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.
50 years of Shakti, a quintet that has created some of the most unique, uplifting and impossibly memorable musical experiences you’re likely to come across on this planet.
To celebrate 50 years of making what is quite possibly magic, Shakti returns with a new album that tells their truest stories through sound. If you’ve heard them, you know that John McLaughlin, Ustaad Zakir Hussain, Shankar Mahadevan, Selvaganesh Vinayakram, and Ganesh Rajagopalan don’t just craft melodies. They lead you to plumb the depths of an almost unearthly joy, question what you’re living for, and mourn
the tragedies (personal or global) you’ve forced yourself to ignore in order to survive.
At least, that is what the music of Shakti did for me. I doubt I’d be the somewhat self-questioning person I am if I didn’t come across Shakti when I was 19.
As they set out on their 50th Anniversary World Tour, these seers of sound took a few moments to tell The Score Magazine about the new album, their personal evolutions over 50 years, and what Shakti continues to be for themselves and those whom their music uplifts every single day.
We have to start with the obvious question. After 50 years, who is Shakti today? What has changed? Who have you become through 50 years of experience, exposure, and tribulations?
John McLaughlin: Shakti is much, much more than the music group as you well know. Our group Shakti is not only alive and well, but constantly renewing itself musically. Now while there are only two members of the original group, Zakir Hussain and myself, the current members are all marvelous musicians and great human beings. In addition, they grew up listening to Shakti music!
Our multitudinous experiences over the last 50 years have served not only to develop musically but intellectually and even spiritually. And while you may not be able to identify these aspects in the Shakti of today compared to the Shakti of the past, they are there, and are behind the evolution of the group Shakti.
Selvaganesh Vinayakram: I’ve grown up listening to Shakti, it started in the 70’s - the decade when I was born. It’s still the same for me, the same family I grew up with.
Shakti is Shakti - It’s the first Indian Classical and Western Classical fusion band and will be remembered very fondly by me. It’s almost like growing up with a sibling, even after 50 years he’d still be your brother and nothing changes. Shakti transported me to a new dimension where I became open to listening to and experiencing new music.
Shankar Mahadevan: Well, after 50 years of Shakti, I can just say I am a better student today that from when I had purchased their cassettes and studied their music as a school-going child. It was almost like studying a course from a university. After 15-20 years, I got the chance to listen to them and learn from them in person. They are all gurus and supremely talented musicians. I really feel that in this lifetime, one of the greatest blessings I have received is to meet, travel, interact and perform with these people.
Would you give us some insight into your new album? What story does it tell?
John McLaughlin: What story can any musician tell with their instrument? This is the great question all musicians should at some point in their lives ask themselves.
First of all, a studio album, which is what this album is, irrespective of where the recording studios were located, has a closer relationship to the visual arts compared to a live recording. This is reflected in the fact that new compositions can be developed further, and the performances of the musicians can be repeated, something which cannot be done in a ‘live’ recording.
Now as to what stories are told: there are several stories told simultaneously by musicians when they play. First of all, the individual joy and exuberance of playing or singing music. Secondly, the quite intimate complicity enjoyed by all musicians when they perform with other musicians they love and admire. Thirdly, musicians recount in
music the stories of their life with their loves, tragedies and the knowledge that being a musician is one of the greatest privileges of life, which brings about the most profound sense of gratitude to life itself.
Selvaganesh Vinayakram: The story of the new album would be that of Shakti’s transformation to a new genre of music in the last 50 years. It will cater to all generations that have followed Shakti’s music and future listeners as well. All age groups will thoroughly enjoy this album.
Shankar Mahadevan: We always had this feeling that Shakti did not have a studio recording. The idea came during the pandemic. We had so many pieces that we used to play live in various concerts as well as pieces we have composed.
There may be some videos of live concerts but never a studio recording of Shakti. During the pandemic, each of us were in our own country and we decided that there has to be a celebration of 50 years and we have to start recording in different parts of the world. There was no better way to celebrate 50 years of Shakti’s existence!
Given that each member is scattered across the world, immersed in their own musical pursuits, how do you find the time to converse, collaborate, and create new music?
John McLaughlin: This is easy today with the technology available to most people.
Selvaganesh Vinayakram: In this new age of technology and accessibility, it is easier for us to jam together wherever we are. We
are all connected through different apps all through the day, that help us align our thoughts and make it easier for us to compose and record our music. This was not possible 20 - 30 years back but is now easily achievable.
Shankar Mahadevan: Well, I think digital technology has really helped us. It is a bit of effort as all of us are in different parts of the world. There are a lot of messages and communication files going back and forth with suggestions, feedback, explanations on what to do, what to cut, etc. But it is really worth the effort. We made use of our time constructively to make this legendary and memorable album for us.
After 50 years, two of them spent under the burden of a pandemic, has Shakti’s musical purpose changed? Have you begun reimagining what your music can and will reveal to the world?
John McLaughlin: As far as I am concerned, Shakti has no ‘purpose’. This is an intellectual concept that is related to the material world. Which means that there is a goal. Shakti was born out of love and the joy of mutual discovery in music.
Selvaganesh Vinayakram: The pandemic has only brought us closer and made us more invested in the music we play. There’s nothing that’s changed, similar to spending more time with our families, we’ve spent days and days with our instruments. It actually opened up our minds to think beyond boundaries.
We are now equipped to create music remotely. The pandemic has only taught us that anything is possible when you are vested in your craft. Any art form cannot be curbed because of a pandemic like COVID-19.
Shankar Mahadevan: I am sure that, not just us as musicians, but everybody who has gone through the pandemic… we have realized a different purpose with anything that we do.
Similarly for Shakti, I think, we have realized that the purpose of music is to realize the present moment, experience love, and a lot of positive energy as that is what stays with you. We wanted to create memories, and music that is going to stay. Overall, the whole purpose of Shakti is to spread love amongst ourselves and to the rest of the world and bring joy to people’s lives.
All of Shakti’s music has sought to find the essential unity sitting at the heart of music, no matter its origin. Is the new album also in pursuit of such harmony? Given the dissonance of the modern world, do you still have faith in such harmony’s very presence?
John McLaughlin: The harmony you speak of has existed since time began and is eternal. What men do in the world, which currently is the accelerating destruction of the natural world, affects all people everywhere but actually does not belong in the world of music. That is unless you allow it to enter…
Vinayakram: Yes for sure, the orbit of Shakti remains the same and no one can change it. The two great musicians involved like Zakhir Bhai and John Ji make this orbit function, anyone that joins it will be in sync with it as they rule the world of Shakti.
Over 50 years, has physical aging had a noticeable effect on your music? As in, does your music reflect how you view the world at this age?
How one views the world depends on the degree of awareness and depth of perception one has. This is also dependent upon one’s awareness of the true nature of the human being. Being aware of the current tragedies is one thing, but the experience of playing music is knowing that you are doing something to counter these tragedies.
Your music has consistently explored ideas and themes around liberation and transcendence - be it earthly or esoteric. Where does that come from? And what has kept you interested in that practice?
Personally, it is directly related to my awe, wonder and insatiable curiosity of living in this spectacular, fabulous beyond fabulous and mysterious beyond mysterious universe.
Selvaganesh
Do you still carry the joy that first led you to play with Ustad Zakir Hussain? Does it still drive your music?
Yes, absolutely. Beyond music, what are the art forms, causes, and ideas that you value these days?
The visual arts, dance, the amazing scientific discoveries being made, and poetry.
On your 50th anniversary tour, you’ll have thousands of dedicated fans rejoicing along. But for those who find Shakti for the first time in their lives, what would you say?
Shakti is more than just the incredible music it generates. It is a noholds-barred sharing of love, of space, of cultures, of respect, reverence, a heady concoction, our hearts beating as one, our minds thinking as one, no fences, no barriers, no hesitation, just the joy and bliss of an impossible union in these times.
THAT IS WHAT I WOULD ASK THE NEWBIES TO PLUG INTO.
After 50 years, do you still keep finding new experiences playing with your fellow musicians in this quintet? Could you give us a glimpse into that?
Shakti as described in the previous answer, does not just rely on prefixed ideas. We, as both the Jazz and Indian traditions demand, believe in spontaneity, so the music has the chance to blossom within the thought of this moment. That thought will include all of us putting on the table our experiences (musical and otherwise) within Shakti and away from Shakti. Thus new ideas and fresh elements emerge.
What has been your greatest moment, on stage or off, with Shakti?
The brotherhood of this way of life, the happiness of experiencing this complete moment of creative independence, the wonder of arriving together at this moment of deep spiritual revelation and understanding night after night. Priceless!!
Would you give us some insight into your new album? What story does it tell?
The new album is a culmination of what Shakti has done for 50 years. I feel honored to be part of it and play a small role.
Given that each member is scattered across the world, immersed in their own musical pursuits, how do you find the time to converse, collaborate, and create new music?
The process of recording the new album was exciting. Being new to the group I was hanging on to every word of what John ji, Zakir ji, Shankar ji, and Selva ji would say. For me, it was important to execute their plan. At the same time, give my ideas through my instrument.
You once said, “When I play a raga, I will play it like a story.” What stories are you weaving with the new album?
Instrumental music is great because when I play a raga the audience can have their own story revealed in front of them. It is all about having an immersive experience because it is not the same every time I play. It is the story of that moment of experience that both the artist and the art lover go through.
What are the most strident difficulties of playing an actual instrument in an autotune world? Do you still feel like enough people have time for the nuances and stunning complexities of a Carnatic violin?
Live performances can never replace recordings. Both will remain parallel to each other, etching memories for the future. People are always in search of new music, both
live and recorded. Playing music is always fun. The part when it is communicated to the audience and their positive response is invigorating and exhilarating.
SELVAGANESH VINAYAKRAMIn your opinion, what is it about the music of Shakti that has kept it loved endlessly in a time of 2 day-long social media trends?
I am born from a musical lineage and a family that carries a great musical legacy. I’ve followed my dad’s footsteps and my son has followed mine. Now my granddaughter who jams with me also listens and jives to Shakti. She even enjoys the music of Shakti that was created in the 70s and then in the later 2000s - That’s the power of Shakti that will prevail for the ages to come.
What are you most looking forward to in your panIndia tour? It’s definitely going to be fun and a learning experience. This is a family affair for all of us.
What is it that, after all these years, keeps you exploring, innovating, and pursuing music? Is it the people you play with? Is it your deep investment in the philosophies and inherent beauty of the music itself? It is a mixture of both. For the past three years we’ve not connected with the audience, we played all by ourselves which was enhanced by our love for the beauty of music. Now we are connected with the audience and other artists, which will give us an all new experience. That’s what we are looking forward to.
How have perceptions toward music (and all art) changed with the advent of social media? Have you noticed a difference, especially with regard to Shakti’s listenership?
It is a different time in which you are directly connected with the people who love and admire your music. You just realize that musical pieces that you played years back keep resurfacing, reinventing themselves with new audiences. And every time it comes up, the kind of love and goodwill from people is interesting to see and experience. You get to experience people’s energies directly with yourself.
What do you do when you find yourself lacking in inspiration?
There is never a time when we lack inspiration, but just sometimes you get a creative block or you just think about something and later that trigger or idea is not good or up to the mark.
I think you should just let the music flow and not dictate terms by saying you have to create music in 5 minutes, nothing like that works. It comes, goes, and stays as it is. You just have to let music pass
through you like an automated medium. For it to flow naturally, you should be in a joyful state of mind and be at peace with yourself.
Could you give us a glimpse of your mind when you’re performing and/or recording with Shakti, as opposed to all your other musical pursuits?
Firstly, the glimpse of my mind is that I feel extremely proud to be sitting/sharing the stage with these maestros. There might be a million plus singers in the country but I was the chosen one to be able to interact, perform and improvise with these musicians. Being with this group, you realize that it is not only about the music but also about the kind of human beings that they are and that translates into the music.
Everybody is of a particular level and there is no kind of insecurity in their creative world. When you play with a group of such musicians, who are confident about their expertise, they allow you to shine when your time comes. They give you a perfect cushioning and playground to play with your music.
My mind is in a state of absolute bliss, and in a state of adoration, and overall it connects to a lot of love. There is genuine appreciation for each other’s talent. Each of them is accomplished in their own field. So, gear up to experience the magic of Shakti on their 50th Anniversary World Tour! Get your tickets on Paytm Insider.
I’m not just a marketer at NAMM. I’m a producer, engineer, guitarist, keyboardist, and former tour manager. When I work The NAMM Show, I always carve out a little “me time.” That’s the time when I walk the floor to find the next big thing, or rather, the next big network of things.
You see, too often companies can focus on making their products ideal for one group — the synth for all synthheads. But producers like me, who grew up working on laptops, look for ecosystems. It’s all about finding novel ways to connect two bits of gear to create a brand-new sound.
That’s part of why I love The NAMM Show. There I can find a synth that sounds great running into my guitar pedals, which then feed my 500-series pre-amp into my DAW and an awesome plugin I found at Software.NAMM. The sum of this gear becomes greater than its parts — and only at The NAMM Show can I find all those parts.
Put another way, a show that is too focused on one product community misses how music is actually being created in the real world. As more musicians rely on their DAW to run their live sets, the possibilities for MIDI-controlled everything continues to rise. That’s why NAMM and the MIDI Association are such kindred spirits and frequent collaborators. MIDI was introduced at The NAMM Show back in the 80s, and to this day, it drives much of the synergy across the product communities at the show (including the awesome MIDI Showcase that houses some off-the-wall gear).
But what’s next? MIDI 2.0 is one answer. Other innovations like digitally controlled analogue gear or immersive audio have ramifications far beyond the pro audio world. Only through a large and diverse marketplace can manufacturers and retailers see the ways that seemingly disparate innovations can influence their own.
As a weekend-warrior record producer, I have my own laundry list of dream gear. Some of it might not be invented yet. For example, how awesome would an immersive audio synth be, especially one running into a recording interface that can handle those inputs — all highlighted by a truly ambisonic IR reverb. I realize that’s a lot of jargon, but that’s what the producers and engineers across the world are looking for today. We’ll spend a lot of money for the right tools because they set our sounds apart. Mixing and production have never been closer, and finding the right sonics can be the difference between the calls.
What manufacturer will identify these needs and make these tools? What retailer will carry and recommend them? Those that come to the show have the best chance to set trends rather than follow them. After all, they can talk to the best producers and engineers in the game. And
as we know, early movers on technological innovation can quickly upset pre-existing market share. If there’s anything I’ve learned from the past few years, it’s that the future is not easily predicted, and overconfidence is not often rewarded.
Innovation comes from our periphery, from imagination, and not repetition. At The 2022 NAMM Show, I was chatting with Sounwave, producer for Kendrick Lamar, Taylor Swift, SZA, etc., as we toured the synth, software, and pro audio sections of the show floor. He shared new ways that he was using familiar products on hit records. In some cases, the booth staff had already left the floor for dinner, missing out on a chance to get direct feedback on surprising use-cases of their products. Others stuck around and got to chat, kicking off new product innovations with this free market research from an industry leader. In my opinion, the ROI on that is immeasurable.
This also presents an opportunity for retail. The reality is that I was a buyer, an influencer, a creator, and a musician, and I still am. At the show, retailers can meet their A-list customers as well as their manufacturers. Isn’t that incredibly valuable? Not only will you see the future of products, but you’ll also understand how they’re being used to create, and how to best sell to these groups through NAMM U education.
Additionally, more students than ever are attending the show. This enterprising next generation will make our industry younger and more diverse. The companies that attend the show have access to these future leaders, providing them mentorship. An intern you meet on the show floor might be your CEO someday. The investment in the show isn’t just an investment in yearly sales; it’s bigger than that. And students, be sure to register. It’s a worldwide job fair, and you’re allowed in.
My central recommendation is for us as an industry to look for new collaboration points across all of these product types, and pioneer new ways to pull innovation from one hall into another. Only at the show can we grasp the scale and scope of change throughout our sector and beyond.
Now is our chance to break down barriers. And it’s imperative. As the stimulus dries up, our industry needs innovation to power our next chapter. Investing in the future, however nebulous, is the best way to stay nimble and relevant. When you make the choice whether to attend or exhibit in 2023, I only ask: Can you afford to miss out?
Registration is open now on namm.org. I hope to meet and share in your experience at the show, April 13–15, 2023.
Could you tell us in detail about your website.
Indianclassicalmusic.com came into being in 2021. But the idea took shape in my mind when I was invited to a seminar over 20 years ago. I did not have answers to certain questions on the theory of music as there are no books which talk about it.
Indian classical music is the most ancient form of music in this world but we have had no proper documentation ever so much so that out of the purported 4840 raags which were there in ancient times, today we have probably a maximum of 500 raags with only 100-150 in circulation. All are lost. So, I decided that there should be a library to save this art from extinction and what better way than an online one where everyone around the world can have answers to all these questions. I also quickly realized that Indian music cannot be understood through books. You need practical demonstrations. The reason being this music has continuity between the notes and isn’t like western music where the music is on the notes which is easy to document in writing.
Then I thought why not make a website which I can tailor to meet the interests of a curious layman, a student and even a performing artiste or a connoisseur! Thus Indianclassicalmusic.com was born.
It was inaugurated and blessed by Ustaad Zakir Hussain in 2021 on
the auspicious day of Guru Purnima. Till date I have made around 85 videos, some of which are up on the site and some going up as we speak on various topics like explanation of Raags with demonstrations in 4Kvideos, Raag theory and presentation etc.
.Having navigated through the website, we found it to be a goldmine add extremely interesting. How long did it take you to build it?
It’s not over yet. I started collating data in 2020 and the website was inaugurated by Ustaad Zakir Hussain on the day of Guru Purnima in 2021- a very sacred day for all students and practitioners of music where one offers his or her homage to their Gurus. It should take me another 5-6 years to get everything on Hindustani Music there. And mind you this is just Hindustani Classical Music which is just one stream of our
classical heritage. Then I will have to look at Carnatic Classical Music.
Our music has never been documented properly and therefore researching and collating facts have been so difficult. Also, I need a lot of donations to complete this massive work I have undertaken. Till now, I have been spending whatever I have been earning with partial support from my music Foundation Kalashree. I will be grateful if people can donate to my foundation, which is a non-profit Tax exempt one to help me complete this mission. People who donate can get tax exemption on their donations. I also need people to come forward to help me on different subjects like research, website maintenance, design, writing etc. I also have paintings made to project the mood of each raag, the colour of each raag etc, therefore I am open to people who want to join me to depict the raag through their paintings and artistry
What are 3 takeaways for a person who visits this site?
Anyone who is a curious listenerrather a layman, a student of music, a professional musician and even a connoisseur will have something for them here. This is the first site to have indepth description of raags and their terminologies in 4K videos with demonstrations. Each video has a painting bringing the raag to life along with the explanations with demonstrations of how to invoke the raag to give you a vision which you will find nowhere in the web.
Your efforts to bring Indian Classical Music to light is phenomenal. What do you plan to achieve in the near future through this?
Make the world sit up and realize how beautiful our music is and make our music and all the young, talented artistes I plan to invite get known all around the world. Also pick the brains of all the maestros to benefit the youngsters and let the world know through them what a heritage we have. Lastly to make every Indian proud of his or her heritage and dispel the notion that classical music is hard and not everyone’s cup of tea.
What do you think about youngsters and Indian Classical Music? How would this help them?
Youngsters and Young Stars!! Many of them are very good and I feel many of the raags that are getting obsolete as no one gets to perform them much- one can get to this online library if one wants to check them and brush up one’s memory.
When did you start Violin as an instrument? Who was your teacher and your best learnings?
I started at the age of two from my legendary grandfather Vidwan Narayan Iyer. My family is a family of musicians from seven generations who were court musicians at the Royal Court of Travancore till my great grandfather. I then learnt under a bit under my aunt Dr. N. Rajam who I wanted to emulate as a child and then for a period of 12 years from the Mewati Legend Pandit Jasraj.
You hail from a family full of legendary musicians. Was it a pressure for you to make a mark?
There was no pressure as such but I did want to be unique in a family full of violinists.
I am working on a concept to project climate change through music. It had its world premiere with the Seattle symphony in March 2022 and now on 13th Jan 2023 it will premiere as a group called THE SIXTH ELEMENT” at the Shanmukhananda Hall Mumbai, with wonderful musicians from India like Taufiq Qureshi, Rakesh Chaurasia, Ojas Adhiya, Atul Raninga and of course me too.
This is a very difficult instrument, in fact the most difficult but do not give up. Also, for those who know nothing much about this instrument, this is not a sad instrument as Indian films have made this out to be. This instrument is multi-dimensional, the most complete of all. I do not need to say more. The instrument will speak for itself when you hear great masters of the instrument. So those interested, please learn this too.
RØDE announced a new addition to its industry-leading range of USB microphones, the NT-USB+. Based on the legendary NTUSB, the NT-USB+ is a professional-grade USB microphone loaded with next-generation features. It is also compact, portable and versatile, making it the ideal microphone for musicians, podcasters, streamers and professionals who want to capture studio-quality sound with ease.
• Studio-grade condenser capsule and tight cardioid polar pattern, delivering pristine audio ideal for recording vocals, speech and instruments
• Ultra-low-noise, highgain Revolution Preamp™ and high-resolution 24-bit/48kHz analog-todigital conversion for professional sound quality with stunning clarity
• High-power headphone output for zero-latency monitoring, complete with level and mix controls
• USB-C output for plugand-play connectivity with computers, smartphones and tablets
• Internal DSP for advanced audio processing powered by APHEX® – including a compressor, noise gate and legendary Aural Exciter™ and Big Bottom™ effects
The NT-USB+ is a professional USB microphone with next-generation features for recording studio-quality sound with ease.
• Includes high-quality pop filter and desktop mount – an all-in-one solution for recording professional sound at home or on the go
• Designed and made in RØDE’s state-of-theart facilities in Sydney, Australia
The NT-USB+ is based on the original NT-USB, which was released in 2014 and has long been an industry-standard professional USB microphone for musicians, podcasters, streamers and other creators. Featuring the same iconic form factor and studioquality sound as the original, the NT-USB+ builds on this legacy with a number of next-generation enhancements and is set to become a modern classic. “The original NT-USB was an instant success when it launched almost a decade ago, setting a lofty standard for studio-quality USB microphones,” said RØDE CEO Damien Wilson. “With the NT-USB+, we are setting a new standard. We have kept the form factor and functionality that made the original such a success and introduced several new features, integrating cutting-edge technology for the next wave of creators. Plug-and-play USB audio has never sounded this good.”
The NT-USB+ features a studiograde condenser capsule that evokes the sound of a classic large-diaphragm condenser microphone. Delivering warmth and clarity, with a full frequency response and tight cardioid polar pattern for clear, focused audio, it excels on everything from vocals and speech to acoustic guitar and other instruments. The NT-USB+ features enhanced circuitry, with RØDE’s ultra-low-noise,
high-gain Revolution Preamp™ technology – first introduced with the groundbreaking RØDECaster Pro II ¬– as well as upgraded high-resolution 24-bit/48kHz analog-to-digital conversion for pristine audio quality. It also features powerful internal DSP, which allows users to apply advanced APHEX® processing to their audio. This includes a high-pass filter for cutting out low-end rumble, a noise gate for eliminating background noise, a compressor for delivering punchy and balanced sound, and the legendary Aural Exciter™ and Big Bottom™ effects for rich, broadcast tone. This studio-quality processing can be activated via the companion app RØDE Central – available for desktop and mobile – for use with any other software or application. It is also available in RØDE’s free podcasting and streaming software, RØDE Connect.
Not only does the NT-USB+ sound amazing, but it is also incredibly easy to use, portable and versatile. It features a classcompliant USB-C output that is plug-and-play compatible with Mac and Windows computers; it is also fully compatible with any Android or iOS smartphone or tablet, making it an excellent portable recording solution. It comes with a professional pop filter for minimising plosives, as well as a tripod mount for perfect positioning on a desktop. It also features a zero-latency headphone output for monitoring audio with no distracting echo or delay, complete with level and monitor mix controls. With its plug-andplay connectivity, included extras and all-in-one design, the NTUSB+ is the ultimate microphone for anyone who wants to record professional sound effortlessly.
Your last release of 2022 was ‘Broken Glass’. Tell us how it was received by everyone.
‘Broken Glass’ has been received really well, especially because I’m taking the song back to my Punjabi roots with a modern twist and my fans who have been following my journey from journey from the start really appreciate it.
Talk to us about your start as a musician.
I started singing from the age of 12 just as a passion and I knew that was what I wanted to do as a career early on. I was then in the Asian music industry from the age of 17 when I was discovered by various music producers who wanted to collaborate with me. Ever since then, I have been fortunate enough to tour around the world performing my music and make my mark as a young female South Asian artist.
Your music is a good mix of Punjabi music with R&B. How did the idea come about?
I find it very organic, because when I started singing, I was involved in Gospel choirs, performing English songs in school talent shows and musicals and when I fell into the music industry, that was when I started to sing in Punjabi for the first time. So combining two languages and styles of sound is a very natural thing for me and perfectly showcases who I am as a person and as an artist.
If there is something you would like to learn about the Indian music industry, what would it be and why?
I guess it would be more of the business side of music. It is really important for artists to also have knowledge on how the industry works outside of just recording and writing. I have learnt so much from such a young age and constantly learning new things by the day which keeps things really exciting.
An artist you would love to collaborate with from India and why?
I would really love to collaborate with Diljit Dosanjh. I have been a fan ever since he launched his first album and I really vibe with his sound, personality and style. He is a living legend.
If there is a place you would love to perform it, where would it be?
Surprisingly, I have performed in many countries around the world but not yet India! It would be dream to perform my music in the motherland.
Talk to us about your upcoming projects, and plans for 2023.
I am now working on my first album which I’m really excited about. I think it’s time to create a nice body of work and truly express myself and connect with my listeners (and new) on a deeper level. The past three years have been very experimental for me and along the way, I definitely feel like I have found my sound as an artist.
January is the season of Thyagaraja Swami, one of the greatest Carnatic musical trinity. Thyagaraja Swami has dedicated his life completely to Lord Rama in his compositions but he also composed on social topics, how to lead a spiritual life, social evils and much more. On Chaitra Bahula Panchami (which typically occurs in January), Thyagaraja Aaradhana happens in his hometown Thiruvayur temple and celebrated all over the world. On this exclusive occasion, Score brings you 5 all time rare Thyagaraja masterpieces you must listen for an enchanting experience:
1. Odanu Jaripe- Saaranga: From Saint Thyagaraja’s greatest opera Nouka Charitam, Odanu Jaripe is a magical composition. The way the composer uses the chord progression and brings the beauty of the raaga but also brings the visual aspects in lyrics.
2. SwararaagasudhaShankarabharanam: Composed in the king of raagas, Swararaagasudha is a rare masterpiece because it speaks about life skills instead of devotion towards lord Rama. The lyrics speak about how to balance the happiness in life and overcome obstacles by having a spiritual bent of mind.
3. Ksheera Saagara SayanaDevagandhari: The raaga Devagandhari itself is a
soothing raaga that melts the listener’s heart. Saint Thyagaraja caught this aspect tactfully and composed a kriti on Lord Vishnu who lays down on snake bed. The kinesthetic feel of the composition cannot be explained in words.
4. Dur margachara- Ranjani: Thyagaraja Swami dwells deeper into the aspects of Lord Rama by questioning him politely but with the strong feel of raaga Ranjani, the composition brings a wonderful dimension to the thought and even the raaga.
5. Bhajana Seyave-Kalyani: Kalyani is an evergreen raaga that brings out positive vibes and deep levels of devotion as well. Bhajana Seyave is an uplifting composition. Usually, Sundari Neevanti is the first kriti that comes in the
mind but this new year, listen to Bhajana Seyave and dwell into new nuances of Raaga Kalyani.
Thyagaraja swami as a composer might sound simpler in choosing of words and raagas in comparison to his contemporaries Mt.Dikshitar and Syama Sastry, his deep thought and observation of happenings around timeline and fusing it amazingly with devotional songs is truly commendable. It takes a lifetime to understand, relish and cherish the versatility of the composer. Score strongly recommends to start relishing the amazing compositions of Saint Thyagaraja. It is not just the melody he brings magic in, but also the lyrical brilliance which makes the listener ponder about the topic taken up by him.
ISE is the world’s leading show for professional audiovisual integration. Discover the latest AV solutions that deliver unforgettable experiences.
Pop music as a genre is perhaps the most paradoxical genre out there. It is a genre that is difficult to define, yet most of us can easily catch it upon hearing it. It originated as a term for describing popular music, yet in the contemporary world, it can be used to describe a song that has not even been released. It has haters, and it has lovers.
Coined in United states of America around mid-40s’, the term was broadly used to categorise popular music. This usage stood its ground well enough till the end of 80s’. This could be because up-till then, the popular music ruling the masses was genre specific per decade. In the 40s it was Jazz and swing. In the 50s, it was rock n’ roll. 60s saw the entry of The Beatles. The listeners in 70s welcomed rock music with open arms.
In the 80s’ the usage of synths and advanced recording equipment paved way for what Pop has become today. The production equipment gave artists more space to move around across the length and breadth of what music could be. It became easier for artists to collaborate as they could record a song together with the availability of multichannel recording gear.
Parallelly the evolution of the listening equipment was also in full force. Music was becoming portable, and people could choose what they wanted to listen to, and could carry it with themselves everywhere they went to. Carrying vinyl around wasn’t the most practical thing to do, and one wasn’t limited to listening to what was being played on the radio. People have diverse personalities, which inevitably lead to diversifying and redefining what popular could mean.
In India, like most terms, the word ‘pop’ has evolved in its own way. Up until the 90s’, Bollywood music was what was deemed to be popular. Apart from Bollywood, it was perhaps only regional, classical, and other categorized music that existed at that time. As soon as India had stronger ground for the success of independent music, it saw a deluge of rock, rap, electronic music stream into their most listened to songs over the years. All as pop songs
In the 90s’, artists like Euphoria, Jal, Lucky Ali, etc. And the artist in early 2000s’ like VIVA, Abhijeet Sawant, DJ Aqeel etc. proved that the independent music in India had a strong potential to have a huge audience of its own.
Unlike USA which had the pop music go through different phases of pop through the past decades, India saw the direct jump to the fusion of various genres to be called as a ‘pop’ song. Being a country as diverse as USA, if not more, the audience of pop music was already more than happy to have introduction of different music.
Bollywood has always known how to make popular music since its inception. In fact, when Disco genre was making rounds in the west, our music directors immediately began their experiment with it in Bollywood music.
Independent music too is decoding what could make their music most popular. Contemporary artists like Prateek Kuhad, Easy Wanderlings, Taba Chake, Bloodywood etc. have found ways to make their songs most relatable, and popular on a groundbreaking level. What’s popular in India has no bounds, and classification of genres has never been part of Indian pop culture. Songs like ‘Rangisari’ and ‘Pasoori’ are great examples of mixing of genres to create Pop bangers. India’s diversity has accepted collaborations of various artists and genres, which is a point that perhaps the west took some time to reach to.
Like machine learning, Pop music has been the natural learner of music over the years. It engulfed swing, rock n’ roll, rock, rap, Bollywood, Latin music, Blues and many other genres to make a sanctuary like space for all. Pop can be awarded as the most inclusive and non-judgemental genre of music.
Many people will straight-up call any music that is up-beat as ‘pop’, and to be honest we have no strong stance to go against this opinion. But it’s evolution from being a category, to an adjective, to a genre itself makes it difficult to define it as any one thing.
It could be dependent on the song structure, selection of scales, composing a memorable melody, the star quality of the singer, having an upbeat music, or having relatable lyrics. There can be no supreme definition of what pop music is or could be, for it is an everevolving genre.
New year is here -with 365 days of new opportunities, experiences, learnings especially when it comes to music. The initial zeal of January’s new year resolutions slowly die down as time goes by and energy falters. Score brings you the seven best practices to become a better vocalist this New Year to make it the most memorable year musically!
1.Consistency is the key: Usually, young students start off practicing for longer duration and exhaust off energy levels quickly. For example, a highly motivated students starts off practicing 3 hours a day for the first month but slowly leading to pressure. Instead of that, focus on consistency by practicing 1 hour per day but not to miss even a day.
2. Learn something new everyday: Whether it is from your guru, or genuine sources in the internet, learn some new skill relating to singing, skills leading to better singing , theory-what not? This not only motivates you to be a better vocalist but also inculcates discipline. For any artform, discipline is the key.
3. Revise the old songs or lessons learnt from the previous years: It is scientifically proven that once a vocalist learns a song, he/she gets over confident but lose the dynamics as years pass by. So, the best solution is to cumulatively practice the old lessons and songs and relive the memories of learning.
4. Avoid the gap between learning: A short little gap of one or two days for a well-deserved break is acceptable but sub-consciously vocalists lead to longer gap. Gap in singing is detrimental for vocals and leads to the hard-work to put up all over again.
5. Try New Genres with Open Mind: As vocalists, we all have some biases towards certain artists, or genres. But this new year, try listening to new genres and artists you haven’t heard before with an open mind. You never know- this new year might bring out new perspectives in learning the new genres!
6. Face your fears with courage: Every vocalist has a phobia for certain composition because of low confidence levels. This leads to missing out learning a masterpiece! Take up a tough composition, kriti, khayal or a tough film ghazhal and dissect it slowly. Learn it part by part and voila-you will definitely master it!
7. Consider teaching a composition to an interested youngster: It is always believed that teaching music increases the skills and makes you more confident as a singer. In fact, you would learn more during teaching.
These tips will surely help you out to become an improvised vocalist and heartfelt compliments are guaranteed from your audience. After all, life is all about learning something new everyday and become a better person as time passes by.
With “Summer” ft BE’O making rounds on Tiktok and Insta Reels and ARMYs being avid fan of “Closer” with RM and Mahalia, Paul Blanco is making every listener obsessed with his smooth, honey laced voice. This unique voice of his along with a good lyricism is what makes people hit stop and do a google search. He is a Korean-Canadian singer, producer, and rapper who made debut in 2018 under Masquerade. He started making music on Soundcloud in 2016 before officially debuting with the R & B song “Last” in 2018. Since then he has released multiple EPs and singles along with numerous collaborations with famous names in the Korean music industry.
When RM’s solo debut album, Indigo was released last month, one song that kept people discussing was “Closer” with Paul Blanco and Mahalia. ARMYs loved the way Paul’s voice was incorporated in the song making it top the list of hip hop and R&B songs in following weeks. It was
the song used the most in making edits on Tiktok and Insta Reels. Being a song about unrequited love, the lyrics talk about keeping his love interest at a hand’s distance. This song became an entry ticket to this rabbit hole of smooth R&B songs by Paul and the fans have not looked back since.
While diving deep into his discography, we come across many songs that you can keep in your playlist after just one listen. here are some of them picked out for you -
• “Believe” ft Crush - This song is literal *chef’s kiss*. Feeling tired and sick after a long hectic day, here’s a song for you which literally says “I believe you Girl” with Paul and Crush’s silky smooth voice and music gets stuck in your head.
• “Summer” ft BE’O - an earworm of a song, this track is on the top of the Rising Kpop playlist with millions of stream and short videos on social media. The very trippy music is what makes it standout.
• “Sound of Smoke” - Along with this too is making rounds multiple playlists for top kpop songs in 2022. Its about how after a relationship ends you keep on wondering how things went about.
• “Better Days” - This is a special song, its theme being a promise of a better day when you will be the one carrying all the burden and making your loved one proud is what makes it a special one. The chorus “내가 안고 갈게” which translates to “I will carry you” is the promise.
• “Shoot” - Well everyone likes flex songs, right! This one is about where he came from and where he is now.
These songs are just a few to get you going, but as you dive deep you will be amazed to see such a discography from a fairly new artist. Its sure once you start listening, you will be bewitched by the silky smooth voice of Blanco. Now with “Closer” with RM under his belt, he is exposed to a much larger audience and hopefully many people will come to love his music which is deserves nothing less.
Integrated Systems Europe (ISE 2023) promises to deliver a vibrant edition, showcasing a wealth of new technology and providing plenty of opportunity to connect with leaders and innovators throughout the AV and systems integration industries. In fact, ISE 2023 is already 30% bigger than in 2022.
ISE, AVIXA and CEDIA will deliver exciting show features and enriching learning opportunities to create an unmissable event for the AV channel and end-users alike. “ISE 2023 will showcase all the professional AV and systems integration technologies shaping how we live, play and work. It’s a coming together of evolving AV and networking technologies – integrated into outstanding creative and practical solutions to transform industry, business and lifestyle. From signage on the high street to collaboration systems for business, high-tech solutions for smart homes to cutting-edge sound and visuals for entertainment venues. If you
The world’s leading AV and systems integration exhibition is back for another unmissable event: ISE 2023, 31 January - 3 February 2023, Barcelona
are responsible for a facility, be it in education, live events, workplace, retail, worship or assisted living for example, ISE is where you’ll discover what’s next from the leading AV brands.” said Mike Blackman, Managing Director of ISE.
Multi-Tech at the Heart of ISE
Anyone wanting to appreciate the sheer scope of the AV industry’s innovation should head to the Multi-Technology Zone situated at the heart of ISE (Halls 3 and 5). The ability to engage both inperson and remote audiences in an interactive way is crucial for AV going forward. The clearest examples lie in visitor attractions and live event venues, many of which are combining cinematic techniques, interactive content and theatrical design to give
visitors a sensory experience of fantasy or photoreal environments with a depth of immersion they cannot enjoy at home.
This approach applies to the AV/IT team in the office as much as it does for the live event producer. Immersive workspaces are transforming offices worldwide with video conferencing and collaboration systems required to bridge staff in the building with colleagues working remotely. University departments, academies and colleges are another key market in this respect, where the forward-thinking opportunity
is for participants to not only view and share information with other people but to be inside of a sensory, tactile and virtual presence experience.
Key vendors include manufacturers with a broad range of technologies such as Crestron, LANG and Kramer; makers of displays and/or projectors that serve multiple verticals, including Samsung, LG, Epson, Sharp/NEC, Panasonic, Absen and Christie; and broad-based audio companies including Harman, Shure and Biamp.
Hall 2 is home to both the Education Technology and the Unified Communications Technology Zones. Across the education and learning sector – whether in classrooms, professional training centres or enabling remote learning – professionals recognise the positive impact of education technology on enhancing student outcomes and making learning spaces more inclusive.
The unified communications and edtech sectors have players of all sizes offering everything from single apps to wholeroom solutions. Big names in these zones include Zoom and Microsoft, whose ubiquitous platforms are relied on around the world, and Clevertouch, which offers interactive screens, digital signage and a range of apps and software for the classroom.
In addition, Jabra and Poly develop solutions to enable better collaboration by offering high quality audio and video tools.
In addition, manufacturers in the Multi-Technology Zone in Hall 3, including Shure and Sennheiser, have developed innovative
microphone solutions that offer high-quality, consistent sound in meetings rooms and teaching spaces with minimal input from users required.
Technologies for Working Life
ISE has long been positioned as a leading voice in residential solutions and home automation, with the backing of joint-partner CEDIA; and also as a prominent player in smart building, thanks to the long-running Smart Building Conference (Tuesday 31 January 2023). The combined Residential & Smart Building Zone (Hall 2) is our strongest-ever offering in this fast-moving area of AV technology.
The last couple of years have seen a real expansion in the trend for technologies to facilitate working from home. Robust and secure Wi-Fi connected spaces that can serve as the home office, home entertainment and home security system are in demand. As such, the home is now a multifunctional space that provides a place of comfort, rest, and relaxation, as well as a secure and practical home office, a learning environment, a cinema, gaming room, and fitness suite. There is also heightened customer demand to deliver ‘well tech’ solutions whether in the corporate environment or at home. In order to cut the carbon footprint of buildings, limit the rising cost of energy and reverse the negative effect on the environment, advanced building monitoring and control systems is a fastgrowing tech trend embedded in smart building design.
Some of the major names present at ISE 2023 include smart lighting controls manufacturer Rako and remote monitoring and management platform developer, Snap One. Lighting supplier
Lutron is well-placed to help advise on requirements for networking sensors that detect the presence of inhabitants back to the lighting controller. Also returning to the show floor is Jung, which delivers sustainable design, engineering, and consultancy solutions.
Already one of the largest solution areas in the pro AV industry, the digital signage sector is forecast to reach a value of $44.7 billion in 2026, up from $35 billion in 2022, according to AVIXA. Digitised promotion of products and services continues to be a major driver of digital signage installations; however, the ability of digital signage to educate, inform and entertain means the technology is visible in multiple market sectors, from retail, transport and education to corporate, hospitality and the public sector.
Although ISE encompasses a huge breadth of audiovisual technologies, it is also one of the largest digital signage exhibitions in the world. The Digital Signage and DooH Zone in Hall 6 is home to the full gamut of digital signage technology including Ameria, Broadsign, Navori Labs, Telelogos and Zebrix; media players from Yodeck, as part of its cloud-based DS system, as well as from market leader Brightsign; and displays from manufacturers including Alfalite, Dicolor and LEDECA.
Audio is key to a total integrated AV experience, whatever the setting. That’s why the ISE Audio Zone in Hall 7 is packed with solutions for every market sector, for all sizes of project and any type of application.
New for 2023 are the Audio Demo Rooms which can be experienced
in Hall 8.0, with exhibitors like Martin Audio, Holoplot, Void Acoustics, AED and d&b.
ISE 2023 covers the entire audio signal chain from microphones to loudspeakers and everything in between. Discover the latest in advanced technology including DSP, networking and immersive audio and take the chance to experience dozens of different audio products in live demonstration. Grab the chance to learn from the experts at top audio manufacturers and discover what’s next on the audio product horizon. For those seeking information on Dante, head to Audinate; for those keen for updates on the Milan protocol, the leading players include d&b audiotechnik, L-Acoustics and Meyer Sound.
Visitors will find performance, entertainment and live events solutions concentrated in the Lighting and Staging Technology Zone in Hall 7. Covering sectors such as entertainment, sport and business, companies here aim to put the audiovisual experience first and foremost. It’s not just major stadium concerts either: solutions are on hand for small temporary venues and pop-up installations. With live events getting bigger and more
spectacular, attendees will see advances in lighting quality and colour fidelity, as well as enhanced control and distribution methods. Exciting technologies such as motion tracking, video mapping, and holography are presented alongside the essentials of rigging and staging which provide the foundation for the whole live experience. Some of the big names in this sector exhibiting at ISE 2023 include Adam Hall Group, Area Four, ARRI, Elation Professional Europe, Equipson and MA Lighting.
To make navigation of the show floor easier, exhibits are set across the Technology Zones:
• Unified Communications (Hall 2)
• Education Technology (Hall 2)
• Residential & Smart Building (Hall 2)
• Multi Technology (Halls 3 & 5)
• Digital Signage & DooH (Hall 6)
• NEW Content Production & Distribution (Hall 6)
• Audio (Hall 7) and NEW Audio Demo Rooms (Hall 8.0)
• Lighting & Staging (Hall 7)
New for ISE 2023, this new zone in Hall 6 will highlight technologies
and solutions used in content production and distribution. An additional 70 relevant exhibitors can be found across the other halls reflecting this as a growing market sector for AV systems integration professionals.
Make sure you visit the thriving Congress Square area, right at the heart of the venue. It is a bustling area packed with innovations and interesting booths including the Catalonia Pavilion, the Barcelona City Council, the inspiring Discovery Zone, ISE’s Influencer & Impact Lounges, the International Media Showcase as well as a dedicated networking area.
Integrated Systems Europe, ISE 2023, will take place at the Fira Barcelona Gran Via, 31 January - 3 February 2023. Integrated Systems Events is a joint venture between AVIXA and CEDIA – the two leading associations for the global audiovisual industry.
For more information visit www. iseurope.org – use our unique code ‘thescoremag’ for FREE registration.
The meaning of folk music is simple. Its that genre of music which is simple, and understood by commonfolk.Folk music has been there in different parts of the world but in India, where the language,culture and music changes for every state and the versatility of the tune, musical instruments and chord progression is something mesmerizing. Any cadre of listener can appreciate folk music because of its simplicity.
Folk music has long history from times immemorial and evolved as generations pass by. Unlike the complicated lyrics in classical music, folk music speaks about day to day issues, ground reality, contemporary conditions which attracts all levels of people. Moreover, folk music is rhythm based, it makes people instantly entertained and brings in fantastic energy levels. Fusion folk music done by bands like
Lagori and power packed singer Anthony Dassan and Vaikom Vijayalakshmi bring in different forms of emotions and make the listener think about what the song is trying to throw light on.
The folk Advantage Classical music needs lot of effort, practice and discipline to learn and not all can sing this complicated music form. But folk music can be sung by common man-right from an autowala to a person who harvests. In fact, fishermen folk songs are so beautiful which keep them motivated while catching the fish in the sea. It gives them optimism and improves their work productivity.
Even in the western part of the world, there are various forms of folk music such as Irish, Scottish, American and what not? The industrial revolution that came in
centuries ago made the workers in the factory sing in groups to motivate themselves and finish the work faster.
Folk music is inherently admired by all because of the simplicity of the lyrics. When folk music is fused with western chord progression, it is simply magic. The best example of such wonders are Kaantha from Masala Coffee, Vandiyile Melle Varum by Anthony Dassan.
We all know how the Malayalam folk song JImikki Kammal which made the nation dance to its rhythm. In Telugu there are amazing folk songs such as Kaatamarayuda which even used in the film.
So, as days get warmer with January- relish these fantastic folk numbers and get ready to dance for the beats!
The world of music is ever so fascinating, humans across generations have found their own expressions to experience it in its purest forms. Winter brings with it, the opportunities to experience wonderful musical performances across the world. In India, classical concerts have been known for enthralling the audience for long hours without a break. And, now it is the season of music, again.
In the era of head-bobbing music and cacophonic beat breaks, it is sometimes, difficult to appreciate the permeating essence of classical Hindustani music. The “slowness” and the apparent lack of momentum in the lyrics or tune, make it a dull affair for a few. However, if one gets to the core of the etiquette and grammar of appreciating this music, it becomes really fun.
One can literally re-discover their tastes and inclination toward profound and meaningful words and rhythm. The classical music of our lands, from time immemorial, has been participatory in nature, this means that the audience always made sure that the musicians understand the feedback behind the performance. It was customary for the rulers and the kings of the past eras to give away gold rings, garlands, and even land or other assets as a token of appreciation. Music was believed to have raised fire, invoked rain, and believed to have inflamed hearts across the courts. As musicians performed,
it was customary for the listeners to shower them with their appreciation. It was considered a great achievement to be received with such fervor in a court.
With time, we graduated to the “Waah Wahi” culture of Lucknow, Delhi, and other North Indian gharanas. “Kya baat hai”, “Sabaash” and “aha” were typical responses, that were considered to be the medals of honor. Now, for the etiquette and the standard procedures, every classical singer can have a different request.
To start off with the basics, audiences are often asked to not clap between performances. As this could lead to sudden disruption in the trance-like flow of the night. This might also result in the break of the movements, that the artist has planned in between the songs. However, many classical artists have voted against this concept and they vehemently encourage the audience to participate in the music. It is only fair enough to consider that they expect to be showered with cash while they perform. They expect to be ushered to a new world of communication, where the player and the act of playing are so intertwined that it all becomes an experience to be cherished in the rawest form. The audience is encouraged to be immersed and completely swayed by the radiance of the songs that are being performed. In such instances, the vibrations reflect the euphoria and the hysteria around the enigma of the music.
The mannerisms in the audience vary from different age groups and the nature of songs, while indie folk has a distinctive appeal, traditional folk classical derives a different appreciation regime altogether. In this, the artist is a devotee of philosophy and it’s a philosopher songwriter. It is expected that the audience will shut their eyes and sway to the pulse of the artist. It seems that such music has healing powers for the audience as well. It is expected that the music will also have healing powers for the listeners. Musicians expect a kind of singalong along with submission to the cause and underlying faith or philosophy of such music.
Classical music and the entire arena is a space where the mind drifts in search of a deeper meaning for the soul through music. It requires a different kind of energy and appreciation. However, some regulations are not so high-headed. Sometimes, it seems appalling that the etiquettes for music concerts have to even include basic tenets like keeping the phone on silent or not talking, not coughing, or not yawning during the concert. We have given due honor to our western counterparts and musicians, it is time that we still paid heed to our past traditions and made an effort to dig deep and find the right way to listen to such music.
Now that it’s been about a month since the release of the first solo album by RM, the leader of the biggest boy band on the planet BTS, I guess this is the correct time to say that this album really does age like a fine wine, with every passing day as you keep listening to it, you fall more and more in love with the album. As mentioned on the album cover, it’s indeed an album you can listen to while taking a walk, shower, drive, coffee break, while you work, dance, read a book or when flowers bloom and fall which basically signifies your ups and down.
Like most of the ARMY’s the first thing I did when the album dropped was watching the Music Video for the title track - Wildflower ft Youjeen, from the very first beat the song engulfs you. Wildflower is the english title of the song, korean being dulkeuttnori meaning flowerworks which is a wordplay on bulkeuttnori which basically means fireworks. This type of clever wordplay is not new in RM’s creations, he’s known for it. Being a poet at his heart, RM’s choice of words in this album are eloquent and articulate.
In the Indigo Album magazine film, RM mentions that one
must listen to the album in the same order as the songs are to feel what he intended to convey. And each song as you go on listening is like turning pages through his diary. It’s very personal, very intimate, and at the same time a lot relatable and universal. Although he’s a rapper, the album can’t be considered as a Rap album, its a genre bending which encompasses folk, urban, city pop, R&B, rap and much more in itself. And maybe that’s the reason why you can listen to the whole album without being bored. Each song keeps your interest up. Also most of the songs are collaborations with different artists bringing their own colors to the palette.
Just like its genre bending nature the album has songs encompasses themes ranging from love of art, unrequited love, being bored in hotels to how nothing remains same, but still there is a routine. Where “Yun” with Erykah Badu is about his favorite painter Yun Hyong Keun and his life lessons, “Still life” with Anderson Paak is about RM’s life being an exhibition but how no one can encapsulate what all he is in just a frame. “All Day” with Tablo is how we need to keep going at what we do to get what we
want. “Forg_tful” with Kim Sawol, just like the title is about how with things getting busy we forget stuff that were important once. “Closer” with Paul Blanco and Mahalia is a BOP which talks about loving someone you can’t have. “Change” is the first song with just RM in it but it definitely serves. Its about how everything eventually changes, be it people, love, friends. “Lonely” is a song about RM being lonely in hotels for days and wishing to go home. “Hectic “ with Colde is song about a hectic day where its get real busy to appreciate the romanticism. And the outro “No. 2” with Park Ji Yoon is about not looking back at the past and owning whatever its like.
It is mind boggling to get an insight into RM’s creative genius mind. Each song is a story in itself and caters to different people differently. The reason why the album is appealing to a larger audience is because its like rainbow, every one can have their favourite color but at the same time appreciate the hwole phenomenon. Different genres and collborating artists mean a larger target audience which serves just right for the diversity among ARMYs.
they will have, on the other hand, if the scale is smaller, techniques such as Bendings and Vibratos will be much simpler to execute. That is the big difference between a Fender Stratocaster Vs a Gibson Les Paul guitar.
Obviously, the guitar market is not limited to the two guitars we discussed above. A PRS Custom 24 has a 25 inches scale, a combination between a Stratocaster and a Gibson Les Paul. For Standard Tuning (EADGBE), these guitars work very well but if you want to tune the guitar a little lower a little bit lower such as tunings in C/B/A. The problem is going to be that the scale is not going to respond in the best way.
The answer to this within the market is a baritone guitar or a guitar that has a scale larger than 25.5 inches. A good example is the Ibanez Iron Label RGIB6 28” (inches) guitar.
your guitar to lower tunings such as D or C, the difficulty that we are going to find here is that the strings are going to feel extremely soft since the gauge and scale of the guitar do not accompany this type of tuning, the answer It would then be to raise the gauge of the strings to .010 or .011. The only difficulty is that perhaps it will not have the definition that we want in these low tunings because the scale cannot be changed.
The solution for this dilemma of tuning versus tension is the Multiscale Guitar since these have progressive scales per string. A Strandberg Boden 6 brand guitar has a 25 inch scale on its 1st string and a 25.5 inch scale on its 6th string.
With the rise of multi scale guitars, this question is on every guitarist’s lips. But first, we have to understand what the scale of a guitar is. It is basically the distance between the bridge and the nut.
We could then talk about classic models. A Fender Stratocaster guitar has a scale of 25.5 inches. Another classic that we can talk about is a Gibson Les Paul that has a 24.75 inches scale. The larger the scale, the more solid the sounds will be and the better definition
The only problem with having a guitar with such a large scale is that it will feel very hard to the touch just because the scale is very long. Bendings, vibratos, and any type of technique that requires moving a string from its axis. become much more difficult to execute.
But let’s go to a concrete example, imagine that you have a Gibson Les Paul guitar with a scale length of 24.75 inches and a string gauge of .009 - .042. What you are going to want to do at some point is tune
That’s right, it is the progressive combination between the 1st string of a PRS guitar and the 6th string of a Fender Stratocaster, that is, on the 6th string you have all the solidity and tension of a Fender guitar but at the same time you have all the ease and comfort in the 1st string 2nd and 3rd like on a PRS guitar.
Up to this point, some may have thought that this type of guitar is very difficult to play, that it would be a bit dizzying to play with the design of the frets that seem to be out of square, but the truth is that this is not the case because the structure of the frets generates a sensation that is much more ergonomic for the hand. Try it out, you won’t be disappointed.
There are wireless microphones that have the purpose of capturing any sound source, converting these pressure differences into an electrical signal, and transmitting it to another point without the need to use a cable, allowing greater user mobility and at least the best possible audio quality.
The way to transmit the signal without the need for a cable is through the air and they achieve it by compressing the signal and mounting it on a carrier signal. In the receiver, they separate it from the carrier signal and then decompress it, but in that compression and decompression noise, distortion, and some coloration are added to the sound. The less the signal is altered, the better the systems are in terms of performance.
To transmit over the air, two frequency bands are commonly
used: VHF (Very High Frequency) which occupies the frequency range from 30MHz to 300MHz, and UHF (Ultra High Frequency) which occupies the frequency range from 300MHz to 3GHz. Currently, the most prestigious brands on the market only manufacture equipment in the UHF band from 300 MHZ to 800 MHz and no longer in VHF because it is a more saturated band and prone to interference.
The technology on the market has managed to obtain a response graph very similar to that obtained by a cable.
Another problem is the number of microphones that can be used at the same time, for example, there are systems that allow at most nine microphones to work at the same time from the same series, this is because they cannot be assigned a different frequency. Either because the range of frequencies in the operating band is very small or because of the limited number of available frequencies due to the minimum separation between one frequency and another to avoid interference due to central frequencies and harmonics.
Another real problem is when different wireless microphone systems are used at the same time and we do not know if they are compatible or if they will interfere with each other. If this is added to the frequencies of the wireless pointers, the frequencies of the wireless intercoms, the television channels, and some other signal on the air that can interfere, then we really have a problem, because we work blindly in most cases
and do not take the necessary preventive measures to reduce problems as much as possible.
The most accurate way to know what is happening in the radio frequency spectrum is to use an RF spectrum analyzer to know the empty spaces, the central frequencies, the harmonics of considerable gain, and all the frequencies occupied by other equipment.
The best wireless microphone systems on the market include software that, together with the physical equipment, do a scan to find the best available frequencies and auto-programs itself to those free frequencies. Some of the best systems allow up to 40 microphones to work at the same time in the same frequency band. Through a scanning function, this equipment can know how many free frequencies it can occupy, and via the network, it can program all the receivers automatically. Then, each transmitter can be programmed through a port infrared at the same frequency as the receiver.
If you do not have a spectrum analyzer of any kind and you are using different systems from different brands, then you must know in which frequency band you are operating and program the microphones that are not in the same band first, in order to achieve the maximum amount of microphone. operating at the same time, you could also use the antenna combiners and high-gain antennas for systems that allow these accessories and thus reduce reception problems.
We have all heard this phenomenon in any place where microphones and speakers are used. Getting rid of microphone feedback is a critical task for any sound engineer. In most cases, the problem of microphone feedback is solved by turning off the equipment/putting a hand on the microphone/moving it away as far as the cable itself allows it when you don’t know how to end the problem.
In the audio area, this phenomenon is known as feedback and can occur due to different causes. It mainly occurs when the microphone gain is very high and the loudspeaker output is also high, therefore; the sound re-enters through the microphone and increases its level infinitely
or until our speakers are damaged.
Similarly, it happens when the gain levels and decibels of our speakers are low but the distance between them is very close, so the sound feeds back. Another cause of coupling is the reverberation of the room where the equipment is mounted; if the reverberation is very high, the phenomenon is likely to occur.
Another cause of the feedback is due to another phenomenon known as “the acoustic modes of a room”, which is nothing more than the specific points where the audio emitted by the geometry of the place is heard with greater or lesser volume and if the sound equipment is mounted in those places, coupling takes place. This can be solved by just moving the equipment.
Feedback often has to do with the pickup pattern of the microphones being used. An omnidirectional microphone not only captures the sound of the stage, but it also captures the sound that comes from the public or from the speakers facing the public, on the other hand, a directional or cardioid microphone may be less prone to feedback because it only captures sound from the direction it’s facing.
To avoid this annoying phenomenon, we must achieve a good configuration respecting the gain levels by placing the microphones as close as possible to their sources and reducing the gain, or we could ask the user to keep their voice levels high and speak louder in front of the microphone.
If your budget allows it, you can change the microphones for more directional microphones and if the problem is due to reverberation or acoustic modes of the room, acoustic conditioning could be done to change the acoustic characteristics of the room.
Another professional way to solve this problem is to analyze the frequency response with a spectrum analyzer and use a parametric equalizer to reduce the peaks by adding the appropriate filters. A method widely used by audio engineers is to use a graphic equalizer and raise the gains of the audio channels. As soon as the first feedback appears, this
frequency must be lowered then the audio levels must be raised again to detect the subsequent feedback.
Usually, they are between four or five since during this test all the levels are raised and adjusted with the maximum volume levels, therefore these levels will not be reached in live sound and we will not have more annoying feedback.
Currently, there are feedback reducers that operate automatically by detecting the
frequency at which feedback occurs and creating a filter for it. The Shure microphone brand has intelligent mixing consoles incorporated with this technology or has the DFR11EQ available, which is a digital equalizer that offers automatic parallel protection of feedback, limiter, and delay among other efficient functions. Modern technological development has really helped sound engineers reduce microphone feedback by a huge margin.
Effective use of music in video games can range from the sound of a signal at the end of a scene or level to building to an emotional climax that leaves you wanting more.
In fact, the use of music in games is remarkably similar to the way music is used in the world of film.
Video games as we know them began to appear at the end of the 70s of the last century, with arcade games and versions for very popular game consoles, resulting in great success.
The music was created through simple synthetic chips, generating sounds in a style that became known as the “chiptune” subgenre. This was a step beyond the complete silence or basic beeps and booms of the early games and later made famous in the Japanese brand Atari’s Pong game.
As we moved into the 1980s, video game music began to develop as fast as the technology itself.
The soundtracks were becoming more and more dynamic and began to become a normal thing in each title. Music was used to communicate information directly to the player.
The famous 1987 game RBI Baseball became a great example of music being used to reflect player actions.
As computers like the Commodore Amiga and consoles like the Sony Mega Drive began to offer more advanced audio processors, music composers for games became more ambitious.
Composer Yuzo Koshiro, who performed for the first time in Europe at the Sonar 2018 festival in Barcelona, used the Mega Drive’s hardware to create catchy, techno-style soundtracks for a series of titles such as The Revenge of Shinobi and Streets of Rage, introducing electro bass lines and electronic “trance-y” sounds, which became popular in the 90s.
The repeated use of certain phrases was necessary due to the lack of memory in the consoles, which led to the creation of addictive classics such as Koji Kondo’s Super Mario Bros soundtrack.
As we entered the 2000s with electronic music well advanced, the introduction of Dolby Digital software on consoles transformed the depth and complexity of game soundtracks, with musicians like Trent Reznor composing music for video games like Doom which went on to become an absolute classic.
Complex games like Halo were acclaimed for their soundtracks, which bring a poignant and emotional touch to games and increase the immersive quality of a game. With next-generation consoles now designed as fullfledged entertainment systems, devices built for watching movies, and game soundtracks can now be of the same quality as movie soundtracks.
Regarding the composition of sound or music, its purpose is to make the experience of virtual casino games as realistic or exciting as possible, in the same way as in advertising as in the case of the Volkswagen TV commercial when music from the Star Wars soundtrack was used.
Online casino games like slots need sounds and music to match the theme of their games. For example, The top casinos and online gaming houses have over 100 different 5-3 reel slots, each with its own specific music to create an immersive gaming atmosphere.
Titles like Jurassic Park, Tarzan or Game of Thrones are examples related to film franchises, which of course have music especially related to the franchises. Another proof of this is the use of the main song of Game of Thrones, composed by Ramin Djawadi, used to enliven a light and water show at the Bellagio fountains in Las Vegas.
There are many people today who are starting out in the world of audio recording for digital content, perhaps due to the current demand for this type of content.
This sector, which is mainly dedicated to the creation of different types of digital content for mass distribution, has suffered great growth. This may be related to the relative ease that it represents today. Just a few basics to get you started, devices like a computer, microphone, and an internet connection are more than enough to reach a large number of people.
One of the first pieces of equipment that we have to keep in mind is the microphone that will be used to make the recording. USB microphones have become very popular today due to their ease of use and cost compared to conventional microphones. Then the question arises: which one is better? A USB microphone or a conventional XLR microphone? And the answer to this is that well, that depends.
We can start by explaining what the XLR type microphones are, these types of devices are the most used in professional applications around the world from the top bands worldwide, to television productions, radio and other types of applications where a higher level is required.
These are the most common in the market. They can be found with different types of capture patterns and operating principles, which will be used according to the type of activity required.
A USB microphone has the same pickup characteristics and operating principles as its XLR brethren, with one big difference: they have the ability to connect directly to a computer without the need to use any other external device such as an interface. These types of microphones are of the Plug & Play type, thereby opening up an endless number of applications and markets where they can be used.
Each of these microphones has advantages and disadvantages that will depend on the type of application where one or the other performs better. For example, a clear advantage of acquiring a USB microphone is that we do not need anything else to start recording. For people who are starting out, this can be a great advantage since it results in a lower investment by not having to buy more accessories to make a recording. On the other hand, a great drawback of this type of microphone is that recording several at the same time becomes a highly complicated task since most computers often do not have more than two USB ports.
On the other hand, XLR microphones offer greater adaptability to different circumstances, since they can be used for both recording and live events.
Consistent research and development in the field have led to the invention of the hybrid microphone. It has both USB connections if you want to record
once out of the box or XLR if you’re going to connect to professional equipment such as large-format mixers in the future.
A clear example that we can highlight from this range is the MV7 model, this microphone has two XLR and USB connections, and in addition to having exceptional audio quality, this equipment is the evolution of the legendary and today very popular SM7B from Shure.
Whether you are a singer, public speaker, vlogger or anyone who needs to record their voice, having the right microphone for the job is critical. The right microphone can give your content the professional touch that it needs to be successful. What you say will matter, but only if people hear it clearly.
There is a very wide range of amplifiers and brands available in the market, but if we could classify them, we would say that there are those for use at home, which can be stereo amplifiers or audio and video receivers for Home Theater. Usually, these amplifiers are for directly coupled speakers and they have low power per channel (about 90w/100w at 8 Ohms per channel) they are designed for momentary use such as watching a movie, listening to music for a couple of hours and they are air-cooled, they usually have slits throughout the chassis for air to circulate, and storing them in unventilated cabinets shortens their lifespan.
Amplifiers for live sound speakers are typically stereo amplifiers, that is to say, two channels, and we find them for all types of power from 100w to 1000W in 2.4 and 8 Ohms, they have heat sinks and installed fans that help air circulate through them. They are placed in racks and can be attached to each other, they are said to be for professional use and normally it is sought that the nominal power of amplification exceeds the nominal power of the speakers at the same Impedance (Ohms) multiplied by a factor of headroom, that is: if we want to amplify a 350W speaker at 8 Ohms, we will first multiply the value of 300W x 1.25 (headroom factor 25% of the nominal value) = 375W, we will look for an amplifier that at 8 Ohms guarantees us to have 375W if we find an amplifier that delivers 400W at 8 Ohms will be a good option.
An amplifier that is below 350W at 8 Ohms playing at full volume may not deliver enough current that the speaker will draw and the audio signal will behave as direct current, which will damage the speakers.
These amplifiers are used in group tours, auditoriums, concert halls, and anywhere where
the demand for sound pressure and frequency response is very high due to high musical content.
Then we have the amplifiers for installation. These are amplifiers that are designed to work 24 hours a day, they are cooled by air with fans and heat sinks, they can be placed in a rack or stored in furniture, and some have multiple lines and microphone inputs to offer an all in one product, compatible with direct coupling or low impedance (4 and 8 Ohms) but are also compatible with high impedance (70V /100V).
While in direct coupling we have to find compatibility between Ohms and Watts with high impedance we only care about not exceeding the final load considering the headroom.
The high impedance is achieved with the use of coupling transformers and what the amplifier does is send a voltage through the audio cable, the idea is to send that high voltage from the amplifier and in each speaker that is used, a coupling transformer from high to low impedance is placed, connected in parallel only. This definitely facilitates the installation in places with many speakers. A single cable from the amplifier allows us to reach the first speaker and from this speaker go to the next and so they all end up being in parallel.
This technology is widely used in environmental audio applications or in places where it is only used for voice messages, such as paging at bus terminals, and background music in a clothing store or restaurant, and this is due to the fact that using the transformer, the frequency response of the speaker suffers an alteration or loss in low and high frequencies.
