The Score Magazine September 2018 issue!

ISSN 0974 – 9128

Vol 11 Issue 9 Sept 2018

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India's National Pan-Genre Music MagazinE

BAND OF THE MONTH

CHABUK QUIRKS & QUERIES

ANANYA BIRLA ON THE COVER

MOHINI DEY

ALSO INSIDE: MUSIC LAWS IN INDIA, IN CONVERSATION WITH SARTEK, 7 CLASSIC QAWALIS THAT WILL LEAVE YOU SPELLBOUND!

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inside

Picture courtesy: Mohit Sharma Mohit music photography

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ON THE COVER

MOHINI DEY

NOT TO MISS

INDIE REVIEWS

BAND OF THE MONTH

CHABUK

QUIRKS AND QUERIES

ANANYA BIRLA

ARTIST OF THE MONTH

PRATEEK KUHAD

WATCH OUT FOR

NITEESH KONDIPARTHI EXPERT'S SPEAK ON

RECORDING CARNATIC MUSIC IN STUDIO ABOUT

ALL ABOUT MUSIC 2018

THE TEAM Director, Business Development Pragash VM Director, Marketing & Operations Sneha Ramesh Director Ajay Prabhakar Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Creative Designer Manasi Doshi Content Contributors Shreya Bose Vyoma Shah Souvik Chakraborty Aditi Sarawagi Mukesh Amaran Cover Picture Credit Dipit Raz, Dipit Photography

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VYOMA SHAH & SHREYA BOSE

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In this conversation, the exceptionally talented Mohini Dey talks about it all – she narrates little anecdotes from her childhood, addresses her love for fashion, the choices she had to make in order to get where she is today and much more, that helps us better understand how she does what she does and how she keeps her passion alive.

Read on to know more.

What is your earliest memory of music?

It’s very stunning but I remember everything from my childhood. Both my parents are musicians – my mom sings and my dad is a bass player. Every time I would come back from school or every time I would wake up, there would always be music playing. So I clearly remember that music was always floating around me. I have these vivid picture memories of my dad practising and after he was done, we would go and eat crab together, because I love crab.

These memories are still so fresh in my head, that when I think about it, I feel like I’m right there.

How did you end up playing the bass?

One day my father was practising and he happened to put his headphones around my ears, and I started giving the right tempo. I was only three years old then. That’s when it occurred to him that there was no girl bass player in the country and he decided to start teaching me.

He started teaching me on a hand made bass. Since we weren’t so financially strong then, he cut pieces of wood and took out pick ups from his old bass and made me a smaller bass. I seriously started taking lessons when I was six and by the age of nine, I was already playing.

What was the first song you ever composed?

The first ever song I composed is a song called Soul.

I wrote it almost 5-6 years ago. Though I perform it at my gigs, I haven’t released it yet. This is because there are so many musicians that I ended up working with in the past few months and I want them to play on my album. Having these amazing personalities play on my album will make a very huge difference.

So I’m just waiting for the right moment.

When you create music, is there a specific process that you follow?

Usually, when I’m travelling, I end up composing a lot. This is because while travelling, I listen to a lot of music and ideas just come. So when they do, I pause the music, take my time and just build on the groove or the melody that come to me after listening to a particular song or piece. Usually, the first the thing that comes to my mind is the melody. Then I lay down the chord changes and then the groove. Sometimes the groove comes first too and then I try to come up with the melody and changes over that. So it’s just mostly trial and error every time. I also make sure to listen to all kinds of music and not just limit my self to one specific genre, so that all my music doesn’t sound alike.

Which songs/artists do you usually like listening to?

Apart from the songs of all the bands that I’m a part of, I like listening to Bruno Mars, George Benson, Al Jarreau, Chaka Khan, Chic Corea, Victor Wooten and many more. But before going to sleep and after waking up, there is one song in particular that I love listening to – it’s called Ordinary People by John Legend, but I listen to the George Benson and Al Jarreau version of it. There’s another song by them called All I Am, which I absolutely love listening to.

Photo Courtesy: Dipit Raz, Dipit Photography

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What was your first ever gig?

My first ever gig was at the age of nine. It was one of my dad’s shows actually, called Keep Music Alive, which he had organized in Kolkata. The whole event was all about celebrating good music and good musicians, and uniting them together to talk about music and life. I just held my dad’s hand, walked up to the stage and started playing. I still remember, I was wearing a red skirt and a backless red top.

I had curly hair, I was chubby, and I was just sitting there on stage with a huge bass in front of me, playing by myself, no band. My dad joined me later and then we played something together, which was really fun. However, I don’t consider that as my first ever gig, as it was my dad’s thing. But after that, my first proper gig was with Shreya Goshal in Powai, for a Durga Puja event. My dad was supposed to play that show, but he couldn’t make it because of health issues. So he asked me to go instead, and Shreya had no idea that I was playing. She loved it though, she was very happy and flattered post the gig.

Everyone repeatedly emphasises on how young you are. Does that bother you? Or are you proud to have achieved so much in such a short time?

It doesn’t bother me but it makes me think why a number is more emphasized on rather than the talent. People pass statements like she’s so young and she’s so good, but I started early and also worked really hard. I spent many sleepless and hungry nights to strengthen my power and work on my negative aspects. Hence, in my head this was bound to happen.

Age has nothing to do with talent, it really is just a number.

I’ve been working professionally with much older musicians since a very young age. I was hanging about with Zakhir Ji and Ranjit uncle at the age of 13. Even today, I’ve worked with so many international artists such as Steve Vai, Jordan Rudess, Guthrie Govan andvmany more. So when I think about it, I feel like this is quite a natural thing to happen for me.

What impact does working with so many great musicians have on you?

I feel absolutely driven, inspired and encouraged. There’s always something to learn from every person that we work with, whether it’s about life in general or about music. I recollect all the good things that I like about the people that I get to work with - be it a famous musician or an upcoming one or even someone that people don’t know about, and I try toinfuse it with my playing or my personality.

After having performed with so many icons, does it reduce the sense of awe or thrill when you get to perform with them?

There is no reduction because there was no star struck moment, ever. However, every time I meet my idols such as Victor Wooten or Gary Willis or anyone else that I looked up to as a kid, it’s always very overwhelming and I get very emotional. They say things to me like ‘We’re big fans of yours’ and I’m always like ‘no way, I grew up listening to you guys, ‘I’m a big fan of yours!’

Did you have to give up a lot in order to be who you are today? Do you miss being a normal twenty-one-year-old?

I did have to give up a lot of things growing up, such as hanging out with friends, going to the movies or going shopping with them. I always had the urge to do that because all the kids in school and college would ask me to go with them, but I always had to refuse since I had rehearsals or

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Photo Courtesy: Dipit Raz, Dipit Photography

because I had to practise. However, my dad always told me that if I didn’t do this then, then later I’d feel like I was too late. He was right, because today I feel like I’m really early.

I’m sure that’s a better feeling right, than feeling like you’re too late?

I’m not entirely sure if that’s a better feeling. Sometimes I feel like even if I would’ve done those things before like hanging out with my friends etc., I would have still been okay; I would’ve still been who I am today. Maybe, I wouldn’t have achieved this kind of fame and this level of exposure so early, but I would’ve still been the same. I strongly believe that your dedication and your passion matter the most. If you have the hunger and the interest to do something, you will find a way of doing it somehow. However, what my father’s outlook towards this was that if I did spend time hanging out with my friends, I would be tired eventually and wouldn’t be able to practise or work on myself as a musician. That made a lot of sense to me and I took his words into consideration. I respected everything he told me and acted upon it. Today when I think about it, I’m proud and glad that I did that. So there are no regrets.

As a musician, what’s the best feeling in the world according to you?

The best feeling is to meet new people, to collaborate with different genres, different minds and different personalities.

It gives you different ideas and new ways to live life. Having that kind of access broadens your perspective and changes your life. Every time I meet someone new, there will mostly be something that I really like about them and I always want to infuse that with my personality or with my lifestyle.

What would you qualify as your greatest success?

I don’t know, I don’t think I’ve achieved enough. I don’t want to touch that boundary at all because if I do, I’m going to stop putting in all this hard work. I feel like I won’t be as grounded or as down to earth as I am today.

I don’t want to reach that level where I feel satisfied.

What’s your schedule like? What’s a day in the life of Mohini Dey like?

My schedule is really hectic. I normally get back home by around 2 A.M. or 3 A.M. and I’m up by 8 A.M. Then I usually decide what to wear in terms of clothes and makeup, because I love fashion and I like to look my best everyday. Then I have some breakfast and do my warm ups for 2-3 hours. Post that, I usually either have recordings, some form of session work and rehearsals. After which I do my shows, if any, and then come back home. My schedule was way more hectic when I was in school though. I would wake up at around 5 A.M. to catch my bus to go to school and by the time I’d come home, wrap up school work and finish dinner, it would be 8 P.M. Post which, my dad would give me bass lessons everyday from 9 P.M. – 12 A.M. So yeah, that was my life back then.

Are there any mistakes that you’ve made that you wish you could undo?

No, if I would undo anything, I wouldn’t be who I am today.

In fact, I’d re-do everything. You know, there was a time when I applied to a fashion college, and at the exact time, A.R. Rahman offered to play with him. But I ditched fashion and went ahead with A.R. Rahman’s band. Now when I think about it, I realize that maybe I wanted to do the fashion thing as well.

I still want to open my own boutique and have my own fashion line. However, now, any time I get I just want to sleep, as I’m always so tired. So if I could go back in time, I would do both – fashion and music simultaneously and see where that took me.

Is there a down side to being Mohini Dey? Firstly, you won’t get any sleep. Since I play for so many bands and there are important people around all the time, there’s always this stress, this big weight on your heart and mind which is not very enjoyable.

There’s so much responsibility and I’m always living in the fear of messing up, which I don’t want to do. Also balancing personal life and work life is challenging.

All said and done, her dedication towards her art is inexorable. She is making waves all over the world, and rightfully so. As renowned pianist Louis Banks rightly said while talking about the members of his band Ganga Shakti at Palm Expo 2018,”She is one of the best bassists we have in our country. Very hardworking girl, does her homework, always comes prepared and absolutely slams it, every single time.” We couldn’t agree more!

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Easy Voice selection and Easy settings In addition to selecting Piano Voices, you can use Smart Pianist to adjust parameters such as reverberation from echoes in performance venues, and other factors that affect the sound of the piano.

You can use the Layer function to overlay voices, or the Split function to play different voices with the left and right hands, playing multiple voices simultaneously to create performances with a pleasingly full sound.

Not only can you enjoy playing back Songs, but you can also practice along with them as they’re playing back.

The app shows the notation of hundreds built-in MIDI songs, and even you can enjoy additional songs for purchase from Yamaha MusicSoft(https://www.yamahamusicsoft.com).

Play your favorite songs right away with the “Audio to Score” function (CSP Series only)

A range of functions such as Transpose, Tuning, Pedal and Acoustic settings can be configured easily and intuitively.

Smart Pianist features an "Audio to Score" function that automatically creates a piano accompaniment score from songs on your smart device, allowing you to enjoy playing along with your favorite tunes.

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Enjoy accompaniment from a dynamic backing band, even when you’re playing by yourself. The accompaniment provides a wide variety of patterns across a range of genres to match your performance. You can also connect a microphone and sing along with harmony functions that allow you to automatically create a chorus backup for your performances, even when you’re singing alone.

Disclaimer –

A variety of Piano lesson pieces With the app, you can play back song data such as preset songs and commercially available songs.

Play your favorite songs right away with the "Audio to Score" function, which automatically creates chord progressions based on the audio songs in your smart device.

An Android version is compatible with CSP-150.

For Android user: Please refer to the compatible android device list @ in.yamaha.com Voice selection and configurable functions may differ depending on the model.

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SHREYA BOSE

INDIE REVIEWS Zaraasa (Pavan Gaikwad):

Debuts are a good thing. It means someone else decided that they were going to deafen their inner monologue of self-doubt, and do something that they love. When it comes to musical debuts, I tend to be especially pleased, simply because I obsess about indie music in this country.

Gaikwad’s initiation into solo musicianship is characterised by an EP that is an easy addition to lazy days. Four songs, sung in Hindi with a lilt towards wistful what-ifs and if-onlys. He focuses on the parts of life that are usually ignored in the midst of honking buses and deadlines, and tries to draw attention to the more fleeting things, like actual human feelings.

Musically, Gaikwad keeps the arrangement pared down into uncomplicated chords. “Berang” and “Tum Aur Main” stand out for being particularly pleasant. However charming they might be, the songs do tend to be on the simplistic side on this. There is nothing to criticise about any of them, but they fall short of being memorable.

Nonetheless, one can feel optimistic about the quality of Zaraasa, and quite sure about the fact that his forthcoming undertaking on tonality will be worthy of anticipation.

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Awaaz (Ady Manral):

Ady Manral live in the foothills of the Himalayas. He creates songs in a misty world that has been the site of endless literary and cinematic magic. Naturally, when he sings, you can hear the wistfulness of a place that we tend to equate with dreams.

Two years ago, Mantal recorded Awaaz in the middle of monsoons washing his mountainous hometown. Clearly he seems to possess a poetic bend, as he took to singing the song once again on a similar day, his music punctuated by the sound of a downpour outside his window.

The song is a simple expression of wonderment. It is immediately relatable, as it talks about nothing in particular. There’s talk of looking for a certain something or someone, but the image formed is of an indefinable sentiment rather than a human figure. Manral has an unusual voice, but that doesn’t make much of a difference.

Much pleasure is to be taken in these few minutes, and it calls for very little analysis. It's just there without the need for too many qualifiers. An odd relief emerges from this.

Tumse Na Ho Payega (Indi Graffiti):

Apparently, the album is named after a phrase that the band has heard directed at them a bit too frequently. That in itself could endear the four men comprising the band, as derision and lack of faith from those plaguing one’s daily existence is a phenomenon that almost no one is unfamiliar with.

The album is a mixed bag. Let me begin by saying that having an entire album devoted to Hindi rock is a delightful occurrence, simply because it does not happen often enough. Indi Graffiti stays very faithful to the “rock” part, and each song has solid melodic frameworks to build on. The classic rock leanings make every track worth listening. They are crafted with an astute ear for fun, but never verging on trite.

Woh, however, is a bit self-indulgent in elaboration on heartbreak. Despite beginning on an encouraging lyrical note, it veers into a certain amount of catastrophizing with regard to losing the lover. This is common enough, but it lacks the lyrical elegance to impart it any aching beauty. It's just a 5 minute bummer. Jeetunga has great music (like every song) but the words do not sound that far from a Bollywood-style montage of hero rising to defeat arrogant rich guy at basketball match. It strays into the realm of the unoriginal. Tum Hi Ho is nice, but generates similar complains.

Safar, Haeli Maeri and Barsaat are genuinely beautiful songs. They are balanced and achieve the seemingly simple but hard-to-attain quality of being deeply pleasant. Khwaab is a Hindi rock ballad done right - a creature that has not been sighted in this side of the wilderness too often.

The album is enjoyable, and the band deserves encouragement. While they might not be breaking new ground, they never risk devolving into disinterest. The music is evidently a labour of love, and the love is well-placed. One can, with good reason, hope that their compositional ethos will evolve into more experimental inclinations.

Impressions (Shorthand):

This band called itself “genre free”, and justifies the qualifier with it's debut single. Impressions was create out of elaborate thought - a fact evident when you juxtapose the lyrics with the shift-heavy but seamless melodic blueprint. You have the tinkerings of blues, edges of jazz, the mellow impugning of pop-rock, all woven into unison by seasoned stringwork.

The song is emblematic of a mature musical sensibility and expansive awareness. It surprises, soothes, stimulates and satiates without depending on puff.

It presents an elaborate narrative, by virtue of not only the musical arrangement but also the intelligent lyrical focus. The song demands that you listen with some intent, but no part of it is without charm.

Hear Me (Zephyrtone):

Apparently, Hear Me is a song about a breakup sans the melancholy. I’m not sure how that works (unless you did the dumping), but that certainly does not eliminate the possibility of its existence. Then again, you can’t actually perceive any melancholy in the track because it is backed by upbeat electro-pop sheaths of danceable sound.

Vocalist Zephyr has a Selena Gomez thing going on. I can’t comment on her overproduced vocal gymnastics, but it seems to expertly croon mellow turns of phrase. Producer Sayan substantiates her mellifluous minimalism with some ambient synthwork. There’s not much in the way of musical exploration, but it’s fun. Viewing separation without the trappings of borderline-obsessional need is refreshing, and the lyrics reveal more curiosity than anguish or longing.

It’s also good for a whirl on the dance floor, but also decent background for drinks with fellow electronic music lovers.

Bullehshah (TAPAS):

More Hindi Rock! (This month is turning out well.) Any review of TAPAS’ single would be inadequate without commenting upon the delicate poetry of the lyrics. The theme of “Dust thou art, and unto dust shalt thou return” has been done to death, but expanding upon it through the symbology of the Punjabi Sufi poet Bulleh Shah warms the heart and delights the mind. Also, whoever wrote the lines “Bulleh shah tu hai kis firaq mein/Fakiri teri jaley kaunsi aag mein” needs hugs, high-fives and extensive applause.

Musically, the song is extremely competent. I failed to detect any real flaws. Vocalist Ninad Bhat impels his voice into an intimate relationship with its instrument-wielding compatriots. While there were moments that the anticipation seems to resolve itself in a somewhat disappointing chorus, all is well by the time the final solo kicks off. A few listens reveal that the insufficient release of quickly built sonic tension is intentional - you stick around for satisfactory catharsis and end up paying a bit more attention.

Bullehshah is an intelligently created piece of art that carries deep emotional resonance. It exudes a certain authenticity that is almost indescribable (or I don’t have enough words). If this is quality that TAPAS aspires to maintain and build upon, I can predict some serious appreciation coming their work.

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BAND OF THE MONTH

Band of the month

CHABUK What inspired you to form a band that is into a very niche type of music?

The love for hip hop and rock pretty much got us together…these genres were big influences on each of us as kids. All members of Chabuk bring in their own element of the kind of music they grew up on or listen to.

What we believe makes this interesting and a lot more fun is the added element of Hindi rhythm and poetry.

In a country where there are multiple bands emerging, how do you get better with your sound to ensure you don't lose your audience?

We came together in mid 2017. So we are fairly new to the scene as ‘Chabuk’. As a band, while we aim to have a unique signature sound, it is still evolving.

But we intend not to lose our audience by connecting through lyrics and subject matters that are relevant.

What medium do you see best as a way to promote your music in this digital age?

We are of the view that while pushing music digitally through various platforms is an easy way to get the word around, nothing beats the power of a good live show.

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What challenges did you face when you first started and now?

There was frustration to get things going (which led to line up changes as well) and balancing a day job and the band. But the decision to just ‘go for it’ has pretty much got the ball rolling.

Where do you think the Indie scene in India is heading?

There are a lot more DIY scenes happening nowadays. Our ‘Shahenshah’ music video was one such effort as well.

The same is the case with many gigs/ festivals.

Given the many platforms available for musicians, and the fact that it’s being accepted… things are only looking good from hereon.

Tell us a bit about your process of songwriting?

For Chabuk, it usually starts with the lyrics, vocal melodies and delivery of the same… around which the music bits are put in place.

‘Rhythm and poetry’ is the focal point.

How has Shahenshah been received by the audience?

Did you expect this or much more or less?

To be honest, we were fairly confident of the track being recognized. Before the song was put out, we played a couple of gigs, where people gave us very positive feedback.

Having said that, the response has been great so far. We infact played a gig last week where we had the audience singing and yelling out the lyrics to the two tracks we have released so far (‘Shahenshah’ and ‘Mummy Give Paratha’ on Soundcloud - https://soundcloud. com/user-832097909). That was pretty awesome!

Upcoming projects We are looking to hit the studio, get some more tracks down, and hopefully release an EP soon, while at the same time, go out & play some shows and spread the word. A new music video is in the works as well.

ADITI SARAWAGI

Music Laws in India It is extremely easy to download a song off a torrent website or a random Google search. What one forgets is the innumerable hours, days and weeks an artist takes to perfectly fine tune a song. Not to forget the years he has spent learning and honing a skill which not many have and then struggled to make a name for himself. The ease with which this is possible makes one wonder if the Government of India is doing anything to safeguard the hard work of the country’s artists and musicians.

So often you hear music by a popular artist in a public place, but not many are aware that the owners of the public space need a license to be playing it because only the owner of the copyright can perform or play the work in public. The ownership or copyright of a song is usually divided into three aspects. The lyrics of a song is a literary work owned by the lyricist; the music is owned by the composer and the song as a whole is owned by the producer of the recording or the recording label.

The IPRS, founded in 1969 is the sole authority to issue licenses to users of music. Royalties are also collected by them on behalf of its members i.e. the lyricists, music directors and sound producers. The Society is a nonprofit making Organization and is a Company Limited by Guarantee and Registered under the Companies Act, 1956.

IPRS has also been granted Registration by the Central Government in 2017. Copyright protection lasts for the lifetime of the copyright holder and sixty years after that and performance rights for 50 years.

One major law protecting musicians’ interests is The Copyright Act, 1957 which was amended and came into effect from 21st June, 2012. The amendments are in line with India’s international commitments. The amendments to the Copyright Act in 2012 has given better ownership control to

songwriters, composers and musicians working in the Indian film industry, more than the producers and record labels.

The revisions declare the song creators as owners of the copyright and has made royalty payment by broadcasters to them mandatory. The amendment also specifies that a cover version may only be created after five years from the first recording of the song.

ISRA (Indian Singers' Rights Association) was incorporated as a Company Limited by Guarantee under the Companies Act, 1956 in 2013 and they have on their panel esteemed singers like Lata Mangeshkar, Pankaj Udhas, Sonu Nigam, Shaan, and Sunidhi Chauhan amongst others who have fought to bring about the Performers’ Right shortly after the 2012 amendment to collect and distribute royalties. They brought about economic and moral rights for the performers to have stronger ownership control over their creation.

In India, the Phonographic Performance Limited (PPL) handles the copyright of sound recordings and Indian Performing Rights Society (IPRS) handles the rights for lyricists and composers. To play the recording of any song in a public space, one needs a permit from PPL. Ideally, if one wants to play a recording of a song, in any public place one needs a license from PPL. If someone else is performing the piece, a license from IPRS needs to be obtained. In case the proper license is not acquired, a penalty shall be charged for copyright infringement which may merit a fine or even imprisonment.

The only thing remaining to be covered is the issue of piracy on which tough calls are yet to be made by the Government.

Though there is still a while to go for completely safeguarding the musicians’ interest one can safely say that the government is trying to do its bit.

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QUIRKS & QUERIES

ANANYA BIRLA

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What is the most potent misconception that people have about you?

Music and microfinance. Why the interest is such fairly divergent circles?

Either that I’m serious (I’m always playing around, as people who follow me on Instagram have probably seen) or that I’m very confident. I was extremely shy as a kid, music was the only place I felt more able to articulate how I felt. I am still a very shy person by nature which surprises people who have seen me perform live.

I think entrepreneurship and music have both been my passion. At 17, I knew I wanted to make a change to women’s lives through providing them the access to funds they wouldn’t get otherwise. I’m proud of everything I have done with Svatantra and the growing success of our clients is proof that they can achieve so much if they are given the opportunity.

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Music has always been my personal passion, it was just a matter of me working out if and how I could turn it in to a career, and then build up the courage to make that break.

Seeing the women that Svatantra works with break-out of stereotypes, blossom both personally and professionally, and build something for themselves and their family – that was a huge inspiration for me to follow my heart in to music.

Even though music and microfinance are very different, the aim with everything I do is to reach out and connect with people, make their lives better and spread positivity!

Is there a dream that you have not begun to work on yet?

One day I would love to write a song for someone else.

Right now I’m just working on my own music, but it would be so fun to see another artist bring my music to life.

What do you really care about? What drives the desire to make music?

I think it comes from a basic need to communicate – a desire to express myself and have that message be received by someone. Music is just the communication medium that feels the most ‘right’ to me.

I went through a long period of not being able to communicate how I felt, I feared it and I repressed it and I felt so horribly alone as a result. I don’t want to be in that place again myself, and I don’t want anyone else to find themselves there either. I don’t think there is any shame in wanting or needing to connect with something outside of yourself – especially in this tech age where so many of us just connect with a screen so much of the time.

Everything I’ve pursued in my life, business, advocacy, music, it’s all been based in this deep desire to reach out and make a connection, to feel like part of something bigger, moving forward together.

Who do you listen to for inspiration?

I love Sia’s voice. Her songs are fearless, powerful, and hit you right in your heart. She’s one of the best out there at the moment. Sia worked with Mood Melodies, who I also had the pleasure of hitting the studio with in his freezing home country- Norway. Producers like him are inspiring and it’s such a blessing to have talents like that wanting to collaborate with me.

As a musician, you’re always going to go back to those artists who first opened your eyes to what music could be and how it could move you- for me that’s Kurt Cobain and Eminem. After listening to both of them, I knew there was no going back!

They’re obviously very different characters but they share this ability to be so raw and emotionally vulnerable. They both ‘put it all out there’ and lay themselves bare for their music in a way that is addictive and inspiring to me. The emotions they communicate are universally relatable which means they’ll always be relevant to a huge amount of people.

That is the ultimate aim with my music. My songs are based on my own experiences, but I try to deliver them in a way which people will connect with regardless of their location, background, gender, sexuality, job etc

Tell us about your composing process. How deep is the extent of your involvement with each song?

The idea for the song always originates with me, I draw on my own experiences or the experiences of those closest to me. I then work with producers and topliners

on the melody and words to help the ‘story’ connect with the people who listen to my music. I am particularly inspired by love and stories of overcoming adversity.

I released Circles a month ago, which I wrote to celebrate friendship. It was dedicated to my best friend who has been with me through all the good times and the bad. I have so much to thank her for. I usually like to touch on the things that we all go through: love, heartbreak, isolation, friendship, trying to fit in, that kind of stuff. I want my music to be universally relatable and to show that at the end of the day none of us are that different.

With my previous single Hold On I was inspired by relationships of people close to me which have been challenged, because of sexuality, race or religion.

Society puts so much pressure on relationships and for me, it is inspiring to see how people hold on to love and overcome these pressures. I wanted to tell couples going through a difficult time to reject fear and confusion, and hold on to what they know is right for them.

Who do you like among Indian indie artists?

Such a diverse mix. Contemporary Indian artists like Parekh & Singh who have this totally unique sound and also make offbeat, cool videos that I think are helping the face of popular music in India to evolve.

I like Aditi Ramesh – she used to be a lawyer apparently, so knows what it’s like to break out of the boardroom and embrace the piano! In her song “Marriageable Age” she fuses Indian sounds with jazz and explores the pressure that women like me feel around relationships, and how we can feel torn between being independent and living up to what is expected of us traditionally. She has a great voice, a lot of soul.

Ritviz a lot of fun too, so catchy and it’s great to see Indian artists get more in to electro and synth-pop, it was released a while ago but I still workout to his tune Beatific.

But I’m not snobby about saying I love mainstream artists like A.R Rahman. I don't think any other musician has been able to deliver such instantly catchy songs so consistently! I personally find it inspiring how he can combine Western and Indian styles so seamlessly.

What do you hope to achieve within the next twelve months?

I have an acoustic version of Circles which I am putting out soon, then another single some time in October before dropping the EP in November. There will be a good mix on there, some acoustic tracks and some which incorporate more Indian sounds. My first musical training was in Indian classical and I want to make the most of that.

I am really excited to have a good body of work out there. The step after that is to use those songs to do more live performances around the world.

I am also doing a few talks in Europe and potentially the US about why it is more important than ever for young people to be looking after their mental health.

If you could change one thing about any song in the entire world, what would it be?

Smells Like Teen Spirit by Nirvana. I would change that I was there when it was recorded – that would be like watching history in the making.

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SRIRAM RAVISHANKAR

KU-BA-KU,

LIVING POEMS Shellee (Shailender Singh Sodhi) is one of the most honest and endearing poets of our time. Hailing from a literary family, growing up in the free-spirited fields of Ambala, literary interests organically came to Shellee from an early age. After frequenting Mumbai as a ghost writer for many projects, Shellee finally made his mark as a lyricist with Amit Trivedi’s Dev D. Fundamentally a poet, Shellee’s famed lyrical career is only a tenth of what lies in the depths of his creative trenches.

Besides his best-known works like Udta Punjab, Shahid, Luv Shuv De Chicken Khurana, Phillauri, and the most recent Manmarziyaan, Shellee has lent his words for numerous other movies like Quick Gun Murugan, Trishna, and Jugni amongst others. His zesty piquant lyrics stands out amidst clichés without losing out on its earthy rustic character.

Shellee’s unassuming prismatic personality puts anybody crossing him instantly at ease, envious of his writing skills, and vigilant mind.

It is hard to escape his infectious passion for words and languages unravel within the first few minutes of interaction. He briefly opens up in this short engaging conversation.

Hindsight My experiences in theatre were most crucial in my journey. It encouraged me

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In conversation with poet-writer-lyricist Shellee, a creative kaleidoscope.

to read literature, observe, and explore life. Various funny, gloomy, eccentric, and normal characters that I saw in the plays of Vijay Tendulkar, Girish Karnad, Shakespeare, or Moliere influenced my life vastly. I drew so much from their works, that they have now become an inseparable part of my personality.

Unlike the 50’s and 60’s, today’s Punjabi music is majorly influenced by brands, making it too pretentious and fake.

This doesn’t mean we have inadequate subjects to write about or talented people. Creators in general don’t have patience to explore newer subjects anymore. There is so much original content out there that can be brought to light, but only with patience and faith. Today, my biggest concern is that people are going further and further away from poetry in every language.

We need more poetry, more engaging conversations, and creative dialogues!

Goal oriented actions are only taking away the fun of exploration! Currently, the culture of writing lyrics to a tune, hook lines, calculated efforts, are all too limiting. Very rarely do I come across composers who let me write first!

The Creative Process To me, writing is an integral part of my personality. I live with a tune and keep thinking new words, phrases, wordplay, and new ways to approach

subjects. I always insist on a script narration, character description, etc.

So, I’m fully aware of the situation I’m writing for. With each song, one becomes more confident of himself.

Creativity, a habit?

My creativity doesn’t boil to being a mere habit. It’s more of a pursuit.

Habit is repetitive, nothing new would come out of me. I’m a seeker, wanderer, learner, an eternal student. Being in this mindset makes me grateful of my surroundings, existence, elders, mentors, my father who was a scholar and poet himself, Shri. Himmat Singh Sodhi who taught me so much with such subtlety.

Finally, being a lyricist in business vs being a poet The lyricist in me is a by-product of the poet in me. The day that poet is dead, is the day I can’t be a lyricist anymore. I feel without the experiences of poetry whether it is in sounds, landscapes, human characters, or even conversations, being a lyricist wouldn’t be possible. Life in itself is so poetic, stimulating, and interesting!

Something even as mundane as boredom has so much say in silence! Without being observant of such intricacies and recognizing the poetry in them, being a lyricist is impossible.

SHREYA BOSE

Artist of the month

PRATEEK KUHAD What are the most obvious similarities between composing for yourself and for Bollywood?

It’s not really Bollywood per se, but songs that I write for other projects, whether it’s for advertisements, brands, documentaries, indie films whatever - is a bit different and I think it tests my skills as a songwriter a bit more. I have to remove myself, and write the song that fits the film and often from the perspective of the characters. Writing for myself is personal and I can write about whatever I want to - there are no boundaries really so in that sense it comes more naturally to me.

How significant is love to a musician?

How significant is love for any person? As significant as that.

Why do you think you got so big? What do you offer that no one else does?

I don’t really agree with the first half of the question.

I don’t know if I have anything to offer. I just like writing songs and I like making records and I want to keep doing that and do it right and keep getting better at it.

Can you talk about the first time you decided to write a song?

I don’t really remember what the very first song I wrote was - I think sometime when I was in high school maybe?

The first half-decent song I wrote though was in university in my second year. Something tragic had just happened in my life, and I remember writing a song about that and it brought me to tears. I think that was the first honest, and somewhat legitimate bit of song writing

I had done. Before that mostly everything I had written was fluff.

Is there anything in the world that could convince you to give up music?

I’m sure there is something, but I haven’t come across it so far. I think the universe works in ways I don’t fully understand yet and if it comes to that and I have to - I will.

Have all your prayers, hopes and dreams been fulfilled?

I don’t really have very specific dreams as such - I have immediate goals and sometimes they work out other times they don’t. I don’t really have an end goal/dream that I’m working towards.

Do you carry an artist's hunger for creation within you?

I think so - if there is anything as such. I do really like creating things for sure.

What do you feel after you complete each song? Do you feel accomplished? Drained?

Happy? Melancholic?

Depends on the song - sometimes if it sucks I just feel like shit.

Other times if I really like it, there is a short lived excitement followed by a lot of self-doubt.

Other times if it’s super personal I could feel drained/ melancholic - but in a good way.

What does Prateek Kuhad think of himself?

I don’t really know how to answer that.

Whose opinions matter the most to you?

Nobody specific - I like to take an evenly distributed collection of opinions (mine included) into account before letting them affect me.

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Watch out for

NITEESH

KONDIPARTHI

You are known to be a brilliant stage performer. Which according to you has been your best till date and why?

I've played my fair deal of live shows and I've learnt a lot from them. Having said that, not every show is your best. There are days when you're downright exhausted, but you turn up and get on stage just because you love what you do.

However, there are some special performances that you put your heart and soul into. My best live performance ever was my EP launch gig. It was perfect!

My old band, the people who helped me record my music were there to support me on stage and the crowd was a perfect blend of familiar faces and new people who had no clue who I was. I've had the chance to perform with some of my closest friends on stage and needless to say, it was a very dear experience. A lot of people who've been following my journey told me that I was at my best that night.

Tell us a little bit about your song writing process Inspiration has always struck me when I wasn't looking for it. And the worst part is, you're never in the same headspace twice. As such, songs just happen to me. For me, there's no one particular approach to writing music. The end objective is to tap into and reproduce the sound I hear inside my head. This can be particularly hard, especially if you're having a tough time listening. But the good news is, the boundaries you draw for yourself are imaginary.

Do you have any dream artists/ musicians you would like to work with? Who would it be and why?

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John Mayer. Period. The first ever John Mayer song I picked up was "Why Georgia" and I remember thinking to myself, all those years ago, if or not this man was

actually human. Everytime I'm having a particularly bad case of writer's block, I find myself going back to his Berklee Clinic. As such, working with him would absolutely blow my mind away, because I've looked up to his abilities of expression and improvisation for a long while now and it would be an incredible experience.

How did you begin your journey as a musician?

I picked up the guitar when I was 15 years old and there's been no looking back ever since. I was hooked to it right from the start and was quite ambitious about getting better at it. I started jamming with a bunch of other musicians who were just starting off as well and we started working together. Well, one thing led to another and here we are!

Do you have a dream stage to perform on?

I don't really have a dream stage as such. But I do have a lot of venues that I want to perform at and take my music to. So I'm really intrigued as to see which one of these places I'll hit first.

Any upcoming projects in the pipeline?

As of now, I've made the big move to Mumbai and I've been trying to find my ground. After my EP release in May, I've pretty much been back to the lab, trying to reinvent my sound and approach. I believe that there's a lot more left for me to say and I want to strike a balance / Hit a sweet spot with my songwriting.

The big challenge in front of me right now is to venture into the unknown. I'm the new kid on the block who is trying to find his place in one of the most decorated music environments of the country while balancing a very hectic college schedule, and so far, it's been damn fun!

SOUVIK CHAKRABORT Y

Yesteryear songs that we miss alot

With the overdose of auto tuned hip hop and bass trap music of the modern times, almost every single song today sounds and pulsates the same. It is highly refreshing that we discover our musical tastes in the sweet old melodies of the forgotten years when the influx of music was not that bombarding and heart rupturing for the ears or the mind.

Yaad Piya ki aane lagi by Falguni Pathak is a mesmerizing tune that catches your whimsies and grips you till you are decades ahead in time. An ensemble of pure melodies and blissful melancholia.

Tanha Dil -Shaan is perhaps the most relatable and go to song for any laborious lover in the gloom of his wistful predicament.

Can’t get over that character with a guitar dangling in his back walking on deserted streets singing out his hearts out.

Kabhi Aana Tu Meri Galli -Euphoria stuck with us like the Vidya Balan in the song. Palash Sen could not have been more direct and flamboyantly welcoming in his metrosexual voice at the turn of the century!

Kya Soorat Hai -Bombay Vikings in the early years of pop music India swelled with songs like this that had a TV spot kind ring to it and a groovy droovy tune for everybody to be mesmerized by the new found music and the billion people of a nation took pride in these music like Columbus did after finding new land.

Leja Leja Re -Ustad Sultan Khan and Shreya Ghoshal is a killer combo of brilliant composition and velvety voice. The neo-raga essence of the music emanates from the heavy voice of Ustadji and the nightingale kind piercing voice from the melody queen Shreya Ghoshal Ishq Tadpave- Sukhbir had stayed to become the one ‘go to party anthem’ in various parties and shaadi dance offs. The song would welcome any DJ to tweak it here and there and weave a magic around it.

Dil Le Gayi- Jassi can only get younger with age. Jassi’s song

can be played with or without the excuse for a bhangra outrage. Every kudi feels highly obliged and flattered to be addressed whenever it comes to stealing a heart or two!

Teri Taan Yaad Satave -Bombay Rockers created that pop infused euphoria around the basic melancholic brooding of a lover who took to beat jams and beat breaks to express his highs and lows of emotions.

Gur Nalo Ishq Mitha- Bally Sagoo and Malkit Singh apart the charming Malaika Arora the song came out nice and heavy for the Punjabi occasions be it roka, sangeet or just a merry go lucky shaadi set up, this song swept chartbusters like there is no tomorrow.

O Sanam- Lucky Ali this list will be incomplete without the mention of the maestro, who set the indie pop stage on fire with the texture of his distinctive voice. This song grips you like a fresh morning and stays with you till your reel screeches cause of plating it in loop.

Tunak Tunak Tun- Daler Mehendi it is amazing how without the mention of either alcohol, non-veg food and cheesy sexual innuendos one can still weave a magic with random alliterative phrases, a magic that percolates in every DJ’s playlist even today.

Ek Glassy- Hard Kaur Many say that the songs of that era were not that hard hitting or did not have any flag of feminism etcetera flying high, but Hard Kaur’s epic debut single blasted that concoction to its core and emerged as the most hip and happening groove of the times.

Bottalan Sharab Diyan- Bally Sagoo This song emerged at a time when there were no set pieces of an auto tuning toying with the singer’s voice so much that even the gender becomes unrecognizable rather this song emerges at a time when there were no rappers as fillers during interludes and yet this song did not fail to have its desired effect, every single it is played.

Pari Hun Main -Suneeta Rao This song started off with being a sleeper hit and eventually grabbed all eyeballs and eardrums like a fresh green sapling on a mistful morning.

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MEGHAN KARSYNRAP

June of this year saw headlines breaking news of the artists XXXtentacion's death. Xxtentacion who was only 20 was shot dead in a drive by shooting. The conversation that followed stirred a moral debate over social media. The 20 year old was known for being physically abusive, sexist and wrought with violent habits. The question that then spurred was: did he deserve to die? Twitter agressively campaigned against the young artist.

The underlying question that stands is: can we separate the art from the artist? Do only those with power and money escape scotch free? Can we let someone who advocates bad behavior continue to write music? Would our consumption of their art delegitimize a crime?

Xxxtentacion was an influential figure with a large teenage following. Often times the artists was inappropriate, he had been charged with various crimes over his career and even before he rose to fame. Parents can only hold a disfigured smile around the issue - they want better role models for their kids even though this often censors artists.For example, Teenage stars who try to transition to a more mature ideal tend to get backlash from society. There are many columns about Disney stars who went wild. Some artists like Rhianna even go out of their way to say that they shouldn't be considered role models.

So then is the purging of music the right way to deal with the situation? People forget that a song isn't just the artist's hard work. There are people behind the scenes working to market the song make videos and produce the song. XXXtentacion was removed from Spotify because his behavior clashed with their principles. While spotify

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retains it's morally right status consumers lose out on music and maybe this is the right solution? After all can we let someone who uses their mugshot as cover art for their music as though it's an achievement be allowed to get away with it?

In the past classical musicians like Wagner out rightly supported Hitler, the repercussions of which continue today. His Operas receive backlash in Israel. One can argue if it's really okay to listen to his music knowing that he was anti-semitic and racist? Beethoven was moody and dislikeable, Fritz Reiner was cruel and legendary Spanish guitarist Andrès Segovia would torment other guitarists who were not of his standards.

We often say artists are Prima Donnas and should be allowed some eccentricity. But do we let such artists play over the silent ones.Can these artists hold a flame to good and honest artists? Shouldn't we be appraising the right behavior?

The consumption of art today is a little bit of a performance: it defines your identity and it compartmentalises your personality. The consumer has stake in the production as musicians want you to like what they've made. Consumers are so important today that they can decide whose career they would like to end. So ideally the artists need to be on their best behaviors. But should we really have this power? Is this not limiting art when those with talent could help the culture grow vastly?

You, as a consumer, have to decide for yourself if you can consume art without context. Do you listen to music because of the artist or because of the art?

NAVYA C

THE POWER OF

FIVE NOTE SCALES The world of music comprises of seven notes of increasing frequency levels – whether it is western or Indian. As per Indian Music, the sapta swaras- seven notes are given highest importance and value. Carnatic Music in particular is known for being scale based with the 72 full scale melakartha raaga system which has complete seven note scales. Many Carnatic artists love to choose these full scale ragas to perform at length and the scope for aalapana, neravu and expressivity is definietly top notch for seven note ragas.

But there is another curious combination in the World of Music – not just confined to one particular genre.

It is nothing but the powerful five note combination which has tremendous power to attract the audience and also has versatile scope for expressing unique hues.

In Carnatic Music, raagas like Hamsadhwani, Mohana, Hindolam, Suddha Saveri, Madhyamavati, Shivaranjani – in short, many popularly admired ragas fall into this “Five” category! Somehow, the expansion of five notes alone in different octaves gives a fantastic experience to the listeners. In fact, the convention of starting a Carnatic concert with raaga Hamsadhwani and ending it with Madhyamavati- both being pentatonic scales itself is a living proof of their brilliance!

Pentatonic scales are greatly adapted even in Hindustani music as well as Western Classical. While the full scales

of western music like Major and Minor are extensively used in orchestra, the usage of pentatonic scales is no less. It wouldn’t be surprising to know that every pentatonic scale composition is a sureshot winner!

It would be interesting to know that the power of five has expanded to Eastern territories as well in Chinese musical genres. Many of their compositions are essentially based on Carnatic Raaga Mohana- again a most popular pentatonic scale!

Isn’t it brilliant to see a combination of just five notes can bring a sublime effect on the mind? Even legends like Dr.M.Balamurali Krishna came up with PrathiMadhyamavati (Madhyamavati with prati madhyamam) spontaneously in a concert – leading to another fantastic pentatonic scale!

There is a belief in Indian music discipline that singing a full scale raga is more challenigng than a pentatonic or the other scales. But,these pentatonic raagas are already an inherent part of the system with their uniquness and magical presence.

The power of five is something quite hard to ignore or taken like a pinch of salt- because it is indeed quite amazing and has a great aura surrounding. This aura is universal, and transcends all musical genres- in fact, music itself is beyond boundaries and languages!

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MUSKAN GOSWAMI

7 CLASSIC QAWALIS that will leave you spellbound

Qawalis carry an essence of music that is pure and true in its nature. The sounds of the instruments, the raw voices of the singers and the poetry that’s used, together they all form a completely mesmerizing effect. If you listen to qawalis and understand the depth of them, then you’ll realize that they touch a cord in your soul, especially these 7 qawalis that have been mentioned below. Each of one of these is a masterpiece! Go ahead and take a note.

1.Mere Rakshe Qamar The legendary Ustad Nusrat Fateh Ali Khan has performed on this amazing qawali and charmed everyone. This qawali talks about the initial feelings at the beginning of a romantic relationship. It also beautifully describes how true love can change someone in a positive and healthy way.

2.Aaj Jaane Ki Zid Na Karo – Farida Khannum This is one of the most popular qawalis of all times.

It perfectly describes the feelings when your lover is about to part ways with you for the day and you don’t want them to go. Farida Khannum’s voice seamlessly fits with the tone and the feel of the voice.

3.Allah Hoo Allah Hoo is a qawali which will unwind you and bring a soothing effect to your mind. The lyrics of this qawali are thought-provoking. This qawali has been incredibly performed

by Nazeer Ahmed Khan Warsi and Naseer Ahmed Khan Warsi, commonly known as the Warsi Brothers. The Warsi Brothers carry the legacy of the great Ustad Aziz Ahmed Khan Warsi.

4. Ye Jo Halka Halka Saroor This is a very popular qawali by Ustad Nusrat Fateh Ali Khan. It talks about the power of love and how

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it can lift-up your spirits effortlessly. Ustad Nusrat Fateh Ali Khan brings out the true zest of the lyrics through is exceptionally brilliant singing style.

5. Aashiqi Dil Lagi Nahi Hoti – Aziz Mian The lyrics of this qawali are unfiltered and blunt. This qawali perfectly distinguishes between infatuation and true love.

Aziz Mian’s voice further enhances the feel of the song.

6.Hairat-e-Ishq Hairet-e-Ishq is a unique qawali which stunningly depicts the wonder of love. Ustad Bahauddin Khan has incredibly sung it. The complete vibe of the qawali is going to absorb you in its beauty and leave a calming effect inside you.

7. Mast Nazron se Allah Bachaye Ustad Nusrat Fateh Ali Khan again performs wonderfully in this qawali. This qawali is sung in a playful manner which brings a different kind of tonality to the overall feel of the qawali.

Whether you have just started listening to qawalis or you already are an enthusiast, make sure that you listen to these qawalis. They’ll refresh you and give you a great time to relish and relax.

KARISHMA D'MELLO

TAKING MUSIC TO THE STREETS If you’ve ever gone traipsing across the streets of Europe, you’ve definitely come across street musicians - around street corners, the metro station or a “square” of some sort. Of course it isn’t ALWAYS the most pleasant site.

Sometimes they’ve got posters marked in bold black ink, describing a tragedy of some sort or how they’re struggling to make ends meet.

But, some, if not most of these buskers put on a pretty good show for the random passer-by.

Rock/ metal bands - Zygnema, Cashish, Blakc began busking on a larger scale to promote their music before concerts. This began all the way back in 2010 with the aim of bringing newer faces to their concerts and getting a larger audience at their upcoming gigs. “The busking man”, or Debojyoti Nath sings song about peace and love, travelling across all states to spread the cheer – a journey that began way back in 2015.

While street performances are a celebrated art, and chancing upon some talented musicians are something to look forward to for travelers and residents alike in western continents, down here in India street music is more likely to be criminalized than romanticized. More often than not, your best shot at street music might have to be that some guy yelling the wrong lyrics, as he attempts to serenade that random girl who happened to walk by. The kind that makes you think that if cats could sing – well, they wouldn’t like it either!

NSPA – “Natural Streets for Performing Arts” is a non-governmental organization whose main goal (as described by them) is to “make art accessible to all”. And how do they go about this? By getting fresh, new talent to perform in public spaces. Currently, it isn’t as widespread as one might like it to be – featuring just Goa and Mumbai, but despite this, it spawns across twenty four locations within these areas.

If you’re ever around you may spot these buskers occasionally give performances at the Panaji bus stand, the mall, the Churchgate station (you can check out their website for more information), where you’ll find them strumming guitars, singing and occasionally beat-boxing.

Street music used to be pretty popular back in the day – before we transitioned into the digital age. Our history is rich with performing street artists whose ideas of thinking outside the box reflected in thinking out on the street.

Sometimes to make ends meet, other times for the sheer joy of spreading the music. But while it is definitely not as common now in India, you can still spot a street musician or two if you know where to look!

The “World Street Music” website where you’ll find a bunch of videos of musicians dotted across the world (with a special feature on India), filling random outdoor spaces with music that spans across various genres. Their edition on India features musicians with a tendency towards Indian classical from Jaisalmer and other parts in Rajasthan; so if you’re ever around, keep an eye out for them!

Perhaps, “The Pick of Destiny” isn’t the most inspirational of movies, but it does make a pretty good point about how you could come across talented musicians (and fellow bandmates). Street artists deserve more credit than they receive, because it’s often more than just an attempt to get by. It’s about music moving beyond concert halls, extending indefinitely across to anyone who may need a bit of song to filter through the everyday humdrum of city life. Perhaps, that’s romanticizing it a bit too much? Well, either way, the next time you step outside to smell the roses, don’t forget to keep an ear out for buskers too.

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SASHWATH KARKARE

S NA R E-ING I S C A R ING

Buying your own drum kit is a challenging but welcome task for any drummer. But it is always inhibited by the question “What should I buy?” One cannot discredit the fact that buying an instrument, any instrument, is first and foremost, an investment. A considerably large one. Hence, by looking at the top three brands in India today, this article helps make this investment an informed choice.

Pearl Founded in Tokyo in 1946 by Katsumi Yanagisawa, Pearl has come a long way. Starting out only as a company that manufactured music stands, Pearl now not only makes some of the most widely known drums, but also makes djembes, cajons, drum stands, accessories, marching drums, cymbals, and Latin percussive instruments.

Pearl also has a large variety of drums ranging from the common Maple and Birch drum shells to even Oak, African Mahogany, brass, and steel. Pearl is also one of the few companies to have diverged into making acoustic and electronic drum kits, thus widening their market base.

It is one of the most widely available drum kits in India. Sold all over the country, their generally cost-effective and durable line of drums makes them an easy choice for professionals and beginners alike.

Famous drummers endorsed by PearlDennis Chambers, Casey Cooper, Avril Lavigne and Mike Mangini.

(Pearl, at a glance: Variety, Durability, Convenience of purchase in India)

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Mapex

Drum Workshop (DW)

A relatively young Taiwanese company (founded in 1989), Mapex has made huge strides in a short time. Coming into the fray when music was in an evolutionary phase, Mapex made the most of the times and made great sounding drums from the very beginning.

Founded in 1972 in the US, DW has established itself as the premium brand of drums globally. DW has also managed to create a large presence online through high level endorsees (Chad Smith’s shift from Pearl to DW) and through their COO, John Goode, who conducts videos from their factory on new drum lines and beginner’s basics videos on tuning drums.

Mapex makes six drum lines namely Saturn, Orion, Voyager, Horizon, Meridian Birch and Meridian maple.

But what Mapex is known extensively for is their snare line called Black Panther. Started in 2014, this series provided a great alternative for the more expensive snares on the market, without compromising on quality.

Mapex is also easily available in India, making it a great option.

Famous Mapex artists: Chris Adler, Tony Coleman, Will Calhoun and Josh Devine.

(Mapex, at a glance: convenience of purchase, durability)

While DW has not established themselves in India due to their higher price range, their quality is a cut above the rest and will hence dominate in the coming years. Durability will also be a big bonus for them to really establish themselves in this country.

Famous DW artists: Chad Smith, Jose Pasillas, Thomas Lang, Dave Grohl and Neil Peart.

(DW, at a glance: expensive, great quality, not easily available in India)

GAJENDRA PURI GOSWAMI

Has The Desi Hip Hop Scene Already Gone Awry?

A lot has been said about the Indian Hip Hop Movement in the last few months. 2017 was deemed the most phenomenal year for the scene so far. Critics and followers believe desi hip-hop has finally broken into the mainstream after quelled existence in the underground for years. Many are even drawing parallels of the desi scene with the American Hip Hop movement of the 70s. Undoubtedly, the scene bears an uncanny resemblance with its American counterpart. But, while the moguls of American Hip Hop successfully transformed a local music movement into a juggernaut phenomenon, forerunners of the Desi Hip Hop movement are already being accused of disingenuousness and unoriginality. Even as the homegrown hip-hop scene gets more organised, many emcees in the scene are cloaking their amateurish abilities under the garb of an underdog imagery. This subterfuge is preventing the scene to grow at a faster pace than it is currently growing.

The contribution of early hip-hop pioneers like Grandmaster Clash, Russel Simmons, Marley Marl and others were seminal in shaping the sound of their genre. Their astute vision was indispensable to the growth and popularity of hip-hop. But, the flagbearers of Indian hip-hop have lacked the ingenuity of their western counterparts so far. Adapting local parlance and vernacular expression in their rhymes has been their only contribution to the genre. Yet, this alone has empowered young emcees with a unique expression and given hiphop a cutting edge over other genres in the country.

Albeit the local hip-hop scene is growing profusely, it is not nearly commensurate with the growth of American Hip-Hop in the 70s and 80s. If the scene has to be compared with the west in any degree of measure, it will have to gain commercial success at a much faster pace without losing its rawness and grittiness. It is also imperative that big

commercial brands realise the power of branding in hiphop and actively invest their resources in the scene. These changes have already begun to take place. Last year, not only did big brands like Puma and Bira 91 expressed their commercial interest in the movement, but the scene also inspired a mainstream Bollywood film. This hopefully will educate the masses about desi hip hop and garner more support for the genre outside its usual fan base.

This brings us back to the main critique of the scene.

Are the artists virtuosic enough to constantly push the boundaries of the genre and deliver an inspiring, inventive, and unapologetic hip-hop music without sounding wacky?

The answer to the question is an inextricable yes and no.

In the last three years, homegrown MCs have been able to produce some phenomenal records. Each artist in the scene, from MC Kash in Kashmir to Madurai Souljours in Tamil Nadu & Divine in Mumbai to Khaasi Bloodz in Shillong, has added versatility to the scene by staying true to their cultural identity and artistic consciousness.

Yet, most of the artists have only relied on periodic single hits for their success. Barring MC Kash, Prabh Deep and Bombay Bassment none of the over 40 artists in the scene have released even a single album even though many of them claims to have been in the scene for over a decade.

It is high time that braggadocios Indian rappers realise that single hits bring Coruscant flashes of popularity but a respectable body of work brings long careers. Hip Hop in India needs artists with careers because we’ve had flashes of glittering fame before as well. If India wants to establish itself as the homeland of hip-hop music, it needs to make some institutional changes to its approach towards the genre.

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PAVNEESH KAUR CHAWLA

Reggae: A Gift from Jamaica A lot of musical styles do not get a chance to travel around the world, but one form of music which originated from an island in the Caribbean became huge all around the globe, Reggae. It is pervasive whether you heed it or not. The term reggae was inspired by rege-rege, a Jamaican phrase which means rags or ragged clothes, so the word reggae was actually used to depict a raggedy style of music. Evolved from Rocksteady and Ska musical styles, it is a soulful entertainment in Jamaica which expresses in words the feelings and emotions of an average person. This delicate genre is originated from the idea of oneness, giving a feeling of being together, of being one.

Recognized by its lament like chanting, this musical form has an emphasis on syncopated beats. It employs a heavy four-beat rhythm driven by drums, bass guitar, electric guitar, and the scraper, a corrugated stick that is rubbed by a plain stick. It features the African nyah-bingi drumming style and uses Jamaican vernacular which makes it different from other genres. Talking about Reggae, one cannot skip mentioning Bob Marley, the international reggae ambassador. Through his music and his words he has earned an eternal place in the hearts of the reggae fans.

While in India, the first wave of reggae was blown in by Apache Indian who amazingly fused Bhangra with reggae and dance hall music, almost creating a sub-genre of its own known as Bhangramuffin. In the early years of the 21st century, when Bollywood was considered the only sophisticated form of entertainment, Reggae Rajahs took the stage. Reggae Rajahs, known to be the pioneers of Reggae Music in India, took up the responsibility of promoting and spreading reggae in an authentic and organic way. Diggy Dang (Raghav Dang), Mr.Herbalist (Zorawar Shukla), and DJ MoCity (Mohammed Abood) were the soldiers of the Rajah army who would bring Reggae to the common college-going youth. These three Delhi-based musicians met in 2009 at a

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Bob Marley tribute gig in Delhi and the meeting led to the formation of this first reggae sound system of India.

They also put together Goa Reggae Sunsplash which is India’s first celebration of reggae sound system culture.

This day-long event curated by Reggae Rajahs is set on the sun soaked cliffs of North Goa. It features various exciting international and homegrown artists bringing their own global flavors to the event. This Reggae trio has inspired many other artists like Dakta Dub from Hyderabad, Low Rhyderz from Goa, Bass Foundation from Delhi and India’s first ska/rocksteady band The Ska Vengers ans more who are still in front of the microphone.

Both India and Jamaica are rich in culture and have their distinct ideas of peace and love, and somehow this invisible comrade-hood can be considered a reason for the successful entry of reggae in India. Attracting the soul of music lovers, this music form has become widely popular in the country at present. The beats, an emotion and the rhythm, a protest, Reggae is the music which is for one and for all.

IN CONVERSATION WITH

Sarthak Sardana When did you finally decide to abandon accountancy in favour of music?

What has been the best part of stepping behind the turntable (or Mac)?

In 2009 I joined a music production course alongside doing my accountancy degree. I was more inclined for my music course and concentrated more towards it. It was in 2013 when my first ever track was signed, on the legendary Tiësto label that I decided to fully focus on my music career.

DJing was an all-time hobby for me but I never knew it would turn into a career. The best part indeed is playing for different people in different parts of the country and realising how the same song has different reactions every time. Also the feeling that you are ultimately responsible for rocking a party or a Saturday night is always a good feeling.

Why EDM? Its something not many people are doing and I feel I have good taste for it. Most of the productions even in Bollywood are also EDM centric now. Also that time in 2013 EDM was still picking up and I was very inspired how the music was getting evolved around the world.

EDM in India is still new and it’s great to see so many new producers are now interested to make dance music

Why do you think your music has been so well received by numerous big names in EDM? It has multiple reasons. The biggest one being the quality of production and the style of music. One thing I noticed is that a lot of producers have the good musical idea but they are not able to deliver a quality piece due to the lack of mixing/mastering skills. My music always had good quality which helped me get my releases on international labels. Also labels around the world were interested to work with Indian producers as it was a new market for them and they were really surprised to see Indians Making EDM rather than Bollywood.

Do you miss any part of your old life?

No not at all. Just I sometimes wish I had more time to spend at home rather than traveling.

Are you considering working on any original music?

Oh yes a lot! My maximum releases are originals!

I’m back in the studio now and focusing on finishing lots of new music for the winter season. Expect some dance floor bangers on your way shortly

What is keeping you preoccupied now?

My upcoming releases, experiments and new branding strategy. We have realised that social media plays a huge role hence we are finding new ways to packaging ourselves.

Anything but music that you intent to dabble in anytime soon?

Being an all-time foodie I have plans to join Sushi making classes and learn some cooking techniques.

I also want to learn one dish from each cuisine so if tomorrow there’s a zombie apocalypse, I can hide inside a restaurant and feed myself well :D

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PUNEET SAMTANI

10 Questions to ask yourself before delivering the Master.

Mastering is about getting a second perspective.

Once we have mixed our song, we have very little perspective left. Pointing out the flaws becomes even more difficult because of ear fatigue which develops over time. At this point ideally, a specialized mastering engineer should be roped in.

5. Are the fades and spacing between the tracks right?

Over the years the mediums to deliver the masters have changed but in principal the job of the mastering engineer primarily remains to make sure the mix translates across all mediums of playback. (hi-fi, car audio, laptops, mobile phones, radio, headphones etc.)

All the tracks in the Album/EP should be at similar level. So at no point during playback one must feel the need to turn the volume up or down.

At times we have to master our own Songs/EP/ Album due to various budget and time constraints.

We need to make sure that these tracks sound great even outside the studio.

There are always jitters when we hand over the masters for distribution. Before we do, I often find myself testing the tracks on different speakers and asking myself these 10 questions.

1. Are the Frequencies evenly spread?

If not, then one must apply an Equalizer and subtly balance the frequencies without making the instruments sound alien.

2. Is the Compression just right?

If you are simply looking for cohesiveness you could go with a bus compressor, If the mix is not balanced and if one of the instruments is too low or it's popping out, the multiband is a good option. The dynamics of a song should never be compromised within this process.

3. Is the Stereo Imaging great? Are there any phase issues?

A good mix should never experience any phase issues and should have good stereo imaging. In case the mix does have issues of these sorts, it can be treated to an extent with the help of phase meters and stereo expanders.

The use of this will have to be rather subtle so that it does not change the tonal balance drastically.

4. Check for Clicks, Glitches Pops and Noise These unwanted noises can and should be treated with the help of the equalizer and variously specialized plugins.

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The Fades of the tracks should be adjusted and there should be uniformed spacing between tracks in case an Audio CD has to be made.

6. Are the Levels between tracks similar?

7. Is the Limiting right?

This is one of the most important steps to mastering.

You make the mix louder in this process. A limiter creates more perceived loudness. You must again be careful about not losing out on dynamics at this point.

8. Have I added dithering?

Dither is an intentionally applied form of noise used to randomize quantization error. Normally we all record our music in at higher sample and bit rates.

96khz/32bit 48khz/24Bit are two common specs used.

The higher the bit rate the better the mix sounds, but inevitably the bit rate needs to be reduced so that we can share our music with the world. The Audio CD by default is 44.1Khz 16Bit. Dithering should always be applied once and at the time of down conversion.

9. Is the Loudness level enough?

Music today is consumed mainly via streaming websites. Apple Music, Spotify, YouTube etc. They all have their own loudness standards and algorithms to take the measurement. They all use LUFS or LKFS as their basic unit measurement. iTunes/Apple uses a target level of -16LUFS, YouTube -13LUFS, Spotify -11LUFS The loudness of your track should be somewhere between -16LUFS and -11LUFS based on your desired dynamic range for the best possible outcome.

10. Have I embedded the correct Track Name, ISRC Code and Meta Data?

This needs to be cross-checked a couple of times as the information is critical. In the era of file sharing, this becomes a very important factor when one needs to trace the song back to the composer/author and help him generate royalty and safeguard his copyrights.

Music unaltered.

Make sure it’s you they’re hearing. Clear, natural, powerful sound delivered with room-filling 180° horizontal coverage. What else could a performer ask for? How about a quick, easy to setup portable unit that's lighter than most in its class. You ask, Bose L1® answers. Bose.com/L1systems For more details please call 011-4659 9025 or email at in_prosales@bose.com

PUNEET SAMTANI

IN THIS DIGITAL ERA WHY IS IT IMPORTANT TO UNDERSTAND THE ANALOG WORLD? The sole purpose of any recording or playback medium should be representing and conveying the audio data in its truest form without any manipulation. It has been a never ending quest for all inventors pioneers and manufacturers to achieve this.

Analog Technology The Analog technology in terms of audio and music is more than a century old.

Having said all this, it does come with its set of limitations which it will overcome in the times to come.

The first sound reproduction device was the PHONOGRAPH invented by THOMAS EDISON in the year 1877.

The main limitations are the fact that it is still playing catch up with the analog domain in many ways. It is constantly trying to emulate what has already been done and achieved before.

This made way for an audio device most commonly used even today called the TELEPHONE invented by GRAHAM BELL in 1880.

It changes too rapidly for the users and faces a never ending compatibility issues between software and hardware.

Thus leaving us little choice but to keep upgrading.

Post these major inventions, the art of capturing, storing and playback of sound never looked back and this technology just went from strength to strength in making way for the digital technology today.

Need to understand the past.

Some notable and successful inventions in the analog world in terms of music would broadly be the gramophone, phonograph, vinyl, magnetic tapes, the compact cassette tapes, tape recorders, microphones, headphones, mixing consoles, the LP, transistor radios, the vocoder, amplifiers, the LP, 8 track tapes. Brings back fond memories? These along with few others have left a roadmap for the technology to progress. While nostalgia creates fondness, technology moves ahead at the speed of lightening.

Digital Technology The Digital Revolution, which marked the beginning of the information age began somewhere in the late 1950’s. The use of the computer slowly replacing all the electronic and mechanical devices not just in the field of audio but in all fields begun.

We are familiar with the various digital recorders, players, digital audio workstations and formats which exist today. They are constantly evolving and are just getting better by the day (vastly) The digital technology came into existence with its own set of advantages.

Digital audio doesn’t degrade in quality every time one hit’s playback. This would normally happen with cassettes causing them to wear off. On the other hand, It has given us the option to purchase or record audio in differing levels of file size and quality.

Digital recordings can be carried, moved around and can be accessed from anywhere and out on a variety of devices.

It does not occupy physical space. It is also comparatively inexpensive to purchase and maintain digital equipment.

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For all of us who are working professionals or users in the field of digital audio, we can’t help but ignore that most leading manufacturing companies are making plugins and software’s which are emulations of successful analog gear. Be it tape machine, console, speaker, vinyl, microphone, compressor or any other emulations.

Why so?

The thing with the digital format is the fact that it is transparent and really does not have a personality trait of its own. Such emulations help it give some sonic texture and make it pleasing to the ears, specially when it comes to music.

Don’t have access to analog gear?

You don’t really need to buy analog gear to know what it is all about. You could simply listen to some great recordings in a good sounding room, maybe book a professional studio for a couple of hours to listen to music with friends.

Find old gramophone players or attend vinyl workshops which happen in some metro cities. Finding a cassette player and some cassettes wont be that difficult either.

Simply know the difference so you know what you are chasing while working on your music.

Recording CARNATIC MUSIC LIVE IN STUDIO Well, this is one of the most important topics, I wanted to discuss for many years. I have been recording classical Carnatic music live for the past 18 years in the industry for fellow musicians and artists. Me being a professional mridangam artiste for the past 28 years, it was an added advantage for me to specialize in this field. There are many artists and musicians having a misunderstanding of Recording a Live Carnatic session recording at the same time.

Well, to get a good sounding Carnatic album, it's better to track everyone at the same time!

Many feel that tracking separately will be eas ier with the click track, well, I agree but since there is no eye contact with each artist, there is no interaction and feel for the music. As you know that Carnatic music is all about “Manodharma” (creativity or imagination) music. It has to come spontaneously and not stitched on a click track! This is not to insult any artist, but to give you a better understanding of how to produce a great recording session. So that your end product or result will be stunning.

Miking your session ( Assuming 1 live room or 1 vocal booth & live room studio)

Should I record with a Click or not?

If possible, try to use the Sennheiser MD421 or the AKG D112 on the Bass side to give you a fantastic result.

Well, to me I prefer without a click track. But some agree and some not. The reason mainly I see is some artiste tell that recording on a click gives them good control for editing! Well, this is what I am trying to explain is if you record using click, the whole song will be in a fixed tempo and when you edit and paste certain verse, it's going to sound the same! Which is not what public like! Its sounds so mechanical when the whole song is mixed and delivered! Because everyone knows that in a studio, everything is edited and polished and corrected.

Yes, I agree, but as far as Carnatic music is concerned and recording with the click, the artists feel that they are now pulled to the tempo map of the click because they tend to swing freely on the tempo faster to give you the pep in your music. Also even if there is a comment like “Baley” or “Sabash” it is better to have in your recordings as this gives you a lively feel of the whole concert. I think to me that’s why people prefer attending a live concert to experience all this as a whole.

6. Provide adequate led reading lights for the vocalist for reading any books and a have water bottle placed for every artist. I know this is not on the tech side stuff. But trust me, this way you can have a smoother performing result in your session.

Here some artiste to me even to remove all the breath in their vocals! This totally sounds un-natural as a vocal track! The words with a continues join have to have a breath to give you a good natural sound. So it is better to first record and capture all the things during a live Carnatic recording session.

7. Check all your mic levels and test with a monitor session.

Set correct headphones mix for the artiste and arm all the tracks for the Recording

Again, this is not to hurt any fellow artists or musicians, this gives you a good start and the more sessions you do live, you would understand my valid points as you progress.

1. Try to use dynamic mics on the source you are tracking them in the same room. This is cut the bleed to be minimal from one source to another.

2. Try using Gobos (Partitions panels) between each artiste so that it will you a better isolation in your session.

3. Give good comfortable space and enough light for the artiste to have good eye contact so that the real live feeling is being captured in your sessions.

4. Use Shure SM58 beta or the normal SM 58 for the main Vocals, Violin and Gatam (clay pot).

5. Use the SM 57 for the mridangam right (Black patch side) and SM 58 on the Bass side (left side)

Happy recording!

Author: Baba.L.Prasad. He is the owner and chief Sound/Mix and Mastering Engineer at Digi Sound Studio. He also teaches Sound Engineering and Music Production courses. For more details, visit www.digisoundacademy.com

VYOMA SHAH 113 speakers across two days addressed several pressing topics, which affect all the stakeholders of the music industry. Besides keynotes and discussion panels, workshops and master classes were a part of the conference as well. The convention was attended by almost all the different members of our ecosystem – students, artists (both – upcoming and established), record labels, event organizers, lawyers, media, ticketing companies, festival organizers and distribution and streaming service providers, to name a few.

We attended many seminars over the two days and gathered some vital information about the industry. Here are some key takeaways: •With a current size of 850 crores, India is now the nineteenth largest music market, as per IMI’s annual report.

All About Music 2018

•Streaming has become the primary source of revenue for our industry.

About 78% of the revenue is generated from digital consumption of music. Unfortunately, only a very small percentage of the people that use streaming services are paid subscribers, which explains why YouTube is the most used streaming platform in our country.

•Since YouTube is not a music streaming service like Apple music or Saavn, artists stand to make only about 1 to 1.5 paisa per stream, as opposed to 7-10 paisa per stream on other platforms, which is also still only one-seventh of what international artists make per stream on Spotify.

•According to the 2018 Nielsen Music Report, Bollywood is still the most preferred genre of music in India, followed by other Indian film music, Indian pop, Indian regional folk and then western pop.

Fortunately though, the curve for indie music is on the rise.

•As far as music festivals are concerned, according to organizers of some large festivals, the Indian audience is still largely hesitant to pay for the value being provided by these festivals and this in turn is affecting ticket sales. As opposed to most other countries where the inflow of revenue for from ticket sales is much more than that from sponsorships, in India, 70-80% of the revenue comes from sponsorships and the remaining comes from ticketing, merchandising etc.

•A&R specialists from across the world believe that great songs can come from any language, especially from a diverse country like ours. Hence, it is not essential for Indian artists to always compose in English. If the song has that emotional connection, language isn’t relevant.

•Seymour Stein, cofounder of Sire Records also said that while performance is important, songs of the artists have to be good from the get go. Some A&R specialists still rely heavily on personal relationships to discover new artists, while some scout the web intensively to find new talent. I guess in today’s age, artists need to cover all grounds in order to stand out – they need to write good songs, hone their skill, create a strong social media presence and also network regularly to build and maintain personal relationships.

•With the rise of OTT platforms and with Alokananda Dasgupta receiving genuine appreciation and recognition for her work on the music for Sacred Games, music opportunities in the digital space are only surging. Gradually, prospects for composing non-film music yet creating at the same scale as film music and being recognized for those efforts are seeming optimistic.

While most crucial topics were touched upon and the attendees went home a lot more aware, informed and determined, we personally felt like one major aspect of the industry maybe got left out – the business of music education and would have loved to hear some thoughts on how music schools are contributing to the growth of the industry or on how digitization might affect the relevance of physical music institutions. All in all, kudos to Tarsame Mittal and the team at Truly Musical for putting together this seamlessly well planned and genuinely enlightening music conference.

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SENNHEISER XS 1 MICROPHONE Sennheiser’s XS 1 perfectly understands the needs of first-time users and has been designed for those who value simplicity and appreciate no complications. The audio specialist has expanded its innovatively designed microphone portfolio with the wired XS 1 dynamic microphone.

This rugged, entry-level mic for singers and presenters brings Sennheiser’s quality to applications ranging from solo vocals to choir miking and speech. The cardioid XS 1 is the perfect fusion of excellent live sound and easy handling, by offering well-defined sound and well defined presence in the mix. Its upfront vocal presence in the mix allows this versatile new microphone to provide professional live sound for those getting started, thanks to its great feedback rejection and silent mute switch for flexibility and control. XS 1 comes in an allmetal housing and therefore is a reliable companion on any stage.

As a singer, presenter, or entertainer, one can count on the renowned Sennheiser live sound. All one needs to do is: Raise your voice. It is fitted with a lockable Mute switch and comes complete with a stand mount and leatherette pouch. Not just this, it is also one of the most affordable microphones from the German audio giant available in India. For music lovers and presenters, the XS 1 features balanced, full-bodied sound with a slight emphasis on the treble, which ensures that vocals will easily cut through high on-stage sound levels. Its cardioid pickup pattern provides additional isolation from unwanted sound and great feedback rejection. The capsule is shock-mounted to minimise handling noise, while the mic’s frequency response (55 to 16,000 Hz) filters out any structure-borne low-frequency noise.

The XS 1 provides great ease of use, with a silent Mute switch that puts users in full control of their sound transmission. Whenever the switch is not needed, it can be securely locked in the “On” position.

The microphone has been designed to be rugged enough to take on a life of performing – with an all-metal body and a hardened sound inlet basket to protect its capsule. The XS 1 cardioid dynamic microphone is delivered with a stand mount and a leatherette pouch for transport.

XS 1 is the ticket to great vocal sound. Being an entry level mic, it is an ideal fit for hosting an event, singing and/or for a presentation. With the independent music scene in India growing at a phenomenal pace, there is an increased necessity for quality microphones for one and all. So now, one can focus on their performance without being worried about the sound quality at an affordable price. All one needs to do is raise their voice on Sennheiser’s XS 1.

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Casio India launches 4 new CT-X Series keyboards with new AiX Sound Source Casio India Co. Pvt. Ltd, a leading manufacturer of electronic musical instruments, has launched its brand-new CT-X series of portable keyboards. The launch of this Series marks a historic moment in Casio’s tradition of introducing new products based on real-world feedback from Indian customers in order to grow the market.

The new CT-X8000IN, CT-X9000IN & CT-X870IN have been specially designed for India and have advanced specifications for advanced beginners to serious performers and players.

All models feature the new AiX Sound Source*1 leveraging expertise that Casio accumulated in developing sound sources for its digital pianos. The AiX Sound Source allows the CT-X keyboards to faithfully reproduce the appealing sound of acoustic instruments such as guitars, drums, basses, brass, wind instruments, string ensembles and more.

drive for music playback, phrase pads, expression pedal inputs as well as more powerful speaker systems suitable for all grade music examination & powerful performance. The CT-X8000IN has a 6W+6W speaker system and the CT-X9000IN has an incredible 15W+15W high-output amplifier delivering powerful sound output for rehearsal or performance applications.

"The CT-X series represents an unprecedented level of sound quality for Casio which is a direct result of the new AiX processor," said Mr. Kulbhushan Seth, Vice President of Casio India Co. Pvt. Ltd. "We at Casio India have always worked towards developing the market and following our philosophy of creativity and contribution, strive towards developing such great products with high quality features which further expand the market. The economical pricing of the CT-X series is bound to help high grade students and performers, in making the right keyboards for their needs affordable."

• CT-X870IN - MRP: Rs. 12,995

Furthermore, these new keyboards have been introduced as perfect tools to grow overall Indian music market, as lot of regional feedback has been taken in account while developing this keyboards to fulfil following India specific requirements: - Indian Folk & Regional Keyboard players using the keyboard for performances in Jagrans, Bhajans, Kathas/Kirtans, Festival performances, Bollywood/Entertainment Performances.

- Academic learning in schools & institutions, musical examinations (all musical grade examinations).

- Keyboard players looking for western tones & performance oriented keyboards.

The CT-X series provides high-performance Digital Signal Processor (DSP) effects that combine various algorithms to realize the perfect effect for each instrument sound. The CTX700 and CT-X870IN's stunning instrument tones are perfect for beginners or advanced players that need an affordable and portable instrument while the CT-X8000IN and CT-X9000IN provide additional rhythms, tones, DSP editing features, USB

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Price: • CT-X700 - MRP: Rs. 10,495 • CT-X8000IN - MRP: Rs. 17,995 • CT-X9000IN - MRP: Rs. 21,995 These keyboards are now available at all leading music dealers nationwide and www.casioindiashop.com.

Main Features of the CT-X9000IN and CT-X8000IN • AiX Sound Source Reproduces the Natural Sound of Acoustic Instruments The keyboards provide high-quality tones across every category of instrument, faithfully reproducing subtle nuances and gestures specific to each type of sound.

The user can customize tones to taste using 100 DSP effects that combine various algorithms, three system effects (reverb, chorus, and delay) and 10 equalizer presents.

• Wide Range of Tones and Rhythm Patterns Support Diverse Musical Genres. An extensive library of 800 tones and 250 rhythms supports diverse musical genres, and applications from composition, to arranging, to live performance.

The keyboards contain 43 Indian Tones and 39 Indian Rhythms for diverse regional musical applications.

• New Speaker System Delivers Powerful Sound.

The keyboards feature large-magnet bass reflex speakers and a 15W+15W high-output amplifier (maximum output of CT-X9000IN model) to deliver powerful sounds for home or performance use.

• Registration Function for Instant Recall of Performance Setups. The Registration function enables the user to save up to 128 keyboard setups including tones and rhythms.

The user can instantly switch between complex playing

CT-X9000IN

patterns and tone/rhythm setups without configuring them every time, enabling versatile and seamless performance.

• Composing and Arranging Features Help Bring Ideas to Life.

In addition to configuring and saving tones and rhythms to suit the user, the keyboards provide a variety of features for composing and arranging. The Phrase Recorder allows users to record a musical phrase that can be instantly triggered using any of the four pads. The mixer can handle 42 different parts and the 17-track MIDI sequencer can save up to 10 original songs.

• Accessory Jacks and Ports for Performing, Composing, and Arranging. An assignable jack can be used with either a footswitch or expression pedal. Also provided are an audio input jack for connecting external audio equipment, and a class-compliant USB port for connecting to a computer.

An additional USB port supports memory devices to easily save and load data created on the CT-X9000IN/X8000IN. • Friendly User Interface Offers a Wide Range of Applications.

The keyboards provide an expanded Registration function and four phrase pads, together with direct access buttons for Tap Tempo, Transpose, and Octave switching making the keyboards suitable for stage and live performances, as well as music schools and music classrooms.

• Sophisticated Styling Matches the Advanced Specifications.

The powerful speakers are embellished with distinctive red highlights, giving the keyboards a stylish, iconic look. The CT-X9000IN is distinguished by a grey metallic finish that adds to the sophisticated styling.

CT-X8000IN

Main Features of the CT-X870IN and CT-X700 • AiX Sound Source Reproduces the Appealing Sound of Acoustic Instruments. The keyboards provide high-quality tones across every category of instrument, faithfully reproducing subtle nuances and gestures specific to each type of sound.

• Wide Range of Tones and Rhythm Patterns Supports Diverse Musical Genres. An extensive library of 600 tones and 195 rhythms supports diverse musical genres, and applications from composition, to arranging, to live performance. The keyboards contain 21 Indian Tones and 26 Indian Rhythms for diverse regional musical applications.

• Registration Function for Instant Recall of Performance Setups. The Registration function enables the user to save up to 32 keyboard setups including tones and rhythms. The user can instantly switch between complex playing patterns and tone/rhythm setups without configuring them every time, enabling versatile and seamless performance.

• Accessory Jacks, Ports and Functions for Performing, Composing, and Arranging. The CT-X870IN/X700 keyboards provide a port for a sustain pedal, an audio input jack for connecting external audio equipment, and a USB port for connecting to a computer. In addition, the CT-X870IN features an additional USB port which supports memory devices, plus a Pitch Bend Wheel for recreating various instrument gestures. The keyboards also come with a 6-track MIDI sequencer with room for up to five original songs.

• To learn more about Casio's full portfolio of electronic musical instruments, please visit www.Casio.co.in • *1 Acoustic Intelligent multi-eXpression (AiX) Sound Source

CT-X700IN The

CT-X870IN

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Point Blank Mumbai: Next Classes Start October 2018. Free Software Worth ` 66K! Point Blank’s Mumbai school is well and truly established now as one of the best equipped and professional schools of its kind in India. Their expanded programme, developed in association with The True School of Music (TSM) now ranges from oneday tasters, like Explore DJ to three-month comprehensive programmes, like the returning Complete DJ & Entrepreneur.

Enrol on any of the longer classes and you’ll also get a free copy of Pioneer’s Rekordbox DJ performance software, plus Native Instruments Komplete 11 with Complete DJ & Entrepreneur, totalling ` 66,000!

For 2018, Point Blank have included two additional programmes in the thriving centre of dance music in India: Mumbai. In May, they expanded further to cater for young people and children.

For those interested in testing the water to see if DJing could be their thing, they offer a single session with the Explore DJ course or the more intensive Pro DJ Workshop, for those who really want to get the most from one day of instruction.

For young people wanting to go further and really get their heads into the skills and nuances of DJing, they offer a DJ Pro course for both kids and slightly older juniors where, over 18 weeks, students will get a fully-rounded education in the different styles and techniques available to DJs, so you can figure out exactly what kind of performer you want to be. With further weekend and evening classes available for adults too, there’s a programme to suit anyone. Why get stuck in the rush hour traffic when you stay in town after work and learn how to DJ! The upcoming term sees the launch of the first revamped Complete DJ/ Entrepreneur course. Much like Complete DJ, this is the course for you if you are really serious about learning all the skills you need to become an artist in your own right. Over three months, you will be given detailed tuition in beat matching, mixing with CD, Vinyl and MP3, scratching and more, finishing by playing in a top Mumbai club! You will also learn everything you need to know about the music industry and how to build your brand, so you can begin your career in earnest.

Enrolment is open right now For October, so don’t delay!

Whatever your aims with DJing and whatever your age, sign up and get your free copy of Rekordbox DJ performance software, the best way to use Pioneer DJ equipment. Get all the information you need on PB Mumbai School by calling +91 22 6624 3200, or visiting www.pointblankmusicschool.com/courses/mumbai

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Bose Professional Now Shipping the ControlSpace EX Audio Conferencing System

New system offers flexible audio conferencing solutions for meeting spaces; system includes a Dante-based audio conferencing processor and three under-table endpoints Coming off of a rigorous six-month beta period with over 50 successful conference room installations, Bose Professional is now ready for global distribution of its ControlSpace EX audio conferencing system. Designed and tested with leading consultants and integrators, the EX line offers a comprehensive, scalable solution that is easy to specify, design with, and deploy.

The suite includes an all-in-one DSP, three under-table Dante endpoints, and ControlSpace Designer software with features specific to streamlined build-outs of audio conferencing systems.

At the heart of the system is the ControlSpace EX-1280C conferencing processor. It addresses a common need in conferencing audio for consolidated, single-model connectivity.

The EX-1280C includes integrated support for VoIP, PSTN, analog and USB audio. Twelve advanced, routable AECs with adaptable noise cancellation, non-linear processing and comfort noise enhance the clarity and intelligibility of meetings.

The entire ControlSpace EX system leverages Dante audio networking for simplified routing and connectivity. The EX-1280C processor has 64x64 Dante I/O and native support for all Dante conferencing microphones. Additional onboard connectivity includes 12 mic/line inputs, eight analog outputs, an eight-channel Bose AmpLink digital output, stereo in/out USB audio, dual-line VoIP, and PSTN. To help with installation and monitoring, a convenient front panel OLED display and rotary knob allow for metering and control of basic parameters such as IP settings.

A key highlight of the ControlSpace EX system is its “onecable-to-the-table” connectivity via three Dante-based, PoE+ under-table endpoint models. With daisy-chainable power and networking, these slim, high-density boxes are designed to mount underneath conference tables.

The two microphone endpoints, the EX-4ML and EX-8ML (four and eight channels respectively), feature 48V phantom power as well as +12V LED power and three logic I/O per channel (one in, two out) to interface with most types of analog conferencing microphones. Up to 24 microphones with LEDs and push-button muting can be connected over a single CAT 5 or 6 cable.

The EX-UH endpoint extends conferencing versatility for BYOD applications with mobile phones and laptops via USB and 3.5 mm TRRS analog jacks. Additionally, desktop phones can be interfaced using the RJ-9 telephone handset connector.

All components are configured and controlled with Bose ControlSpace Designer software. The latest release, version 5.1, brings major new features that serve a wide range of audio installations. For conferencing, the new Conference Room Router and Conference Room Combiner tools automate system setup, drastically reducing design and troubleshooting time. In addition, version 5.1 includes drag-and-drop Dante programming, native support for all popular Dante microphones, Predictive Feedback Suppression, and Standard Room Combining. As well, ControlSpace Remote 2.2 software has been upgraded to support the EX-1280C and includes a dialer for creating a complete tablet-based user interface for conference rooms.

Drivers for popular control systems are also available.

In addition, Bose Professional’s wide portfolio of amplifiers and loudspeakers can be seamlessly integrated using convenient presets and digital audio connections.

Partnering with Avaya, Bose Professional has been recently selected for membership in the Avaya DevConnect program, where the ControlSpace EX solution has been fully tested for interoperability with Avaya’s Aura® Session Manager.

This compliance-tested solution with Avaya offers reduced network complexity, improved security and reliability, and shorter deployment time. Additionally, Bose Professional will have certification for Cisco later this year.

Certified web on-demand and in-person training courses are available today through the Bose Professional Education portal at BOSEPRO.LINK/EDU. For product information visit PRO.BOSE.COM. The

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BOSS announces the

GT-1000

BOSS announces the GT-1000, a premium amp and effects processor for guitarists. Designed for superior tone and exceptional musical response, the GT-1000 is the firstever guitar multi-effects processor with 32-bit AD/DA and 32-bit/96 kHz internal processing. Driven by BOSS’s latest custom DSP engine and filled with cutting-edge BOSS technologies, the GT-1000 delivers class-leading performance in a compact and lightweight floor-based unit.

The GT-1000 includes a wide range of expressive amplifier types, newly built with the comprehensive Tube Logic design approach behind the acclaimed Katana, Waza, and Blues Cube amplifiers. Also featured is the groundbreaking Augmented Impulse Response Dynamics (AIRD) technology, realized with BOSS’s extensive research into the complex component interactions in classic guitar amplifiers. AIRD provides new levels of performance when using the GT1000’s preamps with guitar amps and power amps, and

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previously unattainable realism in direct recording and full-range monitoring applications.Inside the GT-1000 is an impressive selection of world-class effects, with BOSS’s Multi-Dimensional Processing (MDP) on board along with advanced modulation, delay, and reverb algorithms from the popular 500-series pedals. Users can configure amps and effects with numerous routing options, and enjoy mute-free patch switching and delay/ reverb carryover thanks to the ultra-speedy DSP engine.

The GT-1000 offers intuitive editing and powerful control with a large display, 10 assignable footswitches, and an onboard expression pedal with toe switch. Via built-in Bluetooth®, users can edit and organize GT-1000 sounds wirelessly using dedicated apps for iOS and Android devices.

To learn more about the GT-1000 Guitar Effects Processor, visit: in.boss.info.

VOTED

BEST

DJ

SCHOOL

WWW.POINTBLANKMUSICSCHOOL.COM For course enquiries call + 91 22 6624 3200 or email admissions @ pointblankmusicschool.com

MUKESH AMARAN

ALBUM ARTicle:

MRINALINI MAHESH

One of the most common characteristic that is seen across most of our artists is the exposure to arts in a very young age. Mrinalini is no exception. Mini has been drawing ever since she was a little kid whose eyes fixated on cartoons as she explains how indebted to these characters. Disney and Pixar and even Miyazaki has found their way into Mini’s world, influencing her and shaping the way she approached art. In a way music also had a similar effect on her from her childhood. Having been a sucker for blues, she tells us how important all genres of music has been at making or breaking her mood. “though art and music have interestingly similar creative processes I have never intuitively understood the making of music in that sense and am constantly in awe of it, and its power over people.”, she says.

The most interesting thing about Mini is where she drew her inspiration from after deciding to make artworks for musician. Some of our homegrown heroes in the field of album art design in India were the artists

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she looked up to. “Acid Toad (Gaurav Basu), Anoop Bhat, Blank Found Creative and other artists began as a source of inspiration for me to bring together the two things I love and that shape my life. And it's for that reason I began developing multiple concepts as fan-art for musicians I love, to try and understand the directions and constraints involved in such a career.”

Mini looks into everything that goes into making the album or a song to create the artwork. She draws out the intricacies and involves herself with the musicians, the album, the music, the story and the overall journey and tries to capture it through the artworks. “My work is intended to be pop, outrageous in a way, bold in expression”, she tells us about her style and approach.

A musician’s work is auditory, the album art is the visual book cover that draws the crowd towards a band in many ways. A sort of layer that mimics not just the music but even the musicians involved to an extent. A light gateway drug to heavier doses that the music will provide you with.

MUKESH AMARAN

Gig Calendar SEPTEMBER 2018 DELHI

MUMBAI

Sept 7th

The Backyard Shrooms

The Pianoman Jazz Club, New Delhi

Sept 9th

Chaar Hazaari

The Pianoman Jazz Club, New Delhi

Sept 13th

Safar

Hard Rock Café, New Delhi

Sept 14th

Alex Stein

Kitty Su, Delhi

Sept 15th

Lucia

The Pianoman Jazz Club, New Delhi

Sept 20th

Short Hand

Hard Rock Café, New Delhi

Sept 21st

Kitchensink

The Pianoman Jazz Club, New Delhi

Sept 29th

Soul Sessions with Vasundhara Vee

The Pianoman Jazz Club, New Delhit

GURUGRAM Sept 9th

Dhruv Sharma

Saints N Sinners, Gurugram

Sept 14th

Frisky Pints

Saints N Sinners, Gurugram

Sept 16th

Prats

Saints N Sinners, Gurugram

Sept 26th

DJ Ami and Starika

Saints N Sinners, Gurugram

Sept 29th

Big Bang Blues

Saints N Sinners, Gurugram

KOLKATA Sept 20th

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Nikhita Gandhi

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Hard Rock Café, Kolkata

Sept 7th

The Vijay Project

Flyp at MTV, Mumbai

Sept 8th

Andrew Thomson

The Quarter, Mumbai

Sept 9th

Aswekeepsearching

The Habitat, Mumbai

Sept 22th

Matt sassari

Kitty Su, Mumbai

Sept 27th

Hanita Bhambri

Hard Rock Café, Worli

Sept 27th

Shayok

Hard Rock Café, Andheri

Sept 8th

Rainbow Bridge presents Sanjeev T

Fandom, Bangalore

Sept 13th

Aathma

Hard Rock Café, Bangalore

Sept 15th

Nine Lives

Hard Rock Café, Bangalore

Sept 15th

Perfect Strangers (Album Launch)

Fandom, Bangalore

Sept 22nd

Pablo Valentino

Hard Rock Café, Bangalore

Sept 27th

Donn Bhat + Passenger Revelator

Hard Rock Café, Bangalore

BENGALURU

HYDERABAD Sept 28th

Capricio

Hard Rock Café, Hyderabad

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There are no better monitors of this size, it’s as simple as that Andy Jones - Music Tech

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