May-June 2022 issue features Raftaar on the cover!

ISSN 0974 – 9128

Vol 15 Issue 3 May-June 2022

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QUIRKS AND QUERIES Shashaa Tirupati

MUSIC TECHNOLOGY 10 Tips to Maximise Your Singing Potential

COVER STORY: RAFTAAR

HOW

KEEPING UP WITH RAFTAAR

HE WRITES,

RAPS & DREAMS

Also Inside: Score Indie Quickie: Pratika Gopinath. Nine Exciting Types Of Musicals That Will Make You Glee and more.

MIDI KEYBOARDS

INDEX

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Score Indie Quickie

Find out

Check out

Pratika Gopinath

Score Indie Classics: 5 Essential Tips for Tuning Guitar Strings Swarathma

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46

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Music Technology

Read about

Read more

Four Critical Things for Aspiring Sound Designers

Rhythm Is Gonna Get You How and Why

What is Orff Education and Why Should You Choose It for Your Children

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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.

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SHREYA BOSE

KEEPING UP WITH

RAFTAAR HOW HE WRITES, RAPS & DREAMS

Desi hip-hop firebrand Raftaar hasn’t stopped fighting (not in the least), but he now picks his battles with a wisdom earned through two decades of survival, triumph and acceptance in a dog-eat-dog industry. He has to, since he is no longer just one of India’s most acclaimed and recognizable rappers.

33-year-old Dilin Nair, born in Kerala and raised in Delhi has given way to his inner entrepreneur. Heralding the label Kalamkaar, Nair and his business partner Ankit Khanna are building a community, creating space for new artists to strut their stuff.

With big dreams to materialize, Raftaar has, believe it or not, Zen-ed out quite a bit.

Rivalries, beefs and conflicts are barely an afterthought when the man has a legacy to carve out, proteges to nurture and a few thousand sick rhymes to drop.

The Score Magazine caught up with Mr. Nair as he talked about what he is building with Kalamkaar, why he raps in multiple languages, and how to become future-proof as an artist.

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Let’s start with the obvious. Give us a glimpse into the music you are working on right now.

I’m working on a full-length album that will drop later this year as well as exploring global associations via strategic collaborations.

I’m also exploring the OTT space and acting projects.

Some of your songs are downright incendiary in their social or cultural commentary, while others are major club bangers. How do you make the mental switch to create one or the other? How do you switch mindsets?

Our hip hop culture is about creating art and being flexible. Not myopic.

While writing a normal song, we just pen down four lines and then have a chorus and some lines again. But while writing rap, more words are required as we narrate a story in it. It requires extra effort to write rap. In my mind rap songs should be about storytelling and not about women and vices.

I’ve made songs on mother nature and women empowerment to tell fellow rappers that it’s never too late to start a new trend as long as the intention is ethical. Our rap culture needs to expand. It needs to be about conveying a message as well and not just roaming around with girls in fancy cars and having alcohol in lounges. The subjects that dominate rap songs now are more individualistic than ever before.

We need better music videos and a larger fanbase who supports the scene.

I rap about being proud to be a Desi. I hate it when Indian rappers throw in an American or English accent without a relevant background.

They are trying too hard to be an Angrej. I have also tried to flow in different styles to make the point that rap shouldn’t be monotonous.

Hip-hop is a part of a forever growing counterculture. Rap is always anti-establishment in some way, and it is one of the most

idiosyncratic means of putting the voice of the voiceless on the radar.

Many of India’s rappers hail from lowerincome backgrounds, and their rhymes narrate the struggle and triumph that convey the cultural realness and artist’s personality that truly made hip-hop the behemoth it is today.

However, this is missing in the music of their counterparts.

What’s your creative process like?

How do you put words on paper?

My brand is really about the non-commercial music I make. It’s all about honest reality. I love reciting stories about myself and things around me which generally is what rap stands for. Social awareness topics like caste and religious barriers, climate change, women empowerment is what I like to focus upon.

When I started rapping, I was on my own. I have shaped myself and my art. I always do stuff very spontaneously and my raps are quite impromptu most of the time. I am very quick at rhyming - just give me a word. Hence Raftaar.

Take us through how Kalamkaar came to be created, and what the label’s highest purpose is. In particular, as a leader, what is your role in the ecosystem?

My passion has helped others forge a path for themselves despite hip hop being so very competitive. I think I’ll be successful the day I can launch a music school like Rahman Sir and give less privileged children an opportunity to learn and become future superstars.

I’ve started this process with Kalamkaar, alongside my business partner Ankit Khanna.

We wish to help carve out a niche in the business, and provide a launchpad to artists we believe in who may not have multiple means of promotions.

When we were brainstorming, the idea was never to open a record label. But when we see The

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the country’s potential talent sitting idle because no one is there to guide them, we believe it’s a social responsibility to help out. We have to give back to this community of ours and hence Kalamkaar was born.

Our goal is to scout the most talented artists out there and provide them a platform so the entire nation and world can see what they are made of.

When I see passion and hard work in others it motivates me and that’s where I derive my success from.

You won’t see fans with Sonu Nigam or Arijit Singh tattoos, but I’ll show you many who have my name tattooed. Because we rappers sell a certain aspirational lifestyle and our content speaks of a relatable struggle. Kalamkaar is a joint effort to bring as many voices as possible, speaking of that struggle, to the limelight.

You’ve spoken about how ridiculous it is to say that someone is making music just for the “passion” and not at all for the money they might make. This is a practical take that more new artists need to hear. Care to elaborate?

I go by logic. If your family is ever in need of medical attention and requires doctors, you won’t get it by showcasing your art at the billing counter. I don’t blame anyone for getting upset at this logic of mine because these things are learned via experiences over time. Maybe it’s not their time yet.

The purpose is to create music together and expand the business it brings. My role was to lead the movement that resulted in the creation of Kalamkaar. Now I just sit back and see the artists do their own thing. Free wills but no free skills.

Why aren’t there enough opportunities for youngsters who want to pursue this form? Where are we lacking? Do people underestimate its relevance? Why is there such neglect around hip-pop?

A major problem is that the target audience for hiphop is largely below 25. This restricts the audience numbers, unlike pop or folk-fusion which attracts wider age segments. Many youngsters also prefer electronic dance music or independent artistes, and their tastes evolve with time.

Public memory is also short, for instance the impact created by Gully Boy was temporary.

Secondly, though there were rappers in India since the early 1990s, the actual movement began only recently, two decades after it became a craze in the US. I believe sometime in 2016 Bollywood started to see the gradual rise of rap, and films used to have at least one hip-hop track. Now, a large percentage of Bollywood movies are incomplete without a rap verse or an entire hip-hop song. It’s one of the fastest growing genres in the country.

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Take us through the different gear you use for your music.

Just a laptop, an ISB mic and headphones are enough to create music now. I know kids who did it all on a phone. I have all kinds of gear that helps in making quality content but I focus on the minimum requirements.

The advice you wish someone has offered you when you were trying to make it?

Compassion will be portrayed as weakness.

Liberty will be taken for granted. The closest ones will go the farthest.

What’s your take on digitisation of music? How do you use it?

Digital is the future but it’s unpredictable and insecure. To keep up with the times, you need to embrace newer formats for your overall evolution. However, I’m still an old-school person at heart who comes from the era of CDs and cassettes.

Now that you have to take some responsibility for a label and other artists, does it affect your rhyme-writing, in terms of time, mindspace, etc.?

I deliver each role with the same sincerity and commitment, to be honest. I’m not the type to be half hearted or partial in my efforts. I’m happy to work overtime if there is the added pressure of timelines but the end product shouldn’t be compromised.

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Do you see any difference in your art from the time you started and now? What’s that one thing that you think has evolved most significantly in desi hip-hop?

My approach has always been the same. I have always focused on writing and that is something which is going to stay. I feel that for a rapper, your words speak louder than your music.

Speaking of Indian hip-hop, look back to Baba Sehgal’s time when it was mocked. Then look at it now, when it is considered a genre in its own right. Hip-hop has amassed a loyal audience and is earning great money. There was a time when people wanted Sonu Nigam and Arijit Singh to perform at weddings and headline music festivals. Now rappers also demand such respect. It’s not as difficult to break the ice now and one can already see some of these artists such as DIVINE, Naezy telling their stories and talking about issues that they feel perturbed by.

The authenticity of the genre has made it what it is today. For me, any genre or art form is truly successful when it can feed its followers. But we still need standalone hip hop festivals, radio stations, music schools in our country for that extra impetus and I believe that in a few years that can also happen.

With such a distinctive, impossible-tomiss individual identity, do you ever find it difficult to collaborate with artists very different from you?

Not at all. I am always in search of new styles and new voices to collaborate with. It is a part of my process of learning. I feel collaborations bring out the best in me. I feel collaborating with other artists gives a fresh perspective to your music.

You can create something unique and out of the box when you’re working with other artists as they bring their own vision along with them.

What I’m not really fond of is the need to control when collaborations happen, since fallouts can sometimes be nasty.

Did you have to figure out how to be a mentor as newer artists approached and interacted with you? Was that transition difficult?

Before taking up music as a full-time career, I was either taking tuitions or giving dance lessons. The ability to teach comes from that but being called a mentor….I guess that’s because I have earned my spot as a senior.

Mentorship comes from a place of gratitude and not privilege for me. I feel humbled that the Universe has entrusted a very serious responsibility on me to empower others.

Artist, entrepreneur, possibly actor - what keeps you from burning out while playing all these roles in the high-octane industry you are in? ek zindagi anginat khwahishein…

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I have a billion dreams and limited time. I envision new goals every day and keep adding them to my wish list. I’m a person who will not

settle for anything less than what my envisaged legacy demands.

My story will unfold in multiple parts. By the time they write a book on me, I will have done enough for the next part. In short, I am a seeker and forever hungry, not greedy! Mine is like the classic story of struggle to success, from rags to riches or as I term it, ‘zero to infinity’.

I worked hard, wrote, motivated myself and still didn’t get the credit. So, I started back from scratch, worked hard and made my mark. I was deceived by a few and supported by a few.

I crossed hurdles and reached a position where I could just focus on my work and try to keep it real while maintaining the high quality. At the same time, I had to fight to save a culture/ religion called hip hop in the desi music industry.

As a person I have learned to read people and to differentiate between good and bad, right and wrong. I became stronger as my brotherbase grew (I don’t call anyone my fan). I developed the ‘can’t stop won’t stop’ attitude.

I’m a creative person at heart so I always like to keep multi-tasking and increasing my knowledge base. I started off as a dancer and now I’m a rapper but I still use my dancing skills as a music producer. Life is unpredictable but the skills you perfect never go to waste. These days almost everybody is multi-talented. You won’t be able to make a name if you are good in just one field. Plus, with everything turning digital, it is important to continuously improve your skill set.

How are you feeling about the state of desi hip-hop in 2022?

Hip hop is considered mainstream now and the industry has finally woken up to the fact that a commercial song can be a successful standalone hip hop song. We have dedicated music festivals for the genre and rappers can fill stadiums like our pop or Bollywood counterparts. We are now able to command a price which wasn’t the case earlier.

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Desi hip hop is no longer a sidekick; we are a movement and force to reckon with.

However, I still feel there need to be more state funded music schools for rappers. A lot of rappers don’t come from a financially sound background and their journey is a lengthy one when there are more than 20-30 young rappers competing for the same spot.

Take my example for instance. It took me almost 7 years before audiences started taking note. Rap started making an impact in the industry since the time Bohemia dropped ‘Kali Denali’ in 2006. That’s when I heard desi rap and got influenced by it. Until 2016, people were still developing a liking for it. It’ll take time for artists to get paid by making hip-hop.

But, I’d still definitely say that hip-hop is the mainstream music now. People are looking up to the genre now and they understand what hip hop is — they are getting used to the sound. From listening to Western rappers to accepting homegrown talent rapping in regional languages, the acceptance is slowly but surely taking place.

Time and again, you have stressed upon the importance of being real and not putting up a façade in front of the audience. Define ‘being real’ in your own words?

Being real is being ruthlessly honest to the point of not caring about the perception of others towards you. I live my life on my own terms without blinkers and never fit into societal stereotypes.

Yes, I do take into consideration any feedback from my well-wishers but I always listen to my intuition and gut. I can never betray that inner voice. You get what you see with me because I have never understood facades. I sleep better at night when I know I have lived my day as the most honest and authentic version of myself.

There’s a debate around the disbalance of power in the music industry, the idea being that it is not truly open to outsiders… Do Hip hop and rap are a reflection of our society. you think this is true?

I’m a blue-blooded hip-hop advocate and this hasn’t changed since I was in the 9th grade.

Back in the day, I paid out of my pocket for my recordings, and uploaded songs on Myspace and Orkut to get noticed. We ran away from school and college to devote our lives to music. No one thought that we could become successful outside of academics; the internet was not around as much. It took only about a decade for us to come here, and in another 10 years, there will be pure rap songs with no melody verse at all.

Raftaar in the studio vs. Raftaar in the boardroom vs. Raftaar on stage - Major differences?

The only difference is in the way I dress.

I keep the same mindset and energy everywhere. I’m very centered and true to my calling and roots.

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Remember true power is in the hands of the fans. Muscle and money are great tools to intimidate someone fresh in the business, but real talent will always shine and the universe will back it. We need to stop this whole insider outsider debate.

We need to start looking at talent for what it really is and give an equal chance to everyone irrespective of their lineage. Yes, India has a fair share of favouritism and nepotism and we must eradicate the problem from its roots. The biggest takeaway from this whole conversation is for established artists to learn to give back what they have learned to the community. Everyone is enjoying the money they are making, but it’s important to be humble when you climb higher and help others climb with you.

That’s the real weapon to fight nepotism and

This generation of artists are savvy about their own potential, rights and commercial worth so the movement of opposing nepotism and favouritism has found an audience whereas in the past it was brushed under the carpet.

You mentioned that you have calmed down, and are not all that keen to step into rivalries and beefs. Is this the result of more responsibility setting in?

It depends on the depth of the situation. Right now, I don’t find any of that worthy of my energy. It’s a result of being more focused on the bigger picture. After the pandemic, I realised that you need to be more mindful of your investments, emotional or otherwise. I want to direct my energies towards positivity and growth.

RAPID FIRE QUESTIONS

favouritism. The day we stop judging artists by their social media stature, the day when musicians bag awards and projects on talent, the day when the whole community stands together as one against injustice - that day the whole system of favouritism will crumble.

The album that never gets old for you.

The Documentary by The Game.

Any conversation about Indian hip-hop is incomplete without mentioning....?

Raftaar Three OG Indian rappers we don’t talk about enough.

EPR, Sikander Kahlon and Lil Golu Your good day song & your bad day song.

Ye - Burna Boy and Lord Give Me A Sign – DMX When people hear Kalamkaar Music, they should think...?

About buying our music. :)

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SHAURYA SINGH THAPA

Score Indie Quickie

Pratika Gopinath

You have dabbled in various genres and sounds (be it with your advertisements, your work with Easy Wanderlings, and other collabs). But is there any particular genre/ sound that you feel is your favourite so far?

Although I do listen to and love a lot of different genres of music, I think my favourites are definitely soul, jazz and blues.

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There’s so much room to play around with vocal textures and melodies and tell each story in your own way. These genres push you to improvise on stage, and it’s so interesting to see where your creativity and feel takes you with the music. I got to explore this quite a bit in my latest jazz project with 779B. I love singing the songs of powerful female artists like Aretha Franklin, Etta

James, Ella Fitzgerald, Nina Simone etc., there’s so much vulnerability, power, sass and feel in their performances, that singing their songs just hits differently. Though I haven’t yet explored this vibe much in my original music, I hope to write a song influenced by these artists in future.

Of all the original music that I have been a part of, the easy

going yet experimental sound of Easy Wanderlings music has a special place in my heart.

Based on your experience with brands like Cadbury and Bumble, how is writing/ recording music for an advertisement different from a usual song?

Though I haven’t composed too much for ads, in my experience, the music for ads need to be to the point, and quickly create the right vibe that the brand is trying to convey: fun, flirty, serious, whatever that might be. You only have a maximum of 30secs, usually less, to make something memorable, a hook or tag line that has a recall value and remind people of that brand, almost like an elevator pitch.

With ads, it’s very important that the music is cohesive with the video, accommodating the important dialogues, pauses and dynamics. As a composer, it’s quite an exciting process to try and convey the right mood for the right brand, considering that music is so subjective, and even within the right mood, there are multiple ways in which one can approach the composition.

It can, however, be quite a stressful process to deliver the product in a very short time and ensure that the music sits nicely with the video, when the directors, the agencies and the brand might have a different idea of what they want.

Songs, however, are composed to tell a more detailed story, which can slowly unwind in layers and take you through multiple emotions and conversations.

For me, composing songs is a much more personal experience.

It conveys your story through your own vision.

sounds to mesh together on this EP.

3- Tell us a little about OST, your latest collab with Shreyas Iyengar.

4- It’s a cliche and even a fact for some that the city in which a musician lives in can influence their music. So, has Pune influenced your music or song writing in any way?

‘OST’ is Shreyas Iyengars latest 4 track jazz centric EP. The EP displays intricate drum lines and complex percussive elements while still being groovy at its core. This, coupled with catchy yet simple melody lines and instrumental arrangements allows the songs to have an easy listening feel.

Although broadly categorized as jazz music, you can hear influences of different genres like hip hop, soul etc. creeping in.

Shreyas and I collaborated on two songs of the EP: Glitter Gang and Plastic Joys.

In terms of the composition process, Shreyas sent me the basic instrumental tracks and it took just a few sessions of hanging out and having long conversations and rants to find some common ground on what we wanted the songs to be about. These songs were a collaboration in every sense of the word because we were literally writing alternate lines of the songs, but somehow they tended to flow well with each other. We trusted each other’s opinions and ability to ensure that the product was as good as it could be, which made the process a really fun and experimental one. Along with Jayant Sankrityayana, who played double bass on all the tracks and also composed the lyrics for Plastic Joys, we were able to find a good space for all our different influences and

I think for me, more than the city, it’s the artists that I’ve met and worked with that have influenced my musicality. Had I not been in Pune, I would probably not have been doing music as a career to begin with since we started the Easy Wanderlings here.

Pune is definitely conducive for my song writing experience though. It has a level of comfort and gives me the space, time and freedom to experiment and learn about the writing process instead of rushing into it. As a musician I don’t feel the pressure to release music and perform whatever gigs I get just to make ends meet or advance in the music industry. The audience in Pune is also very eager to listen to new music, which is very encouraging when you are performing your music for the first time.

5- If you weren’t a singer, which other profession would you be in?

I LOVE FOOD! If I wasn’t a singer, I would definitely be doing something in the food industry. I love to bake and worked part-time in a bakery for a short while. I absolutely enjoyed it! I wouldn’t mind being a journalist or starting a food blog. Who wouldn’t want to travel the world and get paid to eat? Dream come true!

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6- Tell us about your upcoming releases. What can we expect from your future singles/EPs/albums?

At the moment, with Easy Wanderlings we’re working on our new EP ‘Caught in a Parade’, which I’m really, really excited for. We’ve got some amazing featured artists and are trying a lot of new things on this EP. These are some of my favourite Wanderlings songs thus far, so we’re really looking forward to sharing the music soon.

I’m also currently in the process of collaborating with more indie artists in the country and exploring new kinds of music that I haven’t delved into before.

I want to be a versatile artist and not be stuck in any one genre of music. My goal for my future releases is to explore as many styles of music as I possibly can.

7- From Starita to Shreyas Iyengar, how have your collaborators inspired/ influenced you? You can give us an anecdote or two.

My composition ‘Changing’ with 2 time Grammy nominated producer Michael Starita was the first project that I did as a solo artist. He really made me trust myself as an artist and gave me full freedom to do as I wanted with the track. It was important to him that every collaborator that he worked with added a part of themselves in the song however they connected with it, without being influenced by anything or anyone else.

This made the connection to the music lead the composition more than anything else, which really changed my approach to composition as a whole.

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The jazz EP ‘Nightwing’ that released early in 2022 with Jayant Sankrityayana and Shreyas Iyengar was a completely experimental EP and a huge learning curve for me as a musician. I was pushed way out of my comfort zone, both skill wise and creatively, and just having to work with such experienced musicians on such complex compositions, I had to ‘up my game’ considerably.

One thing that stood out with these artists was the emphasis on having fun with the music and not taking it too seriously, which I was definitely guilty of before.

Working on OST with Shreyas was a really fun experience for me. I was initially quite hesitant about this collaboration because of how different our styles of music were. But sitting together and writing was so fulfilling, to see both our styles melding together and creating something that neither of us could have done alone. His musicality and willingness to learn anything and everything about music really inspires me to do the same.

Every collab that I have done and every release that I work on is opening me up to so many different aspects of music that is helping me grow as an artist in one way or another.

8- It is going to be two years since you started dropping music as a solo artist.

Performing for a band to going solo, what has the transition been like?

Being a solo artist and being in a band teach you very different

skill sets. I believe that as an Indian artist, we need to have the ability to do both. In a band, decisions are made as a collective and everyone’s tastes and preferences need to be taken into account. Each member puts forward their strongest suit and the music you make is therefore the best of the group. As a solo artist, you need to push yourself to understand and work on every aspect of the music making process. It is also important to understand what ‘your’ music sounds like and what ‘your’ style is as an individual. It has been a challenge for me to trust myself and know that I can compose and create a full product on my own. There’s still a long way to go, but I can feel that I’m steadily learning more and getting more confident with every release. The more confident I am as a solo artist, it will only help me contribute more in a band scenario as well.

SHAURYA SINGH THAPA

Fine Tune 5 Essential Tips for Tuning Guitar Strings E B G D A E. Each of these six guitar strings not only carry a different musical note but they also stand for different levels of thickness and elasticity. If you’re a beginner with the instrument, fixing these strings can be quite a Herculean task. But learning to properly tune your guitar is an important rite of passage.

There might be times when you turn the tuning key a little too much to the point where the string breaks with a TWANG sound. Don’t be alarmed. Just be patient. Buy a new set of strings. And follow these essential tips and steps to avoid the TWANG altogether.

1- Install a Tuning App For the untrained ear, it can be difficult to get that perfect note from a string after the keys’s multiple twists and turns. So, to make matters easier, one can install any of the several guitar tuning apps on an app store. Guitar Tuna is a fine pick although most of them can get the job done. With that being said, it always helps to master the sounds manually once the player has acquired some mastery.

2- Start with the Low E String The sixth string aka the lower E string carries the most tension, making it the tightest one of the lots. This means that it can cause both more or less tension on the guitar’s neck (affecting the pitch of the other strings in this process). That’s why it is advisable to start tuning the low E string first.

3- Be Slow with the Tuning Pegs The tuning pegs aka the tuning keys of a guitar can be extremely sensitive if not handled right. So, don’t rush while rotating

each key because you never know when an unexpectedly violent move can cause the string to break. Tuning a guitar regularly is healthy for your six-stringer but don’t overdo the peg twists in such cases.

4- Play Your Preferred Chords after Tuning After you’ve tuned each string, go on a trial run with a few trusted chords. Be it an open chord or a barre one, each chord might share some micro-variations even after you’ve tuned all strings. Identify the string(s) if any chord sounds different and a few more twists and turns on the pegs would do the job.

5- Replace strings regularly Pro-guitarists recommend keeping the guitar in places that aren’t too hot or cold so as to avoid corrosion on the strings. But in a tropical humid country like India, that can be difficult at times. So, keep on changing the guitar strings as and when you think necessary.

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KRIPA KRISHNAN

quirks & queries Shashaa Tirupati She needs no introduction. Having rendered her ever so therapeutic, idiosyncratic and versatile voice across the Indian subcontinent in many languages and genres to a myriad of composers, Shashaa has not only well established herself in film but also in the independent music scene. The sincerity and conviction she has shown in her pursuit of finding her voice, her identity has most definitely provided an impetus for many others to follow suit, to express and to seize the moment. She manifests elegance, charm and power as a woman, as a trailblazer. Her latest EP embeds minimalism yet showers us with bouts of mystifying philosophies of life, love and all such things. She narrates a story, her story through a couple of tunes. Quite fascinating to say the least! Needless to say, she also speaks poetry and the following is testament to that!

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Q&A

‘If we knew nothing about you, how would you introduce yourself ? Enlighten us with something that we can’t find online!

What exactly does your day to day look like now compared to a few years ago? How do you anticipate it to change in the course of the next few years?

Enlighten us with something that we can’t find on google!

I’m a hardcore selenophile and pluviophile! In other words, a true romantic, if I may. Probably where the music in me stems from as well. I also have the unsolicited capacity to be obsessed with one song for months, listening to nothing else (voluntarily).

And that’s with the ADHD. Imagine that.

Ardent perfume-obsessed solo backpacker as well.

A few years ago I was singing, mostly commercial numbers in Hindi, Tamil and other vernaculars (13 to be precise).

Today I find myself randomly fiddling with words, extracting tunes from the 6 chords I manage to deduce on the guitalele and clumsily recording and arranging them, writing vocal parts for myself and others and spending hours figuring out the functionality of one VST on Logic, besides singing for mainstream music and associated shoots/ branded collaborations/ live performances. So life’s tornadic, to say the least! I do hope to be borderline brain fried over the course of the next few years.

You now play a multitude of different roles as an artist. Talk to me about these different roles and how this so-called notion What are some of your most of an artist is actually more underrated compositions/ nuanced. projects? Why do you think they are underrated?

I feel every artist intrinsically is blessed with a multitude of facets. The difference is only in what they are opportuned/ sufficiently self-assured/ encouraged to express. For me it was the lattermost. I only dared to express different forms of myself via songwriting/ video direction/ acting or music production because others believed in my abilities. I’ve been holding off on (all of the above?) since I was 16, I’ve felt so inept. As for the opportunities, I decided to create them for myself, considering I lacked the patience to wait for them or for others to deliver, on time (again, blame it on the ADHD) or to the vibe I was imagining.

I also feel every role is interconnected.

For example, what I feel I’m not completely able to express via say my singing is in a way completed through the melody/ vocal arrangements or even the artwork for the piece I’m working on.

And I feel every artist has these sides they’re latent till they explode!

I feel anything that’s underpromoted these days wrongly comes across as underrated. I find the term slightly derogatory. There’s a load of incredible music and insane talent out there, sadly termed to be underrated, whereas it’s perhaps just the dearth of resources in airplay/ marketing to get it noticed that disqualifies it from reaching wider audiences. And as indie musicians, most of us I believe work entirely out of pocket.

Some of my less promoted work, imo, and with the limited resources available at the time, would probably be Oceans Rained and Yezhundhu Vaa! So much heart, effort and energy went into both songs, audio and video. I just wish we had the backing to push them and present them to people who i know for a fact would have dug the music.

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What are some lifechanging moments in your career and why?

Meeting AR Rahman Sir, foremostly - he, hands down, laid the stepping stones for my Southern film music career.

Prior to that, being told I had a bad voice by a prominent figure in the music industry - I explored the producer/ composer in me only owing to the same. The Humma Song got me gigs and recognition in the Bollywood circuit. Then the prestigious National award earned me various projects with substantial artistic weightage.

And my first EP, which released in April 2022 - it’s given me the courage to create more original music.

What would you like to see change in the industry?

More women-centric songs.

More female solos. More female producers and tech. Substantial funding and support for indie music and artists. And unity within the fraternity - artists supporting artists. Which we already are. Can’t have enough of that though!

How do you balance your time between film and indie music? What is the current dynamic like now?

Answered in 3 partially. We don’t really record for films every single day of the week. At least I don’t. So if I’m dubbing say 2-3 days a week, the rest of my time is split between shoots, indie originals (song writing, music production, tracking), performances, collaborations, content for my YouTube channel (tutorial videos, covers, #tunesday videos) and, wait for it... social media.

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Some of the songs in the EP seem to be a personification of some abstract ideas regarding relationships. What’s the story behind your latest EP collectively?

How did it all come together?

“I’m Sorry, Heart” tells a tale.

Over a journey of four songs

traverses an entire ‘relationship’, albeit an imaginative one: a kind that’s confined within the self and incapable of being requited, this relationship plays out in its entirety but within a turbulent, hurting mind. However, love knows no bounds. So with an apology in advance to the Heart for sorrow inevitable, we allow it to feel in spirit if not in the flesh.

Conversations are best when left unembellished, unperturbed and often, unresolved. Such is the aural make-up of these songs: anything but made-up. A voice, a guitar and everything in between.

So, I was going through a rather strange emotional phase for months back in 2020, as a lot of the world was. After another sleepless night, somewhere around 6/ 7am on a typical rainy Surrey Day, I’d picked up the guitalele and basically sobbed out the first melody for the EP - the title track of I’m Sorry, Heart. About 2-3 hours later, I’d shared the audio recording of the rough sketch, recorded over my phone, with a dear friend and musician I admire to the moon and back, Gulraj Singh. He encouraged me on the idea, fodder to my hunger, and moments later I remember calling Keba, a friend and again a musician I’m a massive fan of, in India, told him I want to do this with him - an acoustic EP, only him and I, guitar and voice - and that he can get back to me after hearing the melody.

He almost instantly was game. And from there began the journey of our debut EP! I recorded all the songs on the phone and sent the rough recordings to both these friends of mine, the former because I have negligible faith in my abilities as a songstress per se. On my return to India, another dear friend (yes there are a strong handful) and believer in my limited capacity most magnanimously offered me his studio, Desi Dutch, for the course of the entire EP. Vincent Joseph tracked me patiently and with no qualms, despite the 8–12-hour sessions of my being anal about a set of backing vocals, only to discard entire 16 track stacks and start afresh because it stopped feeling it. Then Keba was recorded remotely from Chennai over a few days. And a gem at my random demands. Vincent went on to mix the song and all the videos except the animated video for the title track were entirely worked upon by fans from Goa, Chennai and

Mumbai. To sum it up, it’s been one HELLUVA journey! And with every hiccup intact, what would I not give to re-live this!!? Hence, more EPs to come :)

What is the value proposition for each song?

The process behind the production remits the fact that you can create music under any circumstance, so no excuses! We recorded all over the globe, considering I was back home in Vancouver tending to my father during the Covid crisis, recorded Keba on my return albeit remotely, him being in Chennai and myself in Mumbai, mastered in the UK by Naveed from Whitfield Mastering, who was kind enough to partake in this - he’s mastered Ellie Goulding’s Grammy-winning album, shot videos predominantly with extremely talented fans cum professionals who believed in the music, content and intent and had the industry, studios, technicians and entities like yourselves at Score to give our product the morale boost with your support. So it’s all doable if you love what you do.

You mentioned that you had conceptualised the whole EP using a ukelele? How different did the whole aesthetic sound on a guitar? Do you think you could have recorded it on the ukulele itself ?

Nah. I wanted Keba. Period.

How was it working with Keba?

He’s a teddy bear. Patient, humble, accomodating, and of course, INCREDIBLE. We’d been meaning to work together for years, our film collaborations in the dozens aside.

Destiny was an entire EP? :)

Whats next for Shashaa?

Stitched - my next EP. And an ambitious one.

Multiple collaborations and films and much more. I’ll let you do some waiting ;)

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Rapid Fire Song you are most proud of and why?

Siyaahii perhaps? Probably because I wrote, sang, and composed the song with a lot of love, also in Hindi, being my second language and definitely not the language I think in, which also garnered humbling appreciation from artists I profoundly look upto from the fraternity and beyond, musically AND lyrically.

What are you listening to?

What am i NOT listening to should be the question here haha. Always listening to Bon Iver. Recent additions are Volkan Ozturk, Easy Life, Arlo Parks and Neomi.

Your weakness?

My heart.

Your strength?

My heart as well.

A song that evokes nostalgia?

Perth by Bon Iver.

An upcoming indie artist you admire?

I love what Kamakshi Khanna is doing!

Most challenging song of yours?

Two actually - Naane Varugiren and Rasaali.

Dream collaboration?

BON IVER, The Japanese House, and Finneas!! Then of course, there’s Ludovic Bource and Hans Zimmer.

One day :).

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MUSKAN GOSWAMI

7 Travel Songs That Will Enliven Your Next Trip Summertime travels have got such a soothing, relaxing vibe. You get to see beautiful shades of the sky and enjoy the scenary with your favourite refreshing drink. With this, if you add some soul-satisfying travel songs, you are sure to create unspeakable memories. So, whether you are planning to spend lazy beach days, or go for a treak in the hills, we have got the perfect playlist ready for you!

1. Kho Gaye Hum Kahan This song is going to be just perfect for those moments in your trip when you want to unwind. Prateek Kuhad and Jasleen Royal’s voice will effortlessly make you lose yourself in the moment in a calming way. The song is from the 2016 - movie Baar Baar Dekho’s album.

2. O Hum Dum Suniyo Re

A masterpiece by A.R. Rahman which is probably never going to get old. The complete vibe of the song along with the lyrics, written by Gulzaar, are so upbeat and fun! You are bound to tap your feet to this song and surely, feel a bit nostalgic too. This song is from the 2002movie Saathiya, and is sung by K.K. and Shan.

3. Ik Junoon

When you are setting the mood for an adventure activity,

and need a bit of upliftment, listen to this song! Vishal Dadlani’s effortless singing is bound to make you feel-good instantly. This song is from the 2011-movie Zindagi Na Milegi Dobara.

4. Illahi

For those city-exploration days, long drives, and party nights, you have got to binge on this song. This song perfectly captures the excitement one feel’s while visiting new places and experiencing unique cultures. Mohit Chauhan’s raw and powerful voice will spring you to your feet. This song is from the 2013-movie Yeh Jawaani Hai Deewani.

5. Dil Chahta Hai

Road journeys are absolutely incomplete without this evergreen song. It’s fun, real, and thoughtful, and will make your trip to Goa, slightly more memorable. This song by

Shankar-Ehsaan-Loy is from the 2001-movie Dil Chahta Hai.

6. Meethi Boliyaan

Kai Po Che When you are looking at a picturesque place, surrounded by people you like, and you want to appreciate the beauty of life, plug-in this song.

The melodious voice of Amit Trivedi and Mili Nair, is going to set a relaxing mood to the place, seamlessly. This song is from the 2013-movie Kai Po Che.

7. Phir Se Udh Chala

A breathtaking song by A.R. Rahman in Mohit Chahuhan’s voice which touches the soul directly. This song hits different when it’s mid-night, you are travelling, and looking at the night sky. This song is from the 2011-movie Rockstar.

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SHAURYA SINGH THAPA

Swarathma and The Wanton Bishops’ Lay It On Me is an underrated cross-border collab: Score Indie Classics

in the indie music space.

between Karnataka and Tamil Nadu over its control and the subsequent environmental impact.

Bangalore-based collective Swarathma needs no introduction for fans of Indian folk-fusion music.

Lead by frontman Vasu Dixit, Swarathma has been active in the scene since the 2000s.

Apart from their multigenre music, the band is also known for using their musical influence for environmental activism. Just take their 2009 classic Pyaasi as an example.

Written from the perspective of the Cauvery (Kaveri) river, the song talks about the conflict

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Another practical example of their attempts at environmental consciousness is the time when they performed near trees at Bangalore’s Indira Nagar.

With the urban development authorities felling hundreds of trees in the area, Swarathma resorted to their own variant of “Chipko movement” by gathering around these trees, armed with nothing but their musical instruments.

Several albums, protests, and even a comic book later, Swarathma has clearly established itself as a class act

However, in the midst of a diverse discography, only dedicated fans would be aware of their single Lay It On Me. Some might have heard it first on the now-defunct music channel MTV Indies while others might have checked out the video on Red Bull Music’s YouTube account. The song perfectly emulates Swarathma’s brand of fusion but for some obscure reason, it is not available on Spotify and other streaming services.

Still, the massively underrated single from 2014 needs to be revisited for both loyal followers as well as new recruits to the Swarathma fandom.

The song is a cross-cultural collaboration with Lebanese

blues rock duo The Wanton Bishops.

Both parties met each other at Kolkata, the city where the enthralling music video is also shot.

Violinist Sanjeev Nayak’s strings set a warm tone right from the start, accompanying a shot of the musicians waking on a zebra crossing much like The Beatles’ journey on Abbey Road.

The video then progresses to random yet aesthetic visuals from the city, featuring public transport drivers, the white uniformed policemen, and everyday citizens. An archaic courtyard also serves as the platform for the chorus and outro as Swarathma and Wanton Bishops are found to be wholeheartedly jamming over here.

Vasu Dixit’s vocals in Hindi bring out an introspective and satirical tone as he analyses the chaotic nature of humanity in a calming vocal range. The pre-chorus boasts some standout rhymes such as “Gaaliyan bhi hum hai, Taaliyan bhi hum hai” (We are the profanities, We are the claps) and “Tamasha bhi hum hai, Tamacha bhi hum hai” (We are the drama, We are the slaps).

Contrasting with Dixit’s clear voice is Wanton Bishops alumnus Nader Mansour who helms the chorus with his throaty and powerful voice. His lyrics delve on uniting as one and bringing a change, going in tandem with Swarathma’s brand of musical activism.

The second half of the song yet again puts the spotlight on Nayak whose violin takes a melancholic tone now. This interlude then gives way to a rousing outro by Dixit coupled with Mansour’s harmonica. The latter doesn’t play the mouth instrument like Bob Dylan and instead relies on a garage rock-like sound which perfectly juxtaposes with the acoustic guitars and ghatam percussion sounds in the back.

In other words, a lot happens in Lay It On Me but it doesn’t end up sounding chaotic at all. After all, Swarathma have proven their prowess with fusion so the brilliance of this under-the-radar collaboration might not even be that surprising.

The Bangalore and Lebanese rockers never collaborated again but Lay It on Me would still serve as an amusing time capsule of their artistic brilliance.

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10 TIPS

AKARSH SHEKHAR

TO MAXIMIZE YOUR SINGING POTENTIAL

1. Use Your Diaphragm Correctly To sing beautifully, you must learn how to breathe. Breathing from the abdomen instead of the chest will make you comfortable both in daily life and while singing. By using the diaphragm breathing, you can expand your octave range, reach the notes that you yearn for, and sing the songs you sing without difficulty. You will not encounter a problem such as not breathing while singing.

2. Stand Up While Singing Another answer to your question about how to sing beautifully is that you should stand up straight. If your posture is wrong, you will not

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get the desired output from your voice. Therefore, in order to sing well, ensure that you maintain correct posture.

You should be facing straight ahead, and your neck should be in a relaxed position, without tension.

3. Relax Your Vocal Cords Good singing techniques include relaxing the vocal cords. If your vocal cords are tense, you cannot reach the note you want. You can repeat syllables to relax the vocal cords.

4. Don’t Force Yourself to Hit the High Notes We can say that you need to know the limits of your voice

as beautiful singing methods.

A piece that requires hitting high notes can irritate and damage your vocal cords. It can also cause problems such as being detonated. If you are asking what to do to sing well, we recommend that you avoid songs that your voice will not be enough for.

5. Practice Breaking the Song into Parts You can shred the song for a performance that the listeners will enjoy. By determining the beat and note places, you will breathe in the right places and you will not make any mistakes while singing. In addition, if you divide the song into two or three parts and work at different times, you will have more command of the words and notes.

6. Record Your Voice, Identify Your Mistakes

water though, your vocal cords may become tense with the effect of shock.

When you sing, your voice may sound beautiful to you.

However, you do not know whether the voice heard by the other party is good or not. So you can record your voice to find out if your voice is good or not. You can identify your shortcomings by listening to the audio you recorded.

8. Practice Every Day

7. Drink Plenty of Water If you say how to sing a beautiful song, we can say that moisturizing your vocal cords will also work. In order to sing well, avoid milk, soft drinks and similar drinks that can cause mucus formation in the throat.

Do not drink too much cold

The more you try, the better you sing. Practicing every day will help you improve your voice. This is actually the most important answer to the question of how to sing a beautiful song. You can improve your voice by working every day and insisting on improving your talent.

9. Get Reviews Get other people’s opinions before qualifying yourself as a good singer. Because beautiful ways of singing aren’t just about what you’re going to do technically. Ask friends or family whose perspective

you trust to criticize the way you sing. Make a note of your mistakes, and work to correct your deficiencies.

10. Choose Tracks That Suit Your Voice Everyone has their own voice color and range. It is a little difficult for us to sing parts that exceed our vocal range. So until you become a good vocalist or singer, it will be good to sing in your own vocal range.

This will both increase your self-confidence and improve your voice. Sing within your abilities. As your abilities grow, so will your singing.

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AS IT’S MEANT

TO BE HEARD

R0DE NTH-100

F

or decades Rode has been known around the globe for its quality microphones and now with the release of its first ever pair of headphones, this Australian company has taken its pursuit of quality to another category. The Rode NTH-100 is the brand’s first ever pair of headphones and are available now in the Indian market. They’re aimed at audio professionals with their studio grade performance, but comfortably appeal to anyone seeking a top-quality listening experience. They’re wired and closed-back headphones but their focus on sound, comfort

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and build quality makes a difference than others. The NTH-100 sports a classy and professional appearance, with a build quality to match. All the elements, from the headband to the earcup swivels, give a strong degree of confidence in their longevity and dayto-day durability. Features like Alcantara coating on the earcups and headband, as well as cooling gel coupled with memory foam in the cups, make for a comfortable experience, even for longer periods. Despite their large size, these features help to make the headphones practically vanish when worn.

Onto the star of the show: the audio quality is exceptional, living up to Rode’s high standards. Rode NTH-100 resists the temptation to indulge in unnatural LF, rather it remains tight, proportional and without a scintilla of woolliness. Despite being closed-back by design, the 40mm drivers give a similar sense of space and clarity usually reserved for much pricier open-back headphones.

The NTH-100s are meticulously crafted to deliver exceptional

sonic performance for critical listening, from monitoring to mixing to mastering.

Featuring custom-matched dynamic drivers that have been painstakingly tuned for an incredibly accurate frequency response and extremely low distortion, they are remarkably natural-sounding headphones.

The audio profile is very neutral and ideal for monitoring and close listening but you also won’t get the listening fatigue and low-end skew that typically comes with it. With the focus squarely on audio performance for the Rode NTH100, people are pleased that their expectations were not only met, even surpassed. While aimed towards professional use, these cans sound so good people are recommending them to anyone wanting a detailed listening experience.

They are precision-crafted to retain every detail and every nuance of sound they produce.

In other words, audio as it’s meant to be heard. Aesthetically, the headphones definitely look like professional kit – they’re not as sleek and minimal as

FitLok. This amounts to two simple mechanisms that lock the adjustable headband in place once you’ve found the appropriate size. The FitLok system is incredibly useful and simple to employ. It’s incredibly simple to use, fluidly variable, and saves you from the hassle of readjustment every time they get nudged or jostled when handling or carrying them in a bag.

some of the Bluetooth cans out there with their visible cabling and somewhat techy appearance, but their pure black palette is more suave than most gaming headsets and other such gaudy designs. With that said, there’s an option to swap out the earcups, headband and cable for four different colours (all of which are sold separately) if you’d prefer some personalization. Rode’s iconic “Ø” is emblazoned prominently on the exterior of each of the rather large earcups, as is the brand’s small golden circle motif, so there’s no mistaking who made the headphones.

Overall, the design maintains class without trying to hide its professional intention. One extra convenience on the earcup front – each one features an audio connection, meaning you can have your cable running to the left or right cup as desired.

Rode has struck the right balance between ‘easy listening’ and ‘accuracy’. The NTH-100 drivers feature a custom voice coil with a four-layer ultrahigh-tension aluminium alloy at its core, which is coupled to an ultra-stiff triple-layer Mylar® diaphragm. Combined with a rare-earth neodymium magnet and innovative phase plug inspired by the awardwinning NTG5 microphone. The headphones will be everything you’ll ever need in the studio or on the road. They don’t attempt to provide a ‘real world’ studio monitor emulation, they simply aim to be the most naturalsounding, spacious, detailed closed back headphones they possibly can make.

The Key Features: •

•

•

• • •

•

•

Custom-matched drivers deliver an incredibly accurate frequency response and low distortion – ideal for monitoring and mixing Precision-engineered acoustic construction optimised for exceptional detail, clarity and a very natural sound Alcantara® earcup and headband cushions for superior comfort Revolutionary CoolTech™ gel reduces wearing fatigue Fully adjustable headband with FitLok™ locking system Unique contoured earcups for superior acoustic performance and comfort, with memory foam cushions for excellent noise isolation Removable cable with locking connector that can be connected to either earcup for maximum flexibility and convenience Designed and made using high-grade components in RØDE’s state-of-theart facilities in Sydney, Australia

Another feature we’d love to see appearing on more headphones is a mechanism Rode is calling, The

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SHAURYA SINGH THAPA

Netflix

berklee

On the surface, music supervision might seem like just placing music on particular videos, films, and so on. However, music supervision is much more than that and involves strategic use of music pertaining to the particular media.

If the strategy is good enough, good music supervision can help in boosting the show or movie’s popularity. We got in touch with Ramprasad Sundar from Netflix India’s Music Creative and Production Team, as well as Emilien Moyon, the Program Director of Master in Global Entertainment & Music Business Professor from Berklee School of Music, Valencia. With the aim of nurturing India’s upcoming talents in the field of music supervision, Netflix and Berklee even conducted a Music Supervision workshop for 18 handpicked candidates.

The 3-day workshop was held at the Netflix Mumbai Office from April 12-14, 2022.

The primary goal of such an exercise is to help build an ecosystem of trained

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music supervisors.

Attributed to: Ramprasad Sundar, Lead - Music Creative and Production team, Netflix India Music supervision was required since the early days of film and TV. Has a music supervisor’s role changed in the past few years (with more movies and shows being distributed by streaming platforms)?

As technology evolved over the years, so did workflows and roles in the music industry and we have seen a transformation in the production and consumption of music. Over a period of time, the role of a music supervisor has evolved from something that was operational, to a creative and strategic partner in the production process.

Good music is fundamental to a show’s success; it is a part of what makes the programming memorable for audiences. The music supervisor heads the music department and designs the music strategy along with selecting and licensing music for the production. The popularity of streaming services has brought this role gradually into the mainstream. Netflix has opened up more avenues, providing an opportunity to experiment with different genres of music and add more value to their existing roles.

If Netflix is collaborating with Berklee for such a course, does this mean the streaming service is giving special attention to upcoming future music supervisors? Or is there any other reason involved behind this collab?

At Netflix, we are focused on developing new skills for the creative community in India by giving hands-on experience to the best industry practitioners and global talent. As we ramped up the development of local titles, we identified a shortage of skilled Music Supervisors in India. To address this need-gap, we have partnered with Berklee Valencia to help train new Music Supervisors and strengthen the skills of existing Music Supervisors. The primary goal of the workshop is to help build an ecosystem of trained Music Supervisors so that they are able to add value across the entire chain of music development from budgeting, creativity, clearing, working with a composer, delivering, and more - eventually leading to better efficiencies in production.

Ramprasad Sundar

A Music Supervisor is an established role in many countries globally. In India, we are getting started and the Berklee workshop is a small step in that direction.

We are trying to streamline and simplify workflows by means of adding a single point of contact who can aid our productions in solving the most complex scenarios that music presents.

What’s the value of a Music Supervisor in an average film/TV show?

The Music Supervisor is immensely valuable to a Film or Series irrespective of the market, budget or timeline as the role manages the entire music workflow, from The

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budgeting, talent sourcing, production, and finally deployment and licensing.

The Music Supervisor is essential for productions to preempt issues pertaining to copyright infringement and to find a pivot that helps the production in a lot of ways.

With the phenomenal growth in the development of streaming content in India, the role will only be more sought after in the times to come.

Sometimes, even film Directors end up serving as music curators or supervisors. Cases include Quentin Tarantino in all his movies and James Gunn for Peacemaker and the two Guardians of the Galaxy films. In your opinion, how are such music supervisors different from the professional ones?

Music Supervisors are the creative extensions of a Director’s vision and they collaborate with different kinds of Directors in various capacities. Established Directors who are extremely creative have a clear idea of what they want from music; here, the Music Supervisor will project manage the entire music workflow so the creative output aligns with the Director’s vision. With an up-and-coming Director, the Music Supervisor would aid from a basic level - advising on the creative breakdown, assembling the right team, and providing counsel on technicalities.

Music Supervisors play a vital collaborative role not just with

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the Director, but also with the Producers, Showrunners, Composers, Technicians, and even external parties, to manage the entire music workflow from end-to-end.

What does a Music Supervisor’s future look like in the market?

Given the surge in the production of streaming content in India, there is a huge demand for Music Supervisors. We are seeing a democratization of content production where amazing stories are being created by people from all corners of India. Writers and Creators are developing stories with narratives and treatments that transcend cultures and continents.

We are witnessing global production collaborations, so the opportunity for Music Supervisors in India isn’t limited to Indian productions.

There are global companies entering the market with new workflows and demand for sophisticated project management. In the future, productions will realize that there are time and cost savings using Music Supervisors and more and more projects will be hiring this role to handle the creative and operational needs that come with combining music with visuals. As productions expand in India and global rights and clearances for music become increasingly complex, we’ll see a vast increase in the need for this role.

Emilien Moyon

Attributed to Emilien Moyon, PhD, Program Director of Master in Global Entertainment & Music Business Professor, Berklee Valencia.

1. How would you break down the work of a music supervisor for a layperson?

Music Supervisors are responsible for all of the logistical and creative decisions involved with the music that appears within a film, television series, advertisement or trailer. While the job varies from project to project,

responsibilities typically include; hiring a composer, picking pre-existing music to place in the project, hiring local musicians or bands to appear on camera, securing the necessary legal permissions to use this music and ensuring all parties are compensated.

Simply put; the Music Supervisor acts as the bridge between the Music Industry and the Entertainment Industry.

2. Can one be a music supervisor with just knowledge of music and no experience in composition/ production?

The Music Supervisor’s role is complex and multidimensional, but at its core, it is fundamentally based on their expertise and sensitivity around what music can bring to the table in terms of helping to tell Film and TV stories. In a sense, Music Supervisors need to be uniquely able to “see” music as well as hear it. This is not about understanding music at a technical level, any more than an architect needs to have technical building skills. I am going to qualify my answer in one regard: Where a music supervisor is working closely with composers the ability to communicate with them quickly and effectively may be assisted by some knowledge of technical terms. Conversely, where the music supervisor is working with existing music, the real issue is their understanding of licensing and the strength of the Supervisor’s creative network - do they know about the vast catalogue of existing music, and are they also passionate about searching

out cool new emerging artists who can compete on price points with library music?

3. In terms of music awards, what are some of the highest honours one can have as a music supervisor?

A Music Supervisor may be awarded a Primetime Emmy Award for Outstanding Music Supervision in a television series, and may also be eligible for the Grammy Award for Best Compilation Soundtrack for Visual Media. There are also awards for Music Supervisors working in the advertising and trailer space, their work could make them eligible for the Clio Music Award for Film and Video or the Clio Music Impact Award. In the US the Guild of Music Supervisors has worked diligently over the past 10 years to cultivate a strong community of Music Supervisors. They recognize the work of Guild members through an annual Guild of Music Supervisor Awards.

4. What might be the most essential thing that a music supervisor would need?

A strong culture of music that is not genre or era-specific. This is the main factor that will make a music supervisor successful and that’s why the best ones are getting paid big money.

Not far behind, having a strong professional network with a high level of trust is key.

5. In terms of practical teaching, how do you train aspiring music supervisors?

A music supervisor must possess a sophisticated arsenal of skills. The first fundamental characteristic of this workshop is to be as holistic as possible.

Being holistic means that we want to cover and connect different aspects: the legal, the business, the creative without forgetting peopleskills. That’s what makes music supervision, one of the most exciting areas to work in but also makes it difficult to find such versatile profiles. Holistic also means that we want to offer a global perspective of the role of music supervisors while contextualising it to the Indian market. The second fundamental characteristic is to be practical. We want the participants to leave with a tangible toolbox that they can directly use to develop their careers as music supervisors.

Identifying and sharing best practices will help these professionals in this rapidly growing industry.

6. What’s the financial scope of a music supervisor’s job in present times?

It depends on the project. A large studio, blockbuster, international film will likely have a multi-million dollar music budget, whereas an independently produced art film may only have a few thousand dollars to spend on music. This is where the Music Supervisor role kicks in to not only work creatively while selecting music but to also find creative solutions to utilizing music effectively within the scope of the budget.

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AKARSH SHEKHAR

Four Critical Things For Aspiring Sound Designers Sound design is the process of editing and converting sound data in various formats in digital environments. It is used in different areas such as television, cinema, radio content, video games and mobile applications.

It is developed by professional sound designers in line with a specific application and system. It is important that the sound design is original. Every scene, emotion or message should have a different sound. These sounds are created with custom sound design applications.

The answer to the question of how sound design is made depends on the sound designers’ understanding of the material in their hands and reflecting it in the most appropriate voice. Sound design is a complex and detailed process. Each process contains different dynamics and design principles.

From movie soundtracks to video games, from television to theatre, and, of course, to music production itself, sound design is one of the most impressive and knowledge-intensive professions of the modern world. Although being a sound designer is usually associated with sound engineering departments in universities, it should be said right away that you do not have to study at a 4-year university for this. So what are the requirements to become a sound designer?

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To Become a Sound Designer, You Must Get Acquainted With All The Studio Equipment Although most people think that only a microphone and computer are enough for a music recording, this is not true. On the contrary, a music studio can be a little more complicated than you think.

For this reason, the best sound design course programs care about the trainees getting acquainted with studio equipment. In this direction, you will learn about the types of studio tables, equipment such as mixers, microphones, speakers and their accessories such as jacks or cables, amps, recording booths and similar studio equipment. Afterwards, you will understand the basic concepts of sound design terminology such as decibel, loudness and intensity on this equipment.

You Must Learn Audio Software to Become a Sound Designer Today, when it comes to music, as in many other fields, a large part of the work takes shape in the digital environment.

Therefore, one of the main answers to the question of how to become a sound designer is to learn about sound software.

In the best sound design course programs, the trainees learn about the most used sound software in music and other industries where music is used and learn the basic concepts in sound software in a practical way.

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To Become a Sound Designer, You Must Know the Spatial Elements of Music In order for the recordings taken in a music studio to create the desired sensation, it is essential that the studio be well arranged in terms of acoustics. For this reason, another point that you should count among the requirements to be a sound designer are the subjects such as acoustic measurement and calculation, and the relationship of sound waves with space properties. In this direction, you would lay the necessary foundations to make spatial arrangements in the studio environment.

A Sound Designer Should Be Ready to Produce Music for Different Industries Earlier in this article, we talked about how sound design is not only related to music; We have said that it is relevant to many industries such as television, cinema, theater and video games.

Therefore, as a sound designer, you must be prepared to produce top-notch music for any industry. In the best sound design course programs, you will encounter theoretical and practical information in many areas from tips you can use in film music arrangements to the ideal length of television soundtracks, from choosing instruments according to the scene to synchronizing sound and image.

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SHAURYA SINGH THAPA

Give Peace A Chance:

5 Anti-War Songs from All Over The World

Wars can make for tumultuous times. However, there have been a few times when music has served as a peaceful cure in the violent aftermath. From calls of world peace to more contextual songs in local languages, history has given way to several iconic ballads. On some occasions, these songs can also serve as bitter critiques of the war in question.

Here are some prominent cases in point.

Fortunate Son

by Creedence Clearwater Revival It ain’t me, it ain’t me I ain’t no senator’s son, son It ain’t me, it ain’t me I ain’t no fortunate one A quintessential antiVietnam War song was Fortunate Son with its opening guitar riff immortalised by several movies. The lyrics particularly address the mandatory drafting policies that America relied on during the conflict in Vietnam in the 1960s and the 1970s.

Many American youths, poets and musicians also saw the war as an unnecessary Western interference in Vietnam.

The fact that several of the drafted soldiers ended up being killed or injured made CCR address these fallen souls as “un”fortunate sons.

Stop The War in Croatia by Tomislav Ivcic We want to share the European dream We want democracy and peace Let Croatia be one of Europe’s stars Europe, you can stop the war

War In the early 1990s, Europe was rocked by a series of “Yugoslav Wars’’ as countries such as Bosnia and Croatia were fighting for their independence from former-Yugoslavia. Set against this backdrop, Croatian popstar and politician Tomislav Ivčić wrote the song Stop The War In Croatia.

Not only was the anti-war track a call for peace but it also helped in bringing more global attention towards the conflict in Croatia.

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Zombie by The Cranberries In your head, in your head, they are fighting With their tanks, and their bombs And their bombs, and their guns In your head, in your head they are crying Northern Ireland has been such a bone of contention between the Irish and the British that it spawned a series of violent upheavals collective referred to as the Troubles. When the militant organisation Irish Republican Army orchestrated two explosions in the UK during the Troubles, two children died leading Irish alt-rockers Cranberries to record this power anthem. Zombie served as a protest song against the bombingss. Today, Zombies ranks among the top alt-rock song of all time and is usually played in the face of modern wars.

Lullaby by The Imphal Talkies Your revolution has snatched away My right to education

Hey Hey Rise Up by Pink Floyd Oh, in the meadow a red viburnum has bent down low For some reason, our glorious Ukraine is in sorrow And we’ll take that red viburnum and we will raise it up And we shall cheer for our glorious Ukraine, hey, hey Since 1994, the legendary rock band Pink Floyd hasn’t released a single track together with frontman David Gilmour and other members following solo careers. However, this year the British music giants reunited as a gesture of solidarity towards Ukranians who are caught up in the ongoing Russia-Ukraine conflict. Joining forces with Andriy Khlyvnyuk. The latter was a Ukrainian musician who grew viral with a video of him singing a World War 1 song outside a cathedral in Ukraine’s capital Kiev. Recovering from his wounds, Khlynyuk’s voice emulates a sense of pain that captures the trauma that his fellow countrymen are facing. Pink Floyd alumni David Gilmour and Nick Mason sampled his vocals for the song Hey Hey Rise Up, the proceeds of which will be donated to humanitarian relief for Ukraine.

Hailing from Manipur, The Imphal Talkies have never shied away from politicallycharged tracks. Like most of their early discography, Lullaby is against the draconian Armed Forces Special Powers Act, the legal measure that was responsible for several military crimes against civilians in the Northeast. An acoustic number, Lullaby is a haunting look at growing up in a warzone with the sounds of bullets and human screams being the only lullaby that such a child can hear.

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AKARSH SHEKHAR

Nine Exciting Types Of Musicals That Will Make You Glee

Musical acting education is one of the basic stages of becoming a musical actor. You should definitely receive training because it contains elements such as music and dance. These are the things that a musical education course entails:

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Diction musical acting singing practice Voice–breathing technique Chest tones training style education Musical track selection according to tones Solfeggio training Movement choir exercises Acting in front of the camera.

Concept Musical In this genre, musical acting is more important than story.

The Cats musical is a prime example. In this musical, the life of stray cats is explained with music. The story is in the background.

Jukebox Musical It is defined as a jukebox in musical play genres. It is a musical that is played along with the songs of a group of singers. Mamma Mia, and Across The Universe, are prime examples. The selected songs of the artist selected in the musicals are reinforced with the story. The important thing here is to follow the songs.

Musical Play Types Book Musical It can be described as a traditional musical. The book serves as the basis for a musical. It is more common in classical musical theatre. It has a way of narration through story and music. Music, lyrics and story are important parts.

The important thing in this genre is the story. My Fair Lady and Chicago, Jesus Christ Superstar and Evita are notable examples.

Revue It is a genre in which songs are important among musical play genres. It is based on selected songs. The story doesn’t matter.

Songs are in the foreground.

The songs are entertainmentoriented.

Rock or Pop Musical Rock or pop musical, which is one of the musical play genres, is a genre created through rock and pop songs without any lines in it. It is also known as pop opera. Rock of Ages is a popular example.

Chamber Musical Among the musical play genres, one of the best examples of chamber musicals is Broadway productions. This genre is mostly used in low-budget musicals.

Modern Musical In modern musicals, which are among the musical genres, the plays consist of real-life stories. The musical ends with complex finales. There is a connection with modern life.

It could be called a dramatic musical. In this genre, the fun and enjoyable aspects of life are not told. There is more unhappiness. Sweney Todd is a prime example.

Disney Musicals It is a fun type of musical that has a huge fan following among the younger audience. Disney musicals are the most striking of the musical acting genres, with the presence of different theatrical elements. The Lion King is an important example.

We can also show Walt Disney popular cartoons as an example.

In The Lion King Musical, all animals are animated with puppets. It includes performative expression forms.

Mega Musicals Mega musicals are important productions for musical acting. They are musicals with huge budgets that emerged after 1980. Visual appeal and showmanship are important in this genre. It continues on Broadway today. Les Miserables, Miss Saigon, Sunset Boulevard, Cats, and Phantom of the Opera are important examples.

Enjoy Singing, Dancing and Playing!

One of the biggest dreams of all actors is to appear in a musical play. The reason for this is that musical plays sound much bigger. Many popular actors of the world took part in musicals and made a name for themselves. In short, actors who appear in musical plays rise up the fame ladder quite fast.

Although musical acting is difficult, you will realize that it is enjoyable and fun after you get your education and improve yourself.

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KRIPA KRISHNAN

In conversation with

Jerry Silvester Vincent

Jerry very humbly introduces himself as a music producer, composer and an astronomy enthusiast living his dreams. However, his contributions to the realm of music definitely warrant more acknowledgement.

He is a maestro when it comes to orchestral conducting, programming and recording!

Jerry has many prestigious achievements under his belt. He has played a multitude of roles for several projects including Rockstar, Kadal, Raanjhanaa, Maryan, Coke Studio, Highway, Kochadaiyaan, OK Kanmani, Tamasha, 24, Mohenjo Daro, MOM, Mersal, Harmony with A.R Rahman, Chekka Chivantha Vanam, 20, Dil Bechara, Navarasa, and recently Cobra to list a few! He has also worked on many TV shows including Everest, Daughters of Destiny, The Trip, and recently Qubool Hai. Of course, needless to say, he has a diverse portfolio of independent scores and music as well!

He showcases multiple facets as an artist walks us through the detailed process of the entire musical value chain. His day-to-day activities are never the same and are constantly changing as per his different project deadlines. He may be composing, recording, conducting or mixing depending on the requirement on that day.

Jerry is slowly transitioning towards managing the entire music value chain right from scratch. This process involves creating a tune on his own, then running it by his director who

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may or may not have lyrics ready. If lyrics are provided, he is making a tune to the lyrics; otherwise the lyrics are written upon approval of the initial tune. In most cases, songs take precedence over the scores in terms of timeline. The director provides his briefing about the story, sets his expectations and also offers additional considerations such as if the song is a duet etc. Once the tune and lyrics are approved, which can take multiple iterations in some cases, the singer is called to sing and record. At this point,

production may or may not be completed and the decision to produce in advance is subject to the director’s discretion.

However, production usually occurs as per the actual shot/ video. Arrangements are made accordingly, beats and harmonies are introduced, and depending on whether there is a budget, live recording is used.

Jerry mentions that he does a prior mock-up for everything on MIDI almost always and uses live recording for 50% of all projects. Once the recording is complete, the piece moves on

to be mixed and subsequently mastered. The mix stage involves ensuring there is a right balance of frequencies and equal spacing of instruments.

All instruments should be heard clearly. Once mixing is locked, mastering is initiated.

Here, the sound is optimised for the various mediums it will be played on and of course streamed on.

When he regularly worked with AR Sir, things were beautifully chaotic and unpredictable.

He found it to be interesting, thrilling and completely different to what he is doing now on a daily basis. He may be recording someone one day, conducting the other, and perhaps even mixing some other day! As he began to take more ownership of his incoming work and allocated more time to his personal interests, he found himself making more authoritative decisions. In the future, he envisions having more assistants to help with the more straightforward and meticulous processes like stemming. He claims that it often takes away time from the actual creative process. He also would like to return to teaching at some point, which would be a full circle as he did start as a 23 year old teacher at KMMC! He asserts that regional films tend to garner less attention and thus fall short of deserved appreciation. He reckons his score from Charithra could have garnered more attention. The project was completely out of his comfort zone with complex orchestration that involved more layers and more complex harmonies. His programming had jumped a notch and he

was thoroughly involved in the process end-to-end without much time pressure owing to the lockdown.

Jerry’s journey began long back when scores were still written on paper. He was trained in that and recalls how his composition teacher back in the day forced him to only use paper. He took the lockdown time to revisit his notes and 4-part writing. We walked down memory lane and spoke about how many photocopies had to be taken upon finishing a piece. Advancements in technology have really shifted the paradigm!

One of his life-changing moments in his career, or rather life was when he was introduced to his piano teacher at a tender age of 9. He actually took a break from music during his mid teens to pursue another passion of his, astronomy, However, that break brought him closer to music and made his allegiance to the field more apparent. It was during his 12th standard that he started exploring, at that time an unprecedented affair, the intersection of music and technology. It was then he started exploring MIDI and music production albeit the low internet speed and lack of appropriate resources. His experience learning under Pushkar, an established and highly esteemed teacher from the Oberlin Music Conservatory, was another life changing experience for him. Just like the majority of us, however, there was a point post graduation he was slightly lost and interestingly enough that coincided with the inauguration of the KM Music conservatory. His year

in KMMC was indefinitely life changing, especially his notable contribution to the film, Rockstar! It was his first time applying this theoretical learning and working on site with the film crew. He reckons the whole experience undid many preconceived notions he had about music production as a whole. He recalls how he was pushed into the deep end of the waters and forced to confront the currents head on. However, upon retrospection, it was a life changing experience and really changed his perception of various components of the entire musical value chain and of course the film-music dynamic.

Rapid Fire Song you are most proud of and why?

Ninnaye Rathi Endry - Much out of comfort zone owing to how minimalistic it was.

What are you listening to?

1917 Thomas Newman with a special emphasis on the production mix Current weakness Not being able to explicitly sell/market himself Current strength Scores A song that evokes nostalgia Kannathil Muthamittal, Alaipayuthey, SEL’s Kal ho Na Ho, Ayutha Ezhuthu An upcoming indie artist you admire Aurora Asknes Most challenging mix Coke studio - Zariya Dream collaboration Mohit Chauhan The

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SOUVIK CHAKRABORTY

Rhythm Is Gonna Get You: How And Why? 46

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First of all, what is rhythm?

It’s derived from the Greek word rhuthmos, which means “any measured flow or movement. Rhythm is the harmony of the sound resulting from the regular repetition of stress, length, or sound features, pauses, in a note in a string. It is the unity of regular and flowing sounds, produced by striking various musical instruments or instruments.

Rhythm, which is the basis of percussion and percussion, has many positive effects, including physical, mental and spiritual. It has a relaxing and calming effect on the body.

How are Rhythm Studies Done?

There are some percussion instruments used in rhythm studies. Some of which are timpani, xylophone, metallophone, drum, darbuka, snare drum, kudum, tumba, bongo, tambourine, cymbals etc.

Rhythm exercises are given to children in the kindergarten period during the education process. The usual topics covered within the rhythm studies are as follows; • • • • • • • • • •

Body percussion exercises Working with musical instruments Voiceover studies resuscitation studies Dance practice with music from different cultures Creating an orchestra with rhythm instruments Musical instrument making studies with original materials made with wastes collected from nature.

Body rhythm exercises by sitting, tapping the body with hands, arms and feet.

Rhythm exercises by hitting tables and similar items Drama rhythm studies

Rhythm exercises are an important practice for the mental and physical development of children, as well as for adults to adapt to teamwork, socialize, meet at a common point, and increase the power of togetherness.

Benefits of Rhythm Studies The benefits of rhythm studies are many. Since it is done in a group method, it allows people to gel with each other and work in harmony.

For this reason, many well-known companies offer their employees activities such as rhythm exercises.

It strengthens the sense of unity and togetherness. It provides the ability to empathize and self-confidence. It allows people to be accepted despite

their differences. It teaches sharing because it is team driven. It strengthens communication and socialization and builds interest in music and dance. It allows you to have a positive outlook on life. It provides anger control. It increases the joy of life. As much as happiness and joy. Anxiety, stress, depression etc. It is good for mental disorders.

Rhythm is a phenomenon that exists not only in music, dance, and theatre, but also in many areas of our lives.

Our heartbeat is also a rhythm. While doing sports, dancing, running, eating, talking, rhythm is life itself. Everything in nature is in rhythm. Our world also has its own rhythm. Life ends when the rhythm stops.

Rhythm movements are performed with numbers. Every number is a rhythm.

The passage of seasons, the formation of night and day, all have a rhythm. The continuity of the universe depends on the rhythm. The world is a repetitive motion. Every movement of the sun and planets has a rhythm. Some planets rotate slowly and slowly, while some planets move quickly.

When the rhythm is disturbed on one of these planets, the balance of the universe is disturbed and extraordinary situations may occur. Rhythm also means balance and harmony. We are all part of the rhythm of the universe.

When the rhythm of our heartbeat is disrupted, the functioning of our entire body system is disrupted. The harmony between the organs is disturbed and our health is endangered. When you get angry, your heart beats faster, which causes the rhythm in your body to work irregularly. Therefore, rhythm studies are important for the mental and physical development of people. That’s why we have to adapt to the rhythm that the universe offers us and live according to it.

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NEW BEGINNINGS

EVOLVE YOUR BUSINESS, KEY TO YOUR GROWTH, DEVELOP YOUR MARKETS PALM AV-ICN expo is India’s foremost tradeshow for Professional Sound, Audio-visual and Lighting Industry. For 20 years PALM expo has been the principal catalyst fuelling the industry, by connecting global manufacturers and solution providers with dealers and vertical market buyers.

In its previous editions, PALM’s Pro Sound & Light + Pro AV Exhibitors, have grown Indian markets and delivered the best to Indian trade and community professionals.

PALM expo 2022 in conjunction with AV-ICN expo will be a major game changer as it will revive the entire demand and supply chain, reactivating trade, providing physical platform for buying and selling.

The show has rich heritage of providing limitless opportunities to pro sound, audio-visual and lighting industry, and this year, the expo will reinitialize business connections, networking and interaction between exhibitors and their prospect partners, dealers, and end-users by fulfilling its responsibility in once again organizing an uncompromising expo.

The expo will also be a host to a vibrant exchange of information through immensely successful PALM highlight features, which provide opportunities for collaboration and networking with leading industry professionals and thought leaders. Highlight features include: AV-ICN Summit: The three-day AV-ICN Summit will host informative, technical Conference & Seminar sessions by thought leaders and experts of AV industry, discussing topics of interest and relevance to AV industry.

Certified AV Specialist Education Course (CAVS): This three-day course is aimed at providing knowledge manpower, designed to provide audio, video fundamentals’ knowledge and enhanced troubleshooting skills, while promoting best practices and expertise of systems technologies.

Demo Qube: Demo Qubes at PALM, provide ample opportunities to exhibitors wanting to demo high-end speakers and sound systems. With restrictions on sound in exhibit hall, Demo Qube is an ideal concept for pro audio companies to demonstrate their products with ease in a private cube structure.

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IRAA Awards Winners Felicitation: IRAA Awards are the first ever music awards in India that recognize recording & engineering talent. Since 2006, IRAA has honoured exceptional talent in music, soundtrack recording and mixing in Indian music of albums and movies. At PALM expo 2022, the 2021 IRAA awards winners will be felicitated with mementos.

Lighting Design Showcase: This first of its kind lighting showcase in India, provides platform for creative excellence in the field of live events and entertainment lighting design. The showcase puts spotlight on emerging talent and provides an opportunity to lighting designers from across India to showcase their skill.

Live Rigging Workshop: This feature presents live demos on truss and rigging-based safety protocols, best-practices and, workshops on topics ranging from truss roofing structures, need for ballasts, guywire based cross-bracing to safe truss climbing, fall & rescue techniques and more.

Sreejesh Nair

PALM AV-ICN Intelligent Lighting Projection Demo: This demo highlights new technology that converts any digital projector into beam machine.

PALM Live Arena: One of the most attractive features at PALM expo will be back after a two-year gap with a line-up of some of the best artists, bands and musicians performing live at the arena.

Bhaskar Pal

PALM Sound and Light Awards: These awards honour excellence in the stage sound and professional lighting industry.

Spread over several technical and creative categories, the awards recognize individuals and organizations for their unparalleled contribution to live event entertainment industry.

PALM Sound and Light Summit – Conference & Seminar Programme: This feature encompasses highly informative and educational lectures, panel discussions, seminar sessions, company sponsored product presentations and workshops on relevant subjects to stage, entertainment, events, AV integrations & install and music production industry.

The last two years have been a great disappointment with 25,000+ trade attendees missing out on opportunity to source equipment and network on the show floor. The expo’s purpose this year is to provide a robust show which will revive businesses and connect the most important pro AV markets of the subcontinent to network again. PALM expo calls upon the industry to be inspired and make new business contacts only at PALM AV-ICN expo 2022!

Ashish Saksena

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AKARSH SHEKHAR

What is Orff Education And Why Should You Choose It For Your Children?

Orff teaching technique, in general, teaches the basic dimensions of music to children, as well as enables them to use the objects they are accustomed to in a natural way. It was originally conceived and developed by composer Carl Orff and dancer Gunild Keetman. In general, this training is also defined as music and movement training. Orff education has important implications for children.

So, how is orff training done? There are special instruments prepared for this type of education.

Instructors help their mental and physical development by teaching them how to use these instrument Orff Training Technique What is Orff education? If we answer the question briefly, it is an education method based on movement such as dance, music, speech and drama. It is a method of expressing people’s feelings with music, movement and rhythm. There are no rules in this training, there is only creativity. For this reason, the creativity of the teacher is important. It is an education

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offered especially to pre-school and primary school children.

With the orff education technique , children can develop their creativity, have fun and become more active in learning their mental intelligence. The children dance and talk to music, so they can easily express themselves with music.

Instruments Used in Orff Education Also known as orff approach, different and special instruments are used in orff education. If we answer briefly, the instruments used are mostly non-standard instruments that children can use. Instruments such as wood chips, dried buds, and empty bottles are used.

Thus, children transform the sounds they produce into a pleasant tune.

In the later stages, children form the grouping of melodies with orff instruments and transform them into more regular and long-winded melodies. On the basis of the Orff technique, the form of movement is important, together with the investigation of sound and form. In short, it is based on movement and sound form.

Benefits of Orff Education With the Orff education technique, children develop themselves quickly both mentally and physically.

With this training, children

can use their muscles, that is, their bodies, easily and flexibly by providing their motor development. Thanks to their mental and spiritual development, their emotional intelligence also develops. They have the ability to understand and comprehend more quickly.

They gain the ability to empathize in communication with their friends. Being positive increases their selfconfidence. After starting school, they quickly gain the ability to learn and comprehend lessons.

What Are Orff Instruments?

Orff instruments given to children are used to make education more fun. Some of which are: • rhythm bars • bell • timpani • metallophone • bongo • maracas • castanet • tambourine • glockenspieller • drum • steel triangle

kindergartens affiliated to public schools, it is up to the initiative of the teacher. If it is in the curriculum, this education is also given in the kindergartens of public schools.

When choosing a school, pay attention to the quality of the teachers in the teaching staff and whether this training is given in the school. This education is not provided in every school.

If you want your children to perceive even the most difficult lessons in their school life more quickly and learn in a short time, if you want them to play in harmony with their friends, establish positive communication, increase their interest in artistic departments, and improve their intelligence level, make sure to enroll in the schools where orff education is given.

Where Is Orff Training Provided?

It is undoubtedly one of the most frequently asked questions by parents.

Education is given in preprimary school kindergartens of private schools and in some private kindergartens. In the

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Genelec’s The Ones go RAW Genelec has expanded its range of RAW aluminium models to include the 8331 and 8341 threeway coaxial monitors from The Ones series, with a proportion of each sale of these new models being donated to the Audio Engineering Society (AES) throughout the whole of 2022 Genelec has expanded its range of RAW aluminium models to include the 8331 and 8341 threeway coaxial monitors from The Ones series, with a proportion of each sale of these new models being donated to the Audio Engineering Society (AES) throughout the whole of 2022 The RAW versions require no painting and less finishing material than standard painted models – creating an even more environmentally friendly loudspeaker that allows the natural beauty of the enclosure’s recycled aluminium to shine through, and gives each individual loudspeaker a unique look and feel.

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All RAW models feature the Minimum Diffraction Enclosure (MDE) design, developed by Genelec in close collaboration with leading industrial designer Harri Koskinen. By eliminating edge diffractions, the MDE delivers incredibly flat frequency response, precise imaging and unparalleled acoustical performance. The slimline enclosure is elegantly cast and beautifully finished to produce an extremely rigid structure with large internal volume, which extends the frequency response and reduces resonances, which in turn requires less internal damping material.

Mixes that translate

Launched in 2017, the supercompact 8331 and 8341 threeway point source models offer extraordinary imaging, accurately controlled directivity, ultra-nearfield excellence, extended frequency response and fatigue-free listening. This enables professionals to work faster and make more informed, consistent decisions when recording and mixing.

As part of Genelec’s Smart Active Monitoring family, all models in The Ones range integrate tightly with GLM software, which can calibrate and control entire Genelec smart monitoring systems.

Based on data from thousands of studios around the world, GLM minimises the room’s negative influence on the sound, enabling the user to produce mixes that translate perfectly to other systems, whether the format is stereo, surround or immersive.

The decision to donate a percentage of RAW 8331 and 8341 sales to the AES during 2022 stems from Genelec’s longstanding role as a Sustaining Member of the Society, and the valuable work that the AES brings to individuals for career advancement, and to the audio industry as a whole. The AES’s crucial Standards work, promotion of audio research,

development of milestone events and education spanning the breadth of audio technology has led the industry forward for more than 70 years.

Sustainable monitoring “The RAW series is part of our ongoing commitment to sustainability, which we consider to be of equal importance as profitability and sound quality,” explains Genelec Managing Director Siamäk Naghian. “It’s clear that the popularity of RAW is a direct response to customers who have a growing awareness of environmental issues, but also appreciate the opportunity to own a premium loudspeaker with a unique aesthetic appeal.

As our flagship studio monitor range, we’ve had many requests to make The Ones models available in the RAW series, so we’re very happy that we’ve now perfected a way of producing the 8331 and 8341 to the same high standards as the other RAW models. We’re also delighted that the success of RAW will be helping to contribute to the outstanding work that the AES does for our industry.”

For more information, visit www.genelec.com/RAW

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WHITE

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The world's best-selling Midi keyboard

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your destination for all things

Music & Technology

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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

Southern California