featuring best practices for

Integrated Systems Europe, ISE 2022, will take place at the Fira de Barcelona Gran Vía on 10-13 May 2022. The ISE Conference programme runs from Monday 9 May through to Thursday 12 May. For more information, please visit www.iseurope.org

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SOUVIK CHAKRABORTY

THE HIP HOP QUEENS OF INDIA: THE STAGE IS LIT! The hip-hop scene in India had been continuously evolving along with the reception of Rap Gods in mainstream media. The angry, anti-establishment vibes have been erased and instead, the motivated, cause-driven musical senses have percolated throughout the industry. It is interesting to note that there seems to be a bigger tribe of female musicians or hip-hop stars who have steadily put their stronghold in the arena. Tracking this transformation will be quite an important study of the contemporary history of India. Ish Kaur This music sensation had a very early affair with the hip-hop music scene from an age of 13. An episode of bullying had made her join a hip-hop band at an early age in school and ever since she had been infatuated with the magic of music. Her music speaks of intense themes like empowerment and contains other socio-political commentaries a and when required. Her motivated approach towards her music has made it interesting to follow this young talent. She does not focus on depending on regular slang to create her lyrics, rather her music comes from direct observation of the status and conditions of women of the time and age she hails from. The plight of women in a male-centric patriarchal world forms the bedrock of her songs. Meba Ofilia She possesses one of the most distinctive styles on this list. Hailing from the pristine Hills of Meghalaya, Meba is known for venting out through the lyrics of her songs. The beauty of this seasoned writer-vocalist is purely in the existential essence of her art. ‘Done Talking’ is one of her most accomplished numbers, it speaks about love and art and seems pretty autobiographical. Meba had been quite successful commercially for the projects she had been

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otherwise commissioned for like; Tourism films etc. Dee MC She had been phenomenally successful in the indie scene, with her brutal observations on the societies and the hypocrisies that are rampant around us. Deepa Unnikrishnan or Dee MC had been one of the most prominent faces of the underground soundscape of Mumbai. She broke the internet with slick on-the-fly renditions of her originals. Dee loves to speak about gender inequalities and other disparities in society concerning women. Sofia Ashraf Sofia had been using her music as a weapon against injustice. She does not shy away from voicing her objections to malpractices by big corporations. Her ‘Kodaikanal Won’t’, featured the mercury pollution in Kodaikanal from a thermometer factory owned by Unilever. This Tamil rapper has her ways to grab your

attention by the right combo of wackiness and satire. A very strong voice and a definite refresher from the usual grind of musicians. She also came up with a song called ‘Don’t Work For Dow’, criticizing the owners of the Carbide factory in Bhopal. It was directed to those responsible for not paying the victims their due compensations. Siri Siri Narayan’s forte had been a versatile artist with her prowess over multiple languages like Telugu, Kannada, English, and Hindi. She had been phenomenal with her roots cemented in Carnatic music and classical instrument like the Veena. India is certainly a melting point of different ideologies and cultural planes, and musicians like Siri, effectively reflect that in their music. She has this enchanting capacity to take you to different places with the strong tempo and the well-crafted lyrics of her songs. She loves to edge the thin line between peace and chaos. On one side her fierce phonetical delivery will keep it hot like a livewire across the lines, and on the other, her music will permeate a sense of composure owing to the underlying themes in them. The pretensions seem to give away to a strong passionate voice.

Singer who had been known for her repertoire in Bollywood. Her unforgettable hits like Ek Glassy, Paisa Phek, Singh is King, and countless other originals have made her a talk of the town for decades. Raja Kumari grew up in the US as Svetha Rao aka Raja Kumari, a gentle recall to her popular stage name ‘The Indian Princess’ . Raja Kumari had been a sleeper hit in the otherwise transforming pop culture of Bollywood dance numbers and the run of the mill romantic numbers. Her shot to fame had been initially through a rigorous process of collaborating with other musicians like FallOut Boy, Fifth Harmony, and other artists, until her association with Divine, blew up the charts.

goddess ego would transform her persona into somewhat of a ‘demon slayer’. This attitude permeated most of her couture and musicality thereafter. These queens of hip hop had been the rap Gods in the truest sense for having inspired many future generations who would want to emulate a similar trajectory to success and hipster life. It would be fun to list another set of such ‘princesses’ who would wake up to serve the music industry with more power

As an intrigued artist, she would use Bollywood movies to learn more about the Indian culture and the emotions associated with the Hindispeaking audience. Later her

This list would be incomplete without namedropping the super divas of the hip-hop world. Raja Kumari and Hard Kaur are predominantly the most accomplished names in this field. Hard Kaur is a British Indian The

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NAVYA C

Top women percussionists who are making a change Percussion such as mridangam, tabla, ghatam, or live drums is often considered to be a male-dominated genre and demanded high-power coupled with patience and mastery over the instrument. Carnatic music has always been known for its sincerity to rhythm and progression over decades altogether. Mridangam and ghatam being highly south Indian and Carnatic centric instruments still remain to be a challenge to take up. Score brings a special focus on women percussionists who brought and still are continuing to bring a dramatic change to the genre with their boldness and mastery over percussion. Pudhukottai Ranganayaki Ammal: Regarded as one of the senior percussionists in the world of Carnatic music, she is the first mridangam player in Carnatic music. She shared the stage with almost ever-popular musician of her time and broke all the rules of masculinity associated with percussion. Sukanya Ramgopal: She has

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been a legend and hosted an amazing ghatam solo(stree taal tarang) in the year 1995 , putting audience as well as male chauvinists to shock. Her magical rendition not only spoke about domination, but a fitting answer to people who feel ghatam is truly a masculine instrument. She is also known for setting up an all-female concert that was almost unheard of in the world of Carnatic music. Rajna Swaminathan: Pioneering women percussionists across the globe, Ranjna is also famous for her bold take on the struggles of female percussionists in the talk Transcending His Beat, Her beat. The US-based musician sets the stage on fire with her mridangam playing and neutralizing gender inequalities. Ramgopal Hariharan: Facing

much competition over male-dominated stage artists and percussion, she has dreamt of bringing all-female percussionists together on stage and gained popularity among the Carnatic music circles. She brought a fitting 84-piece percussion tribute dedicated to the ghatam legend Vikku Vinayakaram on his 75th birthday. Deepika Srinivasan: A Bangalore-based mridangist, Deepika has brought in new glamor to the instrument with her unconventional style of playing. Her modern thought and tremendous energy levels cannot be ignored by Carnatic musicians and listeners alike. These top women percussionists not only brought a new edge to Carnatic music but continue to make a change with their renditions, whether live or on recordings. It is high time we cherish and relish not just their musical prowess, but also their egalitarian thought.

Transformation Awaits!

June 3–5, 2022

NAMM SHOW + For the first time, select content and experiences from The 2022 NAMM Show will be available online through the new, digital platform, NAMM Show+. - See the latest products - Discover brand stories - Develop skills through multiple education tracks - Experience live music, concerts and award shows - Connect with a global community of music-makers namm.org/plus

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