The Score Magazine September 2019 issue

ISSN 0974 – 9128

Vol 12 Issue 09 September 2019

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INDIA'S NATIONAL PAN-GENRE MUSIC MAGAZINE

Band of the month

PARADIGM SHIFT Up close and personal with one of the oldest Indie bands in the country In conversation with

ESTONIAN BAND

TRAD ATTACK On their music, plans for India and more.

TANISHK BAGCHI COVER STORY

An exclusive interview with the young and talented music composer Also inside: Indie Reviews, interview with Chabuk, How to record vocals in Pro Tools and more

inside

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ON THE COVER

TANISHK BAGCHI IN CONVERSATION WITH

ESTONIAN BAND TRAD ATTACK

INTERVIEW WITH

CHABUK

BAND OF THE MONTH

PARADIGM SHIFT

READ ON

HOW TO CHOSE THE RIGHT AUDIO INTERFACE

READ ON

HOW TO RECORD VOCALS IN PRO TOOLS READ ON

MASTERING WILL NOT SAVE YOU

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 Navya C Mukesh Amaran Souvik Chakraborty Aditi Sarawagi Kausthub Ravi

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KADAMBARI SRIVASTAVA

tanishk bagchi 12

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You have revamped the old numbers and given them a new flavor. From where does the inspiration strike?

From everywhere. I get inspired everyday in a way. Have been a hardcore AR Rahman sir fan since childhood, and now with so much good music brewing all around everywhere, Its great actually. Also, I do infuse my flavour in my songs, Which gives it the Sound of Bagchi. When I recreate a track, I try to keep the essence of the original alive and then add my vibe and style to it. I focus more on the production and arrangement aspect of the song to be recreated and leave it to the audience and God to validate. I don’t do recreations with any intention because for me, music is my life and recreation is a genre by itself. I am glad people are linking them. I am doing a lot of original songs as well.

Does it ever bother you that the fandom of the original tracks may not like the new version?

Well honestly No. Since my first recreation, I have noticed two sides of the coin, One who would like the original and One who would prefer the new recreated version. With time I’ve noticed, the later is more and ever-growing. I’m actually humbled by support and love the nation has given to recreations. Constructive criticism is good as it helps you get better. Every field of work would incur some sort of criticism, we should take it positively and go ahead. It’s an era where people are evolving and more open to new the new sound. I try to incorporate an urban feel and vibe to the song as we’re also catering to a new generation who love their music new age also keeping up with the trend that’s on. Keep doing good work and your critics will eventually turn into your fans.

Your most remakes feature Neha Kakkar and Badshah, an invincible cocktail of yours. Most of the times it works too. Any specific reason you go for these two?

They Both are Fantastic artists. Neha is unparalleled.

Everything about her singing is spot on, Hence the amount of hits we have together. Her Voice cuts through heavy audio production seamlessly, hence making it sound even more impactful. Especially when you consider high energy dance tracks. Badshah is an amazing artist. I feel his rapping and writing skills are par excellence in the Industry now. When he comes to the studio, he is not Badshah, he is a fellow music lover who is passionate towards music and wants to create magic. So there is no specific reason but who would not love to work with people who matches their vibe. Also, Neha and Badshah are very popular and enjoy massive fandom amongst their fans as well, which also helps. Besides being brilliant talents themselves, Neha and Badshah definitely get a lot more on the plate, that’s the reason being where they sit right now as Indian Artists. They’re energy is infectious as well, the kind of energy these 2 can infuse in a Track is unmatchable. Hence, love working with these 2.

Humma Humma was a cult. Plus, it was Rahman’s creation. You had to live up to huge expectations in your first recreation itself. Were you nervous?

Oh yes absolutely. With such Huge shoes to fill, Its definitely a little nerve wrecking when you’re working on a Rahman Sir track. The treatment i gave to the recreated version of Humma was approved by sir himself, So we did get some confidence pre release. Humma did eventuallybecame extremely popular right from the day of the release. It got all the positivity from everyone, the listeners, audience and even the industry people. Jubin, Shasha Badshah sang

it really well. Azeem dayani, who’s worked along with me on several songs as a music supervisor, did a super job in this song as well. The love it garnered was unreal. So glad, people liked it. As I mentioned before that I am a huge fan of AR Rahman sir, I wanted to make sure he loved it and Shraddha and Aditya also did a fabulous job on it.

Three years later, you have recreated another iconic song, Tip Tip Barsa Paani which we’ll get to see next year. Can you share some tiny, juicy detail about it? The Juice will be out soon, You’ll be able to feel / listen

/ Sway / Dance and Juice away once it releases. Haha! All i can say is, I have tried to do justice to an Epic track. Tip Tip has taken a great shape. Azeem Dayani is the Music Supervisor for this song as well. This is one magical iconic track, and our version is a fine mix of the new era while keeping the original vibe of the song alive. I hope people will shower it with as much love as they’ve always. I have done something very different with this track and cannot wait for it to come out.

Out of all the songs that you have recreated, which one is your favourite of the lot, and why?

Aankh Marey has to be the song. From the Making process, to the success, It was a wonderful ride. Once again, this was a collaboration with my brother Azeem Dayani. We spent over a month making it. Finally the version we were the happiest with released, and the rest as you say is History! Everything worked for Aankh Marey I feel. The audio which we made, the production angle of it. The quirks we used in the end with the voice overs, then The legendary Kumar Sanu coming in the last paragraph as the right icing on the cake. Mika and Neha also put life to the song. Visually too the video looked incredible, Ranveer singh with his infectious energy, sara did a great job and it was so well shot by Rohit Shetty Sir. Not to forget Karan sir also coming in with a small VO right in the beginning of the song. All of it made Aankh Marey phenomenal. It also reached to 1 Billion Youtube views the fastest as well, I’m guessing. The whole energy of that song with the Golmaal cast in was also like an added bonus.

Is there any song which you will never recreate, for any reason?

Kehna Hi Kya by Rahman sir mostly. I feel that song shouldn’t be touched. Its perfection. K.S. Chitra ji has sung it so beautifully. It’s an incredible composition, unmatched arrangement and overall a brilliant track. It’s that kinda a track which would give you goosebumps. I’ve been an ardent follower of sir since childhood and this song has been a real inspiration. This shouldn’t be recreated.

You have some really cool original songs as well. So, when can we see your next single or original coming up?

My First Single “Khudse Zyada” as a Composer / Producer / Singer and Lyricist as well is out under VYRL Originals, an entity of Universal Music. It is an Alternative Pop Sounding original, also co sung by the very talented Zara Khan. We shot it in the beautiful Sydney, and I’m also featuring in the video. I cannot thank the audience enough for the love they have given me for my first single. I am a romantic at heart and this is a song I personally would love hearing everyday. I was waiting for the right song and the right time for releasing my first ever single and it could not have been better. I assure you many more things are in pipeline and this is just the beginning.

Also in 2019, few facts and figures as per streaming platforms and YouTube suggest that the most successful independent song this year has been Vaaste, an original composed by me.

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Also the successful film song this has been Ve Maahi from Kesari an original composed by me and sung by Arijit Singh and Asees Kaur. These 2 are very close to my heart as well. And I’m glad they’ve been accepted well by all.

Speaking of originals, Yeh Sindoor from Mission Mangal was a heartfelt rendition. How do you switch, from a spirit of zing and tap to that so serene and create something so powerful?

That’s the Real Bagchi. haha.

Spirit of a Zing is what the world demands and I deliver, But my expression is Sindoor.

My expression is Ve Maahi and Bol Na. And i’ll keep on doing such originals, because they are extremely important to me. I like to explore versatility, that’s what gets me going I believe. Yeh Sindoor is my ode to the Indian women and is a very different composition altogether. It will always be close to my heart.

You made Suniel Shetty and Raveena Tandon come together again and groove on Sheher Ki Ladki. How does that make you feel, considering it was your composition of a legendary track featuring them in the original too?

Oh, it feels great and nostalgia just kicks in which I am sure has happened with the audience as well. Sunil sir and Raveena Mam still look so fresh and rocking on screen. I had a great time making Sheher ki Ladki alongside Badshah as well. There was a lot of support from Bhushan Sir, Shivam and the entire T Series Team which made the whole process much easier and smooth.

Any scenes of ever coming on the screen and not just behind the mic?

Like i said, my first single where Khudse Zyada is where I’m featuring in the video.

VYRL originals support the fact that artists who create the Song the Music, should be a part of the music video, which I feel is great, they convinced me to be a part of the video as well and I am so glad they did.

It is very rare now days for the singer to feature in the video as well as in a lot of instances

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they might cast professional models or actors in it. But It was a whole new experience for me but I can say that I am not different from the character I am playing in the video. I have tried and kept everything very natural and the guy you see in the video is the same Tanishk Bagchi. Also thankfully have received all positive responses for then video along with the song as well. Lined up are a few more singles where i’ll be in the video as well. So yes, screen plans this year for sure.

You are from one of the most creative cities of the country, Kolkata. It is said that in every Bengali household, creative arts flow by default. Is it a stereotype that you’d want to bust or a quality you’d like to embrace?

Music has always been around me and in me. Music was been a part of my upbringing and runs in the family. My Dad and Mom come from a musical background. My dad has been making music with RD Sir when I was a kid, so my growing up had a lot of Music. It was like a routine for us so probably that is why I didn’t realize what kind of gems I had in my parents.

I would like to say that I have happily embraced this quality and feel blessed to be born in a family filled with music lovers.

Which is one recreated version of yours which you thought would break the charts but didn’t?

I think Khadke Glassy recently.

I had more expectations from it but It did decently well.

The song, according to me was arranged for the right flavour of the season, also it had Honey Singh’s rap in it and we all are aware what a talented musician Honey is. We did get good support from everyone for this one.

Have you ever worked under pressure and given a composition which you thought could have been much better than what it originally turned out to be?

No, because, under pressure nothing really comes out great.

We have timeline pressures, which can be really taxing sometimes as deliveries need

to happen before shoot etc, But in my case if I’m not totally satisfied, I buy that little extra time to send my best effort ahead for a song. I am extremely particular about the treatment I give to my songs and do not like to compromise on the quality.

Cause that’s what would would make the song stand apart, as production is my strength and I want play by it by producing the song to the best of my capabilities.

Which is the best filmmaker and actor-actress to work with? What are their qualities which you look up to? It

is very difficult to answer but to name a few, Anand L Rai, Karan Sir, Mohit Suri are one the best Film makers I have worked with.

The kid of support they give you makes the whole process so easy and they make you feel like you belong here. Coming to the actors, SRK Sir, Varun Dhawan and Ranveer Singh would be my favourites. They have this certain energy in and around them which I really like and they are a few of those actors whom one looks forward to work with.

Any funny anecdote that you can remember while creating any of your compositions?

Hahaha the list of funny anecdotes is endless. In my studio, its a laugh riot. In session breaks, we are always cracking jokes and chilling over Chai breaks. That’s what makes the song making process incredibly amazing and fun filled as well.

Today’s generation wants to achieve everything too fast too soon. They are not very receptive to failures. What would you say to them?

Keep trying even if you fail, Rome wasn’t built in a day. My suggestion to the young generation would be to set a target and reach it no matter what happens. It will definitely take time but I can guarantee it will be worth the wait. The more time you take to achieve success the more you would value it. Let success take it own sweet time to come. Every failure is another learning step, learn from it and move on.

Who’s your celebrity crush?

Penelope Cruz!

What do you like to do, when not immersed in the world of music?

I love spending time with Family. I am a tech freak so I like researching on new Gadgets and gears in the market. Trying my hands on new software’s, and new sound tools are also my favourite past time. Watching movies also sometimes.

Do you read? Which is your favourite book and favourite author?

Not an Avid reader.

What is your mantra which gets you going even in the worst of days?

Be Positive. Think Clear. Don’t over think.

If you could possess one superpower, what would that be?

Oh I would love to have the superpowers of Dr. Strange. How cool would it be to manipulate forces of the universe.

Who is your favourite singer from the decades gone by, starting as far early as you can remember?

Kishore Kumar has to be my favourite.

He has been an inspiration, not only for me but for our whole Nation, Every budding singer and even the Bollywood industry. He’s an Icon who people would look upto even in the future.

And favourite composer? AR Rahman Sir. My love and respect for him is quite evident in this interview. He’s a class apart and I feel his creations are immortal and would live on forever.

Any parting message that you’d want to give us, using a line from your own composition? Tujhko “FAN” Bana kar le jayenge, Badri Ki Dulhania!

rapid fire 1. The Humma Song or Tamma Tamma Again - Humma 2. Ranveer Singh from Aankh Marey or Kangana Ranaut from Wakhra Swag - Ranveer - Aankh Marey 3. Kishore Kumar or Mohd Rafi - Kishore Kumar 4. 90s or 2019 - 90’s 5. Thanos or Joker - Joker 6. Superhero or Supervillain Supervillain 7. Singing or Composing - Singing The

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SMART PIANIST

No matter what the song you play. The only app for you.

Have you ever tried to figure out what the chords are to your favorite songs?

Smart Pianist app for iPhone/iPod touch/iPad helps you practice and perform songs by analyzing the audio song stored in your iOS device and then displays the chord symbols for you.

And also Smart Pianist allows you to control the many functions included in the piano with your iOS device, for even easier operation.

A variety of piano lesson pieces

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.

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

Backing band accompaniment that you can sing along with (CSP Series only)

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.

With the app, you can play back song data such as Preset songs and commercially available songs.

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) 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.

Play your favorite songs right away with chord progression

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.

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How did you two come together from different backgrounds?

We both met when we were a part of The Raghu Dixit Project, and our common love for Bollywood is what cemented our friendship, and ultimately led to the formation of Bryden-Parth.

A lot of times when we would just jam together in our hotel rooms, and somewhere along the way realised that this common passion, and the chemistry we shared, had potential.

Essentially, the duo is Bryden's many years of experience in the western music scene, heavily influenced by gospel harmonies, along with Parth's keen understanding of the Indian Classical music scene, presented in a contemporary way.

How would you describe your music to someone who has never heard you?

Our music is a product of Bryden’s roots in Gospel music and harmonies, and Parth’s background in Indian classical music—as a friend once put it, it’s like Bollywood Church. And we loved that description!

Our live shows are a total party, which they’re bound to be when you have 16 people on stage! We perform with a sevenmember band of some of the finest musicians in the city, as well as with The Choral Riff, an ensemble choir comprising of some of the best vocal talents of the city, which lends a harmony section to the shows, along with a unique theatrical element.

Talk to us about your music making process we just meet, play it to each other, and let the process take over from there. We jam, and the tune eventually evolves into a song.

What’s your take on the current scene in your space ?

There has never been a time where musicians have had more opportunities. With the advent of social media, literally everyone has a platform and it’s become really easy to put your music out there for people to consume and share.

For the same reasons, collaborations also happen a lot easier than earlier, both nationally and internationally.

Your favourite stars are literally a message or a tweet away, and amazing things can and have happened.

But the downside now is that people have begun validating themselves, and others, based on the number of likes and comments they receive, which sometimes throws things off track. It can lead to a lot of disillusionment too, especially amongst creative professions.

As long as you remember to serve the music first, and that everything else is secondary, you should be fine.

Artists you’d love to collaborate with.

Bryden- Clinton Cerejo. He’s my favourite producer in the country, and always has something fresh to offer, in any genre. I love his musical sensibilities.

Parth- Amit Trivedi. He is one of the music directors Bollywood has had.

Describe your tech set up Bryden- My setup is rather simple. I run my guitar into a Fractal Audio AX8 floor unit going straight into the board.

I don’t use an amp, and now that I use In-Ears, I don’t see the need for an amp. My sound engineer is very happy!

Parth- I run my flute through a vocal processor which is the Voice Live 3 Extreme, which I use mainly for effects like reverb and delay.

I use another vocal processor for my alto saxophone which is the Boss VE-20. I use this mainly as a harmoniser.

Tell us about your upcoming projects We’re currently gearing up for show season, which is going to get hectic very soon, and simultaneously spending time in the studio working on our debut album, which is scheduled to release soon.

Interview with

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YAMAHA MUSIC INDIA PVT. LTD.

P – 401, JMD Megapolis, Sector – 48, Sohna Road, Gurgaon Haryana – 122018, India Tel: +91-124-4853300 Fax: +91-124-4853301 Email : support_in@inquiry.yamaha.com

in.yamaha.com

In conversation with folk party band from Estonia

TRAD ATTACK

Tell us how the trio came about In 2014, I (Sandra, bagpipe player) and Jalmar (guitar player) felt that Estonia needs one instrumental hardcore folk party band. So we decided to make one.

The idea was to make this party band and make no rehearsals and only few concerts in Estonia. But the reality turned out totally different - we made lot of rehearsals and on our first year we already started to tour internationally.

How do you describe your sound to someone who has never heard you before?

Estonian folk traditions meet rock n roll and pop music.

Tell us about your song writing process We have different approaches. Since we are using old archive recordings, sometimes we get inspiration from the recordings and create our own music around it. But sometimes one of us has some kind of musical idea and we start to develop it further.

How do you make music in general? What are you inspired by?

We are inspired by so many things! Of course from the old Estonian folk music, but also some classical composers (for example Arvo Pärt). We also listen to lot of pop music Coldplay, Mumford and Sons, Muse etc.

But making music can also be inspired by some other source - for example when I go and run in the new city or when we see some theatre play etc.

We see many of your songs are inspired by different things such as soft butter and grandmother sentiments. How do you pick your themes?

Yes indeed we have topics from very different areas.

Actually we are looking for interesting and inspiring archive recordings and the topic is not always important to us. Because everything the old folksingers sang about was really important to them.

Tell us about your musical equipment used for your music?

We have our acoustic instruments - Estonian bagpipe, whistles, Jews harps, 12-string guitar, and drums. And then we also use different effects for vocals and lope station to loop the guitar and to playback the old archive recordings.

What are your plans for India?

We would love to come to India! By the way one of our songs (Precious Cream) has been played in India when Sanda and Jalmar where participating at INDIA ETHNO folk music camp. There we thought this song and all the people sang it.

In 2016 we had already plain tickets to one of the showcase festivals in India, but the one week before the departure this festival got cancelled. Currently we have been talking with different organizers and we hope that soon something works out :)

Upcoming projects The main project we are working at the moment is our new album which will be released in Spring 2020. But we are also touring and next concerts will take us to Finland and Taiwan.

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SHREYA BOSE

CHABUK When Chabuk breathes rhythmic fire about abusive husbands eventually murdered by the victimized wife, are they giving way to a collective anger about the world?

They say they’re just being authentic and having some fun.

Undeniably one of the most intriguing bands to emerge out of the country’s indie sound-glut, Chabuk rap-sings about interesting (code for depressing) things. They do it really well too, combining rage and quirk in their new 4-song EP, Downmarket. The music is wildly memorable, with some rather highly quotable lyrics.

Chabuk juggles rock (and maybe a few shards of early punk) judiciously, brewing sounds both teasing and explosive. They have already managed to strike a pleasing balance, without compromising on intensity. One can safely hope that they will continue to offer melodic revelations, which is why we waved them down for an interview.

What's the worst thing anyone can say/think about you music?

Tanmay: 1. Vocals sunai nahi de raha. 2. You guys sound like the Indian version of… (insert band name) Deva: “Yeh kaise lyrics hai. You should be writing about things like being away from home, missing your mom… aisa sab. This would connect more with listeners.”…true story.

Why Chabuk as a name?

Tanmay: We were chilling at Jimis Burgers – a bunch of names flew around.

Can you believe it, none of these guys knew what Chabuk even meant?

Deva: Selecting the band name took a while. “Chabuk” was one of the many thrown in the mix. It seemed apt for our sound and the stuff that we had to say…it had a ring to it.

Do all the anti-establishment lyrics point to an inherent cynicism and exhaustion in the band?

Tanmay: Aapke sawaal mei kitna dard hai. Do you want to talk? Hum toh masti mei hai.

Deva: I don’t think the lyrics are anti-establishment per se. It’s quirky, not to be taken too seriously approach to various situations.

What is your origin story?

Tanmay: Okay, so Ashwin (Drums) – Melroy (Bass) – Mikey (Guitars) and I was on vocals. I knew Ashwin, Ashwin knew the rest. That’s how we came together. Ashwin left replaced by Devanshu. Melroy left - replaced by Roop. Mikey left – irreplaceable so far - but we have Raja currently filling in on all live gigs. Only after we make a couple of songs with someone new will we know if we finally have all elements in Chabuk on a lockdown.

Would you rather play for 5000 people who don't pay attention to the lyrics but love the riffs or 500 people who come to you specifically for the words?

Tanmay: I don’t think there is anyone who does not pay attention to the lyrics – they might not like it, but its in your face (as long as the mix is right) – You will form an opinion.

But if I have to answer the question - I would do a acoustic home session with 5 people who care about what is being said.

Deva: 3,000 people, with a healthy mix of both.

Does music like yours still have the potential to incite change? Or do you do it for the purpose of expressing disappointment/cynicism?

Tanmay: This is my kind of feel good writing. Maza hai.

Angaar hai. Chakho toh sahi.

Deva: We’ve discussed this.

Idea is not to be preachy.

So I suppose more of the

latter, but not limited to disappointment/cynicism.

Most of you have been around the indie circles a while now.

Any wisdom you'd be willing to reveal to newcomers?

Tanmay : You should stop the minute you think “baaki sab bewakoof hai”.

Deva: Lage raho.

How often do you get frustrated with the process of making/ releasing/promaoting music?

Tanmay: Never. I just wish we all practiced more. Talent aasaan hai, consistency is everything!

Deva: Every once in a while.

The shortening attention spans can make it difficult to reach out to as many people as one would like to – be it listeners or people from the scene.

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REVIEWS

SHREYA BOSE

INDIE

Elephants on the Beach (Angad Berar): What is the difference between self-exploration and escaping from a shattered world?

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Angad Berar explores answers, perhaps inadvertently in his debut album through a haze of viscous soundcraft and inward-seeking ideology. Cast out of solitary inspiration Berar received while ambling in and around Goa’s Anjuna Beach, the album is a call to return to the self and for just a moment, let the chaos pass you by.

He samples the words of iconoclasts like philosopher Alan Watts, Jamaican spiritman Mooji and scientist Albert Hofmann who discovered LSD. The music is meandering yet exact, goading and nudging the listener into self-discovery.

Hazy Light, Sunlight lets guitar strings bloom gently as they cradle the words of Hofmann: “If you have open eyes, you may see the world in a different light. You see it as it really is.”

The puzzle fades into the murmurings of a housewife who took LSD as part of a 1950s experiment and pierced the veil of mundane everyday to discover unbearable beauty. Diving is built around Mooji’s exhortation to sit with one’s discomfort/agony/ void - to have a chat with “what it is that is burning”. He is framed in lustrous guitarwork that blows a kiss and a wink to Khurangbin and 60’s psychedelic spontaneity.

AstroKnaut plays with melody and dissonance - seasoned Steven Wilson fans may detect a whiff of Voyage 34 Part I. The music moves in and out of grandeur, often lapsing into quizzical sounds

that hint at bewildering, perhaps beautiful mayhem. A carefully cultured madness consumes the world, and eventually seeps into vaulting chants that invite peace and resolution.

What the story is about, you’d have to ask the creator. Or better yet, invent your own.

Svara is sombre, and Moonlovin’ dials down on creating wonder.

Infact, that is what the album inherently tries to do - give the listener a sense that there is joy and being okay-ness in the mere fact of existence. It’s a tall order, since the world seems bent on giving us reasons to despair. With songs like Dreamstate and Anjuna, we are gently reminded that there is space between our breaths, and within the space is the closest we can get to perfection.

Between Dione and Mimas presents a fascinating play of sonic textures. Instead of complementing and garnishing the guitar (as done in other songs), the other musical elements emerge in their own right. The familiar comfort of Alan Watts’ Falling Into Love is carved with an intuitive interplay of tones, reflecting the subtle energetic exchanges that keep the universe in play.

Elephants on the Beach is both guidance and revelation. You can certainly come to it with a desire to seek answers, but it is best approached with a simple openness and willingness to rest.

Berar asks for very little: just settle into yourself as you are now, and let the music take you.

A pithy but perfect summary of his intent can be sought in what The Beatles recommended in Tomorrow Never Knows: Turn off your mind relax and float down stream It is not dying, it is not dying Lay down all thoughts, surrender to the void It is shining, it is shining Yet you may see the meaning of within It is being, it is being

Euphony (Heat Sink): Euphony is a long song. Ostensibly fleshed into four pieces, it stretches a singular sentiment into genre-based variations while staying true to a fluttery, almost amused meditation on personal chaos.

The EP starts on strong footing, with Time Lapse showcasing serious experimental intent. Familiar jazz arrangements morph into turbulent time signatures; quicksilver riffs both intrigue and confuse the listener. The instrumental arrangement smells of barely concealed turbulence, held in place with Meera Desai’s diaphanous voice bends and winks to reveal a dark, disconcerted mind.

Easily the most ambitious piece in the EP, the first song sets high expectations which mellow out in subsequent offerings.

Impulse is intensely personal - a saga of loss and confusion.

Emboldened by a melodic arrangement built on subtle, skillful acrobatics of technique, Desai channels a jazz club siren from the 50s, singing her grief in luminous dulcet despair.

I’m Lost is a bit of a strange child, paring back the ambitious arpeggios in favour of a steady rock ballad that harkens crowd-pleasers from the year 2000. Led vocally by Protyay Chakraborty, it is a solid slab of good soundcraft, but is a definitive departure from the more cerebrally and sentimentally engaging aesthetics.

The fact that Protyay’s vocal potential was wasted on I’m Lost is clarified in Dark Light, where he demonstrates impressive vocal diversity. The instrumentation returns to its earlier aspirations, especially in the form of a poignantyet-playful guitar solo. Thematically, the album’s worldbuilding dives into anguish as the vocalist dwells on the harrowing nature of happiness (or rather, the pursuit of it).

Synapses at Work 2 (LAYER Music Project): To convey an idea without words can either be astonishingly effortless or difficult to the point of obscurity. One isn’t sure which polarity LAYER Music Project’s work exists in, mainly because the philosophical intentions posited by the artist are barely detectable in the sound itself.

As a collection of prog-synth pieces, the album is fairly fit for dance-ridden nights. There ain’t much need for technical analysis; it's catchy and you gyrate to it.

However, the artist claims that the album is borne out of his intellectual acquaintance with Socrates, Kant, Plato and their ilk. In fact, the concept, as described by the artist reads like a narcotic-charged mindspatter: “The philosophic stop overs. We saw a big tree and found Socrates speaking with himself. His words seemed floating in the air. We saw a river and saw Plato weaving tapestries out of these words. We saw a garden and saw Aristotle lying on the grass leisurely denying our presence. Then we saw a building which looked like a school helmed by a principal named Kant.”

The music, however, does little to indicate such inspiration.

Which platonic idea does Time and Space play with? Is the artist attempting a Socratic dialogue/debate with The Stoic Calm? One has no way to tell, since nothing but familiar house beats appear in the album. Chants of “Jaya Jaya Shankara” in State of Shankara sound abrupt, imposing but out of place. No underlying truth is made apparent.

The artist apparently attempts a communion with the listener’s mind and curiosity with his subject matter, but if there is an idea to be explored, it is hard to detect.

One is not intrigued, only superficially amused.

Distinctively, the album uses sprightly major chords to depict (or disguise?) agony. What begins with personal loss and lamentation transforms into a semi-stoic realisation on enduring existence. On the other hand, the instruments giggle and croon like they belong in a jazz club serving joyful artists in the Roaring Twenties.

Undoubtedly, Euphony is a celebration of thinking minds. The effort and innovation is apparent, and upholds Heat Sink as worthy of long-term attention.

While they might have slipped into safer lines midway through their narrative, founder Chirag Todi and compatriots have given you something to mull over.

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NEHITA ABRAHAM

THE HALLS ARE ALIVE WITH THE BONDS OF MUSIC An elderly man, in the throes of late stage dementia, sat slumped over a wheelchair, unresponsive. When the nursing home staff gives him headphones and play familiar music from decades before on an iPod and he literally comes alive. He sits up, smiles, begins moving his head and hands and effortlessly sings the lyrics to songs he hasn’t heard in 40 years.

for activities such as moving to the kitchen or dancing together to Mom’s or Dad’s favourite tunes!

Yes, it is true that memories fade away as our parents or grandparents reach their senior years. And although that can become tough on us emotionally and mentally, the answer to bonding with them, lies in the simplicity of a song.

“What is so powerful is that we can use music to maintain relationships when we lose our words,” says Dr. Alison who sings to, and with her patients, some of who have dementia. “Caregivers have cried when they’ve told me they’ve sung with parents. They say, ‘I got my mom back that day.’ These are some of the most important moments in their relationships.”

Music triggers pleasure points in the brain allowing us to recall good feelings, and at the risk of sounding like a movie promotion, The Sound Of Music movie definitely proved this point with its song tales of individual and family oriented reunions.

Music Is Good For Your Family’s Health The tempos and types of music can reduce stress and agitation, prompt word retrieval, calm and motivate, lower blood pressure and heart rate, and even control pain.

Researchers find changes in neurochemicals when families either hear music they like or sing, chant, or play instruments. To put it simply, music activates or motivates the pleasure centers of the brain.

And don’t forget memory. Music helps in recalling memories, which is really important for family members who are starting to lose their memory. According to Concetta Tomaino, a music therapist, researcher and cofounder of the Institute for Music and Neurologic Function, “even at the end of Alzheimer’s, people still have recognition memory. If a person has a connection to a piece of music it’s usually because it reminds them of a person, place or time.” They might not remember your name or the experience, but they associate it with something special.

What You Can Do Experts advise caregivers to play for older generations when they were younger children/teenagers. Any favourite pieces or singers, show tunes, opera, pop or classical can bring back sweet times. Dr. Theresa Alison, a musicologist at the University of California, San Francisco, says her research shows “music works best when it is familiar and beloved.”

She encourages the families of her patients to sing with them on a regular basis. “Morning care is much better when singing than bossing them around,” she says. She advises to play quieter music when they’re walking up, and then picking up the tempo

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Music triggers the brain for non-dementia conditions such as Stroke, Parkinson’s and Huntington’s.

Bonding Through Music

Turns out that it was indeed the power of music that brought her closer to both her mother and grandmother, who had suffered from dementia. At the end of her mother’s life, Dr. Alison sang to her and played music. In the end when her grandmother could no longer talk, they sang together a song she had taught Dr. Alison as a child. “It was amazing,” she said.

Instead of recoiling or feeling sorry for those that can't recall events or information, just play a song or sing with them and enjoy long lasting bonds that won’t break through music.

ADITI SARAWAGI

8D AUDIO

Music is ever evolving as is technology and when both of these come together, they literally create (sound) waves! 8D Audio has taken the internet and music world by storm and there is no escaping it.

Technically you only have two real sound sourcesthe left and right earphone, but 8D audio makes it seem like the origin of the sound is above or beside you. It resembles the feeling of being present at a live concert with you swaying to the music all around you!

8D audio is basically an effect applied to a soundtrack where it is edited to make it seem like the audio is moving in a circle around your head and this experience is mainly effective with earphones.

It gives an impression that the audio is coming from different directions and different distances.

Sometimes, different echo types are combined with this and the experience becomes completely immersive.

Some credit to the increasing popularity of 8D Audio can be given to VR games, 3D installations and 360° videos which have become dependent on full-immersion 360° audio. This is where 8D audio comes in. The most popular audio standard for such tunes is Ambisonics and a number of professional level tools are available to audio engineers these days. Ambisonics is a method for recording, mixing and playing three dimensional 360° audio. The format used is a 4-channel format called Ambisonics B-format, which uses only four channels to reproduce a complete sphere of sound. It spreads the sound evenly throughout the 360° sphere. Along with the horizontal plane, it covers sound sources above and below the listener as well.

There aren’t any actual 8D recordings but it is basically 8D mixing of pre-existing recordings or songs. 8D music creators use various software’s to

manipulate a song’s different stereo parts, moving and positioning them within a virtual 360-degree space. Many pop, hip-hop and rock songs have been remixed in this format like Thunder by Imagine Dragons and Castle on the Hill by Ed Sheeran along with a virtual barber shop 8D audio piece which have become sensationally viral.

This technology has existed since the 1970’s but never really took off until now where young millennials have created 8D audio sounds with the help of various software’s. This viral trend has made a success story of a number of young millennials.

The most popular 8D channel is ‘8D Tunes’ which has more than six million subscribers and around 200 million total views. Another popular channel is Trillion with around two million subscribers.

There have been numerous reactions to 8D audio.

Though some people find it distracting, some people say it is similar to a feeling of an ethereal high. Some reports have also come in where people have claimed it has helped them fall asleep and calm down their anxiety as well. Others claim that 8D audio is an out-of-body experience for them, actually helping them forget their physical pain. It has become almost therapeutic for some people-be it relaxation, or sleep. There is no scientific evidence to prove the connection between these binaural beats and physical relaxation, but the responses by listeners make it hard to deny the positive effect of 8D audio.

With software’s becoming increasingly easily available and the frequent launch of new social media mediums, 8D Audio is the latest viral trend which looks like it is here to stay. The technology is getting more and more sophisticated with every passing day and listeners sure look like they are in for a treat.

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Band of the month

If you had to talk to an alien life form about your music, how would you begin?

We would just start performing because we are sure they would understand our music.

Talk to us about your emphasis on album art For us, as a band, right from the first album, we have always given lot of importance to album art because we believe that when you present a song or an album which has a few songs, it has to be presented with visual content that goes along with it just to enhance the story you are trying to convey with the songs. It’s not always that the lyric of the song would be translated to exactly how we intended to write it.

We in fact, won an award for our second album artwork, the only award for that matter (Laughs). We submitted ten artworks for ten songs while others submitted just one and that’s why we had an upper hand.

Visual art is extremely important and if it’s tied down beautifully with the songs, it takes the story forward very easily.

What in your opinion would be the greatest compliment someone could pay to your music?

We get it! That would be the biggest compliment. It’s not very straight forward and if someone understands, it’s amazing!

We have received a lot of messages from people saying it makes their day, our music picks them up when their down and things like that mean a lot to us. If our music touches people’s lives in any way, we have done our job well.

What would you say is the best condition for a band to be inspired to create more music?

Being together geographically is very important to us! All of us except for Ajay stay close by and the distance really helps us create music.

Also, being starved every now and then with respect to creating something new. We all like pushing and challenging each other. We all come with a different set of inspirations and that really helps.

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RAPID FIRE What’s the closest you came to giving up as a band

We haven’t yet!

Maybe next year ask the same question (Laughs) Best venue you’ve performed at and why

Sound wise Harman Live Arena! It sounded too good!

It was spectacular.

It was the only show where we got off stage and were like ‘WOW’.

Venue wise our gig at Trivandrum was incredible! When we went to the venue, they asked us to ensure nobody stands during the show. We were like “How’s that possible, it’s a rock show”.

Kaushik went on

the mic and said “Apparently this is a satsang and you all have to be sitting down. We are going to have fun on stage and if you want to join us, please feel free”. After the first song got over, everyone were sitting down and clapping. Suddenly, when I announced the second song, after we started, four people stood and that was it!

One band you would give anything to watch live Tool…

Name three venues you’ve performed at in order of preference 1. Razzberry Rhinoceros

2. Shiv Nadar University

3. IIT Bombay

If there is one thing that puts you off as a band, what would it be?

The rise of commercial music and also not being able to gig that much. At the end of the day, we are a band that has invested lot of time and money into our music. It has been ten years in the scene and if we can literally count the number of shows, then there is something wrong with the industry. That’s what puts us off! We have invested a lot of money in the gear we use, we have really spent effort and money. We do feel we should be paid for it. People usually get a little paranoid about taking us on a gig due to this.

rapport with Harman, we spoke to them and asked them if they would like to come on board as our Audio partner. They were kind and came on board and provided everything we needed on stage. The vocal mics we used were D7 & D5. These mics stay true to the tone and sounds great outside as well.

In an age where cover artists have gained popularity, we are also asked to play covers but we straight up deny that!

The entire drum mic set makes sure that the sound that the drummer looks for comes out as is. We are a band that plays on click and hence we need In-Ear systems and AKG IVM4500 is one of the best In-Ear monitoring systems we have played with. We used those same systems at the Harman Live Arena and were blown with the clarity and crispness of the sound. It was just great!

Tell us about your endorsement with Harman

What can we look forward to from the band in this year?

Two years ago, Harish from Harman called our manager and asked if we would like to play at the Harman Live Arena. We were kicked to hear that since we had heard a lot about it and the sound is extremely good there. They go all out at the event! The best part is the fact that it’s not just your target audience that’s present there. You end up playing for a wide range of audience. They liked our music and were kind to offer us an endorsement deal. That definitely pushes and inspires us to make more music. We are a proud Harman endorsee now!

Could you tell us about the products of Harman you are endorsing When it comes to vocal mics, we love the AKG D7. We did this event called Epic Shor in 2018. It was an album launch where three bands launched albums. Since we had a great

We are currently recording an acoustic EP of four songs. The songs were released as part of the second album already but we are rearranging them and toning them down completely to present them in a different way. We are also doing an a’capella version of one of the songs from our second album.

Having been in the industry for over a decade, what would be your message to upcoming Indie bands?

Find your sound and stick to it! Don’t get flustered if it’s working or not. Staying true to your sound is important.

Trends keep changing too so keep innovating as per what you are feeling and can relate to. Stick together no matter what!

The chemistry that the band shares off stage also matters. We are all goofballs when we are off stage and have a lot of fun. Be bonded as friends first and then musicians.

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MEGHAN KHARSYNRAP

HEALTH CHECK UPS ARE NOT OUT OF THE ORDINARY A journey through

MUSICAL DISORDERS PART 2

Health check ups are not out of the ordinary. I like to think that people everywhere tend to take their healths seriously or at least worry about it. Sometimes when a part of our body is feeling off we’ll power on our phones, head to google and type out our symptoms so we can pinpoint the disease through an endless list of diseases. We may not pay attention to our health on the daily but even something slightly off puts us through a whirlwind of emotion. Infact, there’s an invisible checklist telling us what’s right and wrong that we keep a track of everyday: Ears? Check. Nose? Check. Throat? Check.

Ankles? Check. Back? Check. Muscles? Check. So why is it if your internal body is so coordinated that your feet aren’t?

The world stops when the perfectly healthy you ends up standing at a party, the music blaring loudly, a radio hit, jive special, and everyone’s feet is moving but yours.

You say don’t know how to dance because you’re bad at counting the beat. “Uncoordinated Janet” they might reply, lovingly, much to your demise. But it’s not that you can’t copy the moves-- you practiced! It’s not that you’re not comfortable on the floor, you were born for it! You just can’t keep up with the rhythm. You never realised that you could have a disorder like Beat-deafness.

You always had an interesting approach to rhythm at your school’s March-past. When they asked you to salute on the 3rd beat, you nodded--but your inner voice shouted “3rd beat?! where is it?” The other time you noticed something was off was when your sole head peered out into a sea of people head banging at some metal concert. You were not on their time, always off by a millisecond or two.

Beat deafness is a form of amusia. Amusia, or tone deafness is generally considered to be a pitch related problem that deals with the recognition and differentiation of pitch. People who are tone deaf can clap and feel a beat, detect a change of speed but have difficulty identifying a change of pitch.

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Both problems are derived from the areas of the brain in the auditory cortex.

McGill University researchers looked closely at two people Mathieu and Marjorie who believed they had unnatural rhythm or had beat deafness. They were put in a control group of 32 people and told to match a beat played on a metronome that changed its speed at random. Some were better than others at matching a beat or adapting to the change but Mathieu and Marjorie could not follow.

Research suggests that with even a five percent change in the rate of the metronome, most of the general population could hear it and respond to it. Caroline Palmer, Professor at McGill said that those with beat deafness clap or tap regularly when there's no sound. It's only when they attempt to synchronize that they stick out.

The way we perceive time and speed could alter depending on our ability to adapt to rhythm. Scientists believe that our biological functions- sleeping, talking, our heartbeat are controlled by an internal oscillating function.Palmer developed a computer model to mimick the internal oscillators of both Mathieu and Marjorie. The models were put through the same metronome test. The model accurately defined the rate of error of the two individuals.

The oscillator theory supports the claim that people could have actual difficulties in moving to a beat.

This study led by Palmer puts into perspective the way we think of time. It helps to further research about how our internal timing functions control how we live. It could be our sleep-circadian rhythm, our heartbeats, our talking, our dancing and maybe more.

In conversation with Warren D’Souza, the mastermind behind the ‘Monitor Mixing Summit 2019’ The Monitor Mixing Summit 2019 took place on August 6th in Mumbai, an event for Applications workshops, Presentations & Panel discussions from the best in the industry on Mixing Monitors for the biggest events and artists. The event was curated and brought together by experienced engineers who took the audience by storm with their tips and tricks.

We had a conversation with the man behind this show, Warren D’Souza who spoke about how the idea came about, challenges and much more.

On what criteria did you select the speakers?

The choice of speakers was not just by me. Fali, our curriculum mentor for this platform and I decided and we wanted to have somebody who was strong in mixing mainstream acts and the regular gigs that they provide the sound for and for this Ashish Saksena was a good choice. We wanted someone who was good in festival monitor mixing and Bruce was an undisputed choice there. For an international flavor, we had James who spoke about working with acts outside India.

We also wanted to showcase the headline act of this country AR Rahman and hence had Raghu and Mark talk about it.

Since Fali and me don’t do monitors, we thought why not have Fali open the event with basics. He actually started the monitor mixing scene in India.

He has worked with most of the guys in the industry as an FOH engineer or a monitor engineer.

Talk about the challenges you faced while putting this together Tell us about the event and how it came about The event started with a dream of bringing great sound education to India. Although over the past decade, there has always been elementary education provided by institutes, I realized that people working in the field never had any kind of advance applications engineering kind of knowledge. This applied to both visiting engineers and sound rental company owners and over the past year, I got a lot of requests for artist managers asking me for monitor engineers. I realized that this was one area that wasn’t covered or people don’t know about it. I decided to fill the gap and that’s how the subject was decided.

The first important thing I decided was for it to be a summit and not a workshop as it would cover panel discussions and a mix of engineers from all across the country. We did not realize that we would cross 100 plus registrations. We were overwhelmed! I wanted the event to be selfless. We didn’t want any branding of even Sound. com. We wanted it to have a revenue model and everyone who attended had paid for it. I also did not invite brands for sponsorships as I wanted to prove to people that this was possible with good content and speakers.

I think the first challenge I had was the time I could allocate to this project as we have our productions and businesses running parallelly. It all happened very organically. When you are clear with content, everything else falls in place. I am a big supporter of producing good content. I don’t like any brand related workshops that is brand or product centric. It improves relationship with artists too. I wanted the industry to understand that this would be an educative platform only!

What would you tell the ones who missed this summit this year?

I would honestly say that from an intent perspective, 98% of them wanted to come, 90% turned up and 8% had commitments.

I would like to see more rental company engineers and owners attending the summit!

Upcoming plans I have got a couple of things at the back of my mind.

Now that we have a good database, we would like to hear from the people to know what they are interested in learning. We want to take one step at a time.

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AMOGH RAO

CASIO Privia PX-S series

As a gigging musician, one of the most painful parts of pre and post-show efforts is the burden of transporting massive keyboards, pianos, and equipment. The hack of carrying multiple MIDI keyboards around just to compensate for this discomfort has actually been around for quite some time in the live music scene. It is in situations like these that instruments like Privia really alleviate your troubles. There is always a long-standing debate about finding a balance of portability and minimalism with audio and build quality that doesn’t sound like you bought your instrument from a gift shop. There have been several attempts to realize this balance from many brilliant companies, but few have nailed it as accurately as CASIO has with the new PX-S. The PX-S really pushes the already impossible standards of fitting a grand piano into a tiny box, with dimensions that are 43% smaller than the previous generation Privia instruments, and has the world’s smallest body. The buttons are all touch-controls without any protruding nobs, making the entire interface look like it belongs in the future. The instrument also runs on double-A batteries for up to four hours, great for those impromptu rehearsal sessions when you forget to pack your adapter. The hammer-action keys have been “smart” scaled, bringing down the dimensions of the octave range without changing the feel of where your fingers would fall on a grand piano and hence maintaining the same playing style. The keys also

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have an artificial ebony and ivory coating that makes the touch really pleasant regardless of the weather.

With a shape and body this size, you would expect the sound that comes from crammed speakers and poorly designed outlets. Fortunately, the sound of the Privia series has always been one of the best you can find in a digital piano. That being said, the S-series really takes it up a notch.

Even complex harmonic relationships between the strings of a piano such as sympathetic string resonance have been perfectly mapped into the internal mechanisms of the digital back-end. CASIO has taken into consideration the actual requirements of their customer base and stuck to a small but significant library of sounds and effects instead of the multitude of samples and permutations you would find in most digital pianos.

From a connectivity perspective, it also adds to the standard stereo, MIDI and USB combination with Bluetooth as well as CASIO’s well known Chordana Play app. The app is available on both the Google Play Store as well as the iOS App Store and allows you to control every single aspect of the piano’s features in depth, perfectly complementing the simple and minimalist approach to the functions on the body of the piano.

The S-series is a no brainer for any musician looking for portability and ease of use but is also well suited for beginners and players on a budget.

Their price points are vastly better than any of their competitors for the same quality and standard of sound.

AKARSH SHEKHAR

Door...Door..

DOORDARSHAN HAI WONDERFUL In 1959, Doordarshan began as a humble radio channel.

Today, it's the ultimate source of 80s and 90s nostalgia among Indian millennials. Why have the sounds of iconic Doordarshan advertisements withstood the test of time? Is it because of the catchy music and the memorable lyrics or is it the fact that those sounds encapsulate fond memories?

Before talking about the tunes of its different ads, let's talk about the tune of Doordarshan itself. In 1973, during the inauguration ceremony of the Doordarshan Television Channel at Vigyan Bhavan in New Delhi, shehnai maestro Ustad Ali Ahmad Khan’s 1.5 hour long recital gave birth to the famous melancholy Doordarshan tune, which was accompanied by the famous swirly video footage. The tune was composed by the sitar maestro Pandit Ravi Shankar who worked with Ustad Ali Ahmad Khan. The tune was supposed to be based on Sarey Jahan Se Acchha but Ravi Shankar decided on a shorter version of the famous tune by Mohammed Iqbal. Until the cable tv revolution of the late 90s, that was India's unofficial ‘National Tune’.

Over the course of time, the national tune started being accompanied with a flurry of wonderful ads which featured unforgettable music.

Mention the

names Cadbury, Amul, Nirma, Pepsi, Coca-Cola, Nerolac and almost every Indian millennial will be able to hum along to the tune of their classic commercials. This was no accident.

Doordarshan became India’s largest broadcasting organization in 1982. From there it slowly transitioned into a television powerhouse. Until 1975 only 7 cities in India had access to television service. All of this was about to change.

On 15th August 1982, metropolitan and regional India woke up to colour TV with the live telecast of Prime Minister Indira Gandhi’s Independence Day speech. If her father Pandit Jawaharlal Nehru was a visionary, Indira Gandhi was definitely a tele-visionary. Her efforts were instrumental in bringing colour television to the Indian masses. During the same year, New Delhi hosted the Asian Games and Indian citizens got to watch the best Asian athletes sweat and toil in colourful glory.

Doordharshan marked an array of technological advancements in India. Well produced television sets and studios meant well produced serials. Shows like Hum Log, Ramayan, and Mahabharat made people sit in front of the TV for a long time. All that tv-time opened the doors for advertisers to enter the airwaves.

Brands and marketing teams recognized this and ran with it.

India's triumph in the 1983 Cricket World Cup also helped the cause. It led to a flurry of advertising during sports telecasts also. It was about that time when the classic advertisements we remember and sing along to, started becoming vibrant, fresh and ubiquitous.

According to a study, emotional stimulus such as music, when inserted into an advertisement stimulates purchase motivation. This emotional component most likely affects purchase intent through brand attitude. It is thought that music stimulates emotions, which may affect the brand attitude and lead to brand purchase and usage (Rossiter & Percy 1991).

Researchers are also learning now that its not just our emotions that guide us . Methods such as recall, recognition and brand attributes measure consumers’ thoughts, but not their feelings or their total range of emotion. Humans think and feel, and both processes influence their behaviour (Zajonc, 1980; Zajonc & Markus, 1982).

The power to recall brands with just a tune and to feel the emotions attached with the sound, changed India economically and socially. It helped us grow as an economy, and as people. No wonder the music from those days still resonates with our soul.

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NAVYA C

Grandest Ragas of Carnatic Music Carnatic Music is widely known for being royal, extravagant and in short- grand in nature. The grandeur of Carnatic music is not just in the way a raaga (scale) is presented but also with the way it is showcased in a performance. Though as times passed by, simpler ragas with high aesthetic sense emerged , the grand aspect of Carnatic music is always embraced by the rasikas and normal listeners alike. It is one unique feature of Carnatic music which brings it the adoration and unique aura.

One might come to the conclusion that a grand raaga in Carnatic music might have all the seven note combinations in aarohana and avarohana but that is the only criterion. The striking aura of a raaga which exudes royal fervor also becomes an important factor.

Such raagas are actually termed as Ghana raagas and Saint Thyagaraja penned pancharatna kritis in such ragas namely Naata, Varaali, Gowla, Aarabhi and Sri raaga.

Interestingly, Naata, Aarabhi and Sri raaga are not complete scale ragas. Then why did they get the status of grandest ragas? The simple reason is because the emotive feeling which evokes by

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rendering them. While composing, the scope of grand raagas is quite timeless and elegant.

Coming to the full scale grandest raagas- the first raaga which comes in mind is Shankarabharanam which also has great significance in Hindustani music as Bilaaval that and C Major scale in Western Classical music.

However, it would be interesting to note that the most ancient royal raaga in Carnatic music is Kharaharapriya which is melakartha number 22.

Perhaps that is the reason why Saint Thyagaraja penned the altime brilliant kriti “Chakkani Raja Margam” (“The Good and Royal Path”) in this very raaga! The grand ragas are usually used for showcasing exalted feelings of devotion, spirituality and magical bliss. However, bhaashanga raagas Bhairavi and Kambhoji (which has a deviating nishadam in the avarohanam) are equally given the top status in the list of Ghana ragas.

Complex compositions like the famous Ata Taala varnam Viriboni and Kamakshi swarajathi in Raaga Bhairavi are like yardsticks for assessing the talent of a Carnatic music performer. In the same manner, when it comes to prati madhyama raagas, Kalyani , Shanmukhapriya and Panthuvarali evoke deep emotional introspection because of the mystical note. Kalyani however is a greatest raaga which is popularly used for grand devotion and mesmerizing beauty.

Just like how we need to respect our roots and the royal history from which we are actually made of, the grandest ragas of Carnatic music need to be embraced and loved equally. The unique vibe which grand ragas create cannot be replaced by any other fusion piece or an easy-listening raaga for sure

JANET CATHERINA

PINEAPPLE EXPRESS releases second EP,

DEJA VU

From winning competitions to playing at the nation's biggest music festivals and collaborating with popular playback singer Benny Dayal, Carnatic-fusion progressive-rock band Pineapple Express has done it all. And now, they've just released their second EP, Deja Vu. Deja Vu is a balanced blend of genres, concepts, and elements—exciting enough for existing fans, but welcoming enough for new listeners as well. The EP starts out with high-energy track 'The Light,' which serves as a succinct introduction to the band. Next comes 'Colour,' a pleasant surprise to any listener with its Rajasthani Hindi lyrics and distinct folk vibe. While the first two songs are fun and interesting to listen to, 'Find You' hits all the sweet spots with just the right amount of nostalgia, culminating in a poignant outro. The EP ends on a memorable note with 'Phir Chale,' which is perhaps the most Pineapple Express-sounding track, with its signature rap verses, uplifting lyrics, and captivating solos.

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Perhaps what instantly sets Pineapple Express apart from most other bands, including international ones, is the fact that they have three members handling lead vocals— Karthik Chennoji Rao, Jimmy Francis John, and Yogeendra Hariprasad, the mastermind behind the band. While having multiple lead vocalists was prevalent in the era of classic rock with bands like The Beatles and Pink Floyd, the trend has since died down. When asked about whether it was a conscious decision to have more than one lead vocalist, Yogeendra says, "It was a conscious decision, but it was also one that came naturally to fulfill the demand of the music.

With our current line-up, we can pull off most things that we can imagine. That allows me the freedom to be versatile in my songwriting, so I don’t have to hold back."

When it comes to writing and arranging the songs, Yogeendra handles most of the process before sitting down with Ritwik Bhattacharya to track guitars, which is when the songs start taking shape. Then, flautist Arjun MPN, guitarist Bhargav Sarma, drummer Gopi Shravan, and the two lead vocalists bring their own elements and flavours into the songs.

As for what comes next, fans are in for a treat: in no particular order, music videos for two songs from the new EP, a series of covers, electronic music done Pineapple Expressstyle, and a full-length album to bring back the sound of their debut EP, Uplift.

KARISHMA D’MELLO

Rock ‘n Roll and Stilettos The Rise and Fall of Glam Metal Welcome to the world of spandex, lipstick, and lace. Today, we take a trip down Sunset Strip, where metal met glamour to form the notorious, but brief alliance that defined the ‘80s.

Where rockers once portrayed themselves in a hypermasculine aesthetic, glam or hair metal was the transition into the exaggeratedly feminine stylings of drag. This transition was extremely controversial – creating a rift between the contrasting metal-heads. To some, glam metallers were the scum-of-the-earth sellouts who dared venture into everything metal stood against – the celebration of superficiality, preening and airbrushing - that eventually earned them the dreaded “pop” prefix, to the metal sub-genre.

It’s influential relative – glam rock had its roots in the United Kingdom – led by the likes of Bowie and Freddie Mercury. Other notable influences were Kiss, Alice Cooper, and Van Halen, who while did not entirely embrace the label, definitely contributed to the movement.

In fact, the glam metallers saw themselves quite differently.

It was nothing short of revolutionary. Bands that defined the era, said they wanted to do the opposite of what they’d done before, visiting the other end of the spectrum, one defined by lace, lipstick and all things drag.

“It’s a rebellion against what men are supposed to be like; grabbing on to signs that are supposed to be associated with women, make-up, clothes that are colorful and flashy… that becomes your hyper-masculine identity – to look like a woman. I read in a magazine somewhere, that describes it as having the guts to be glam – where being feminine was the most masculine thing you could do.”

Robert Walser – Musicologist, UCLA (Metal: A Headbanger’s Journey) In 1986, Poison released “Look What the Cat Dragged In”, where you were meant to judge an album by its cover. It featured the band members, glammed up to the nines, in a full head of make-up, airbrushed to look like models on a glamour magazine.

Despite being largely defined by the androgynous trajectory of image, there was more to the genre. Bands of glamorous persuasions also had an affinity for highpitched vocals, power ballads and distinctive emphasis on melody. It was stilettos, depravity and rock ‘n roll.

In an interview, Dee Snider said one of his motivations behind it was the attention and the ability to freak people out. And freak people out, he did – as the hairspray queen from your nightmares. The Parents’ Music Resource Centre (PMRC) campaign added We’re Not Gonna Take It (Twisted Sister’s rebellious single) to their list of 15 tracks that they claimed needed stronger censorship. Their campaign was largely opposed to hair metal bands claiming they were far too extreme, sexually explicit and downright disruptive.

Penelope Spheeris’ The Decline of the Western Civilization –The Metal Years, with its emphasis on hair metal, tracks down rockers of the time, featuring some notoriously controversial scenes, that have been critiqued for their contribution to the fall of glam. One of the arguments being, that exposure to the behind-the-scenes lifestyles of the bands and club owners – particularly Bill Gazzarri, the Cathouse Club and their blatant sexualization of the fairer sex aggravated the decline of the genre. This claim drew support from Dave Mustain as well, who insinuated similar theories in his autobiography – Hell Bent for Leather.

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Either way, towards the ‘90s a new genre was meant to take over. A genre that emerged from Seattle’s underground, and the pioneers did not concern themselves with hairspray nor ballads. They were all power chords, punk rock and angst. And with that, the reign of grunge began, and the fall of glam was complete.

Sennheiser Evolution 900 Series Microphone: Designed for Musicians with best set of microphones Drummer can imagine Sennheiser has the right microphone for everyone in Evolution Wired Microphone line - the 900 Series. The evolution wired 900 series: conceived of as a harmonically calibrated family, these high-end microphones combine demanding sound with unmatched reliability. Uncompromising stage equipment for uncompromising professionals. The evolution wired mics simply evolve along any sound.

All the microphones in this series have in common is impressive sound, a clear focus on the job at hand and extreme ruggedness. These mics have been created in the best tradition of German engineering and are the result of the dedication of our engineers, of countless tests, and of the most meticulous manufacturing processes.

All 900 Series microphones are designed to offer transparent sound, be insensitive to handling noise, and feature excellent transient response and feedback rejection. Tight and uniform polar patterns, tighter manufacturing tolerances and gold XLR pins are common to the entire line. Targeted to professional musicians, PA rental companies and rehearsal studios, the 900 Series is optimized for all measurable parameters. While there are microphones for every professional in Evolution 900 Series, we will focus on mics designed for drumkit Sennheiser E901: The e 901 is a rugged boundary microphone that handles high sound pressure levels extraordinarily well.

Tailored to give the kick drum a highly precise, very dry sound character, the e 901 makes every attack lightning fast and realistic. The integrated preamp and gold-plated XLR connector have proven themselves to be exceptionally practical on stage. With half-cardioid polar pattern, the 901 delivers faster transient response, does not require a stand, and comes with a non-skid pad and slots for permanent mounting.

Sennheiser E902: If we have to describe this mic one line, you can clearly say, “Clean bass meets precise punch�. The e 902 is especially designed for the low sound spectrum and convinces with firm, clearly defined bass sounds with a tight punch. The

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strongly contoured frequency response features a pronounced damping of the mid-range and an accentuated emphasis of the high-end and bass. It offers a clear, grainy sound with a full body and a precise kick that effortlessly asserts itself in a band context. The sound of the e 902 can be flexibly shaped by its positioning in the drum set: from warm and round to sharp and direct. The rugged housing meets the hardest of demands during live gigs. Evolution 902 offers higher resonant frequency (65Hz), a shock-mounted capsule with integrated clip mouth, and delivers more punch and tighter response of the lowest bass signals.

Sennheiser E904: It’s consistent frequency response creates a sound that is as transparent as it is harmonic and that can be wonderfully shaped. It can be cleanly embedded in the drum mix thanks to its precise attacks and voluminous body.

The set receives an extremely energetic and defined sound with this microphone. The e 904 reliably withstands even the hardest direct hits. The dynamic cardioid Evolution 904 drum instrument mic features a high mass metal chassis for greater stability with powerful, punchy sound characteristics suitable for a variety of musical styles. Thanks to its practical clip, it is child's play to attach to the rims of snares and tom-toms.

And, with its compact form, it takes up a very small amount of space.

Sennheiser E914: The e 914 is a condenser microphone of the superior class with a full-bodied sound and excellent dynamics.

Its silky character, never headstrong, is developed from the gentle emphasis of the sophisticated treble. Its straightforward transient response accurately captures the temperament of each set, even at very high sound pressure levels. With its detailed resolution, the e 914 makes every live drum sound more refined. The capsule has extraordinary feedback resistance and can be individually adapted to various needs with three positions of bass roll-off/cut-off and pre-attenuation can be set.

Loud and Clear The S360 combines main monitor performance with compact size, delivering a true reference even at high sound pressure levels. And with our GLM software, the S360 will intelligently adapt to your acoustic environment.

So if you need to really feel the energy in your music – or are working with large scale immersive film production – it is no longer a choice between power and precision.

Find out more at www.genelec.com/S360

Distribution by Sound Team T: +91 22 2881 4041 E: info@soundteam.in www.soundteam.in

AKARSH SHEKHAR

How To Choose The Right

AUDIO INTERFACE

In order to find the right audio interface, we need to first understand why we need an audio interface: The old fashioned recording method of using analog or digital tapes in quickly going out of style and even high-end, expensive studios use computer based rigs. As a matter of fact, tape based recording studios have become so rare that it's hard to find them even when you have free-flowing money. So working on computerbased recording rigs is the way to go in today's technology driven world. This means is that we simply need to get audio from the “air-based soundwave” world into the “virtual, onesand-zeroes-based digital world”. In order to do this, we use an audio interface. In simple words, enriching or upgrading the quality of your recordings may be as easy as upgrading your interface.

In simplest of terms, an audio interface is a device that accepts analog signals from a microphone and line-level signals, then converts them to a digital format for storage and processing in a computer, and vice versa: it can accept digital audio signals from the computer and convert them back to analog signals to drive studio monitors, headphones, and analog processing gear. This is practically the most basic level of an audio interface's function. But other audio interfaces add: • sophisticated monitor control capabilities • flexible routing options • multiple digital audio I/O formats

will go a long way toward determining which interface will be best for you. One thing you can do is to sit down and make a list of everything you do where the interface is involved.

2. Connection Format Are you going to hook up the audio interface to your computer through a USB/ Thunderbolt/FireWire? Certain “hybrid” interfaces support more than one protocol, but this connection step will narrow your search considerably.

3. Number of Simultaneous analog ins/outs/ preamps Take into consideration how many signals you need to get into the audio interface at the same time. One for a guitar? One for vocals? A drum kit? A full band? Do they require microphone preamps? Will you use external microphone preamps into line inputs? How many monitors do you have? How many simultaneous headphone feeds are required for tracking? Do you incorporate external analog compressors/EQs/effects when mixing? Make a list of every in/out you need and its format.

4. Additional I/O Ask yourself if you need MIDI in and out? S/PDIF, AES, or ADAT optical digital ins and outs? Dante, AVB, RedNet or other network connectivity?

• MIDI I/O,

5. Onboard DSP

• onboard digital signal processing (DSP) for latency-free monitoring or processing signals.

Many manufacturers offer onboard DSP for latency-free monitoring mixes and running plug-ins It’s not necessary for many applications, but it’s a valuable addition if it fits your needs.

If this is confusing, just know that there are many considerations and questions we need to ask (and find the answers to) when choosing a new audio interface. So let’s take a look at some of the most significant considerations:

1. Your Purpose If you are wondering “Which audio interface should I buy,” ask yourself this question: “What do you want to do with it?”

Once you know what your needs are — whether stereo mobile recording, recording guitar/vocal overdubs, composing using virtual instruments or making quick song demos, your purpose

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6. Sound Quality Sound quality is important because nowadays even the cheapest audio interface is capable of delivering great sound quality IF used properly. There may be differences in the tonality offered or the audio quality depending on various manufacturers, but this is rarely the deal-breaker or dealmaker when choosing an interface.

ROLAND ANNOUNCES TD-1DMK V-DRUMS Inspiring Entry-Level Electronic Drum Kit with Roland’s Acclaimed Double-Mesh Pads and Education Features Roland announces the TD-1DMK V-Drums, an entry-level electronic drum set with legendary V-Drums sound and playability. The TD-1DMK offers a variety of great drum sounds, authentic acoustic feel with Roland’s famous dualply mesh pads, and access to powerful skill-building tools with onboard coach functions and free Melodics for V-Drums training software for Mac/Windows. This makes it an ideal choice for beginning drummers and practicing students, as well as adults who want to get back into drumming later in life. Delivering a fulfilling drumming experience in a compact kit that can be played quietly with headphones, the TD1DMK is an infinitely inspiring instrument that will launch a lifetime of drumming satisfaction and enjoyment.

For Beginners: Start Playing Drums Now For players who are just starting out, the TD-1DMK is a hassle-free drum kit that’s easy to set up and intuitive to use. With just a few simple steps, users can start playing an authentic-sounding collection of 15 preset kits and enjoy a realistic and engaging drumming experience right away.

And with onboard coach functions and Melodics for V-Drums software, they’ll learn essential skills and experience improvement with every practice session. Weighing just 15.5 lb./7 kg, the TD-1DMK is convenient to move around the home and to other performance locations as needed.

For Parents: Help Develop Your Child’s Sense of Rhythm When a child learns a musical instrument, they build discipline, determination, and many other essential life skills.

Accurate timing and keeping a solid beat are fundamental elements of drumming, and the TD-1DMK’s onboard metronome and 10 coach functions motivate successful development with a game-like experience that keeps every playing session fun and engaging. Melodics for V-Drums takes learning even further with interactive drum lessons that build a sense of rhythm without it seeming like hard

work. The TD-1DMK’s pads are quieter than other electronic drums too, allowing children to practice for extended periods without limitations.

For Students: Become a Better Drummer With its great feel and natural response, the TD-1DMK supports developing all the traditional techniques needed to be a top-level drummer. Thanks to the fast processing and authentic acoustic sounds of the kit’s module, the TD-1DMK faithfully responds to the subtle nuances of the user’s playing, with every dynamic nuance detected and faithfully relayed.

Compared with other mesh heads, Roland’s dual-ply mesh heads for the snare and toms feature adjustable tension, and also provide authentic natural rebound that’s as close as possible to the feel of playing acoustic drum heads. The TD-1DMK’s kick pad is compatible with standard single and double kick pedals, and features a soft rubber surface that absorbs noise from the beater while maintaining natural acoustic feel and response.

For Past Players: It’s Time to Start Drumming Again The TD-1DMK is the perfect solution for bringing drums back into anyone’s life. From onboard songs across a variety of genres to connecting a smartphone to the module and playing with favorite tracks and web lessons, users can drum along and quickly reignite their musical passion. And with the ability to play quietly with headphones, they can fully immerse themselves without disturbing family members and neighbors. The durable TD-1DMK is infused with renowned V-Drums reliability, providing playing confidence for years to come. As skills and ambitions are renewed, there’s even room for expansion by adding an extra crash cymbal or upgrading the sound module.

To learn more about the TD-1DMK V-Drums, visit Roland.co.in The

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AKARSH SHEKHAR

How To Record Vocals In Pro Tools Want to make a career in music production? Becoming a Pro Tools ninja is crucial. As a producer, there are a number of really important factors that go into recording.

1. Environmental Factors Allow the lighting to complement the mood of the song.

Drawing curtains so the artists can’t be seen, helps them feel uninhibited by taking the eyes off them.

Keep the space relatively clean, offer water/tea to help relax their voice and help artists feel supported.

2. Template Have things ready to go, show up early and set up ahead of time. People want to get in and get moving. Based on the vocalist and style, see what chain will work and set it up.

Set up markers: Intro, Verse 1, Pre, Chorus 1, Verse 2, Pre, Chorus 2, Bridge, Chorus 3 and Outro.

Once the files are in, get the tempo. Count out two bars, select two bars, choose Identify Beat (command + I), start at bar 1, end at bar 3 — bang, there’s your tempo!

Key can be trickier, but that’s why Mini Grand is already up.

Not every song is in a simple major or minor key, and not every song stays in the same key the entire time, so keep an ear open, particularly if you are recording through auto-tune.

3. Configure Pro Tools In Pro Tools preferences, check off these few important boxes: “Record Loop to New Playlist”: Artists will want to record multiple passes and compile them together in one go. There is a preference that automatically stores each record pass to a playlist.

4. Presetting a Chain Mic Shootouts are a thing of the past. Unfortunately, sessions are really more about flow than about perfection. The priority is enabling great performances, and great sound comes a close second.

Research on the artist ahead of time. If you’re recording a Jazz-influenced singer like Adele or Amy Winehouse, U47s are a good pick. If you’re doing Hip-Hop, a very snappy mic like C800-G is a failsafe. If you’re doing lush Pop, C12s are the standard.

5. The Actual Recording Process Do a headphone check, ensure all cue feeds are the way the artist likes it. Some like loud tracks or loud vocals or loud fx, some like loud everything (hence isolating headphones are really important).

Some key commands make things much easier, like these Function Keys.

• F1-F4 allow you to toggle between Slip, Shuffle, Grid, and Spot mode which is super helpful if you are rearranging instrumental tracks and vocal edits.

• F6-F8 and Command + 7 are your tool selections. This allows you to go between Trim, Select, Grab, or the Smart Tool setting respectively.

“Play Start Marker Follows Timeline Selection”. We go back over phrases and record new takes, so the workflow is much smoother if the play-head is returning to wherever the take was originally cued from. Make sure “Timeline Insertion Follows Playback” is unchecked as this function will defeat that purpose.

• F5 is the zoom tool. You can also use Command + [ ] to zoom.

Check the session itself. You can record 24-bit, 88.2 kHz if you’re on a system that allows for higher sampling without CPU issues.

On Pro Tools, the editing features are easy to create composite takes (or Comps). Just select your vocal track and click Control + Command + Right Arrow to display playlist view. Highlight whatever you want to the main track by highlighting the segment and Control + Option + V.

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• Quick Punch (Command + Shift + P) and Loop Record (Option + L). Always keep your play button in Loop mode and then switch between Punch and Loop for recording.

6. Comping On The Fly

YAMAHA VXL SERIES LINE ARRAY SPEAKERS Sleek & Smart Sound These speakers offer a unique combination of outstanding sound quality and slim form that is ideal for a variety of environments.

Wall mount bracket supplied

These speakers are used for multi purposes which is what makes them very ideal. They are used in multipurpose halls, lecture halls, conference rooms, and other facilities that require maximum intelligibility throughout the listening area.

VXL Series P model

They are known for delivering uniform, top-quality sound for speech and music reproduction in a wide range of applications.

The VXL series includes three models with different numbers of speaker units. Models can be combined to optimally serve a variety of spaces and situations.

VXL1B-24 / VXL1W-24 VXL1B-16 / VXL1W-16

Optional hardware for a wide range of installation needs

The VXL1B-16P and VXL1W-16P support the "Dante" audio network, and use a slim line-array configuration, making them an easy fit perfectly for conference rooms (in the size range of 12m × 10m) that demand vocal clarity while imposing numerous constraints on space, and require both functionality and a sense of design.

Simple wiring via LAN cables, easy installation, and no need for a power amp contribute to the flexibility of installation, allowing you to construct an elegant sound system that will not interfere with the design of the conference room.

Features

VXL1B-8 / VXL1W-8

1.5 inch (3.75 cm) full-range speaker units with neodymium magnets

Features

Slim design complements any interior décor

1.5 inch (3.75 cm) full-range speaker units with neodymium magnets

Available in black or white

Wide horizontal dispersion for uniform SPL over a wide area

Wall mount bracket supplied

The vertical coverage can be selected from two modes, Normal and Wide Slim design complements any interior décor Available in basic black or white Enclosures can be painted to match surroundings

Enclosures can be painted to match surroundings Optional hardware for a wide range of installation needs

For more information on the products visit: https://in.yamaha.com/en/products/proaudio/ speakers/index.html The

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KAUSTHUB RAVI & SIVANESH NATARAJAN

SOME NICE NEW ADDITIONS TO THE STARTER PRODUCER KIT

Focusrite Scarlett 3rd Gen The humble Scarlett 2i2, its the first interface many of us would have bought. Cheap, simple, easy to use and quite simply - gets the job done for the beginner producer. The much loved Scarlett series has received an upgrade. There are six interfaces in the third generation of Scarletts, some direct replacements to models in the second generation, others replacements but with additional features like extra line-ins. The smallest is the Solo, one of the direct second-generation upgrades.The range then steps up with more ins and outs, so you get the Scarlett 2i2 (two in, two out); the 4i4 (four in, four out and which replaces the old 2i4, adding two fixed-line inputs); the 8i6 (one of the units on test here, which replaces the old 6i6 but adds two line inputs); the 18i8 (18 ins, including eight ADAT ins and eight analogue outs) and 18i20 (18 ins and 20 outs, including ADAT I/O). All the models now have the Focusrite Air feature that the Clarett USB range had last year. I guess its an ode to the increasingly bright modern sound that most people are chasing. It emulates the famous AIR Studios lift in the high mids, which is a famous characteristic of the original Focusrite ISAs. The top four models also boast Loopback functionality enabling you to capture any stereo feed from any hardware or software combo. This is a functionality that most of us look for when it comes to aiding sampling and podcasting. The new

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series has a decent bump in technical specs as well. The Dynamic Range, Total Harmonic Distortion and overall gain range all see a slight bump. It also comes with a a free software bundle with Live Lite and Pro Tools First, a Splice subscription, plus a good range of plug-ins from Softube, XLN Audio and Focusrite.

The new range incorporates the Quick start process, designed to get you up and running much more easily and faster. It helps you install the interface driver as well as all the softwares bundled within the purchase a lot easier than it would be to just go download and license each thing. It also explains how to setup the interface depending on how the usage is going to be. You get asked whether you are more of an in-the-box producer or one who will be recording externally, and are then given all the connectivity information, depending on the scenario you choose. This can really be helpful for people who are buying an interface for the first time and would like to understand the full functionality without having to navigate a myriad of tutorials and manuals.

The new version of the Focusrite’s Control software allows you to set up main global device parameters – clocking and line/instrument inputs – and also mixing and routing options. Within this software, you get Input Settings and Output Routing tabs. The main I/O routings,

plus your internal DAW routings are set up in the latter tab, with outputs – line, headphones Loopback and S/ PDIF – running top to bottom and inputs left to right, plus your software and DAW connectivity options shown at the bottom. You can also bring the Air option in the Input Settings tab and also switch between input line and instrument levels and the Pad option (to prevent clipping with hotter signals). Overall, the Control software is very easy to use and configure – setting up Custom Mixes is also made really simple.

All the units are adequately well built, light and compact.

Easy to throw in a back pack with your laptop and take around. Especially the Solo - which features a mic input around the front, with a preamp common to the entire third generation of Scarletts that Focusrite say are the bestperforming Scarlett preamps. There’s also a high-impedance instrument input (for guitar or bass) which can also take line-level signals from drum machines and synths, etc, with the flick of the switch to its right. The unit features useful ‘gain halos’ around the front gain dials that light green when levels are good, orange for just okay or red when they clip. Finally, on the front panel there is a Direct Monitor button so you can hear what you are playing and recording latency free. These front-panel controls are very similar in layout to the last-gen Solo – as all the third-generation

IK Multimedia - Signature Brian May gear collection for AmpliTube AmpliTube - A popular starter amp sim for a lot of guitars looking to get their guitar sounds into a computer. This one is a tasty offering for anyone who is chasing the elusive classic rock tones of the likes of Brian May. It runs within the AmpliTube Custom Shop and adds some extra fun to the experience. It features 11 new models including 2 amps, 3 cabinets, and up to 6 stompbox effects. Included are unique offerings such as a new pedal modeling Brian's Red Special guitar and a model of the one-of-a-kind, home-built "Deacy" Amp (with user adjustable battery power) originally created

by Queen bassist John Deacon, after modifying an old radio. Other highlights incorporate his famous triple-amp live setup; tone-shaping effects; and even a harmonizer for

controls are – so if you are familiar with, or upgrading from that range, you’ll be right at home here. One last Solo upgrade includes two balanced TRS speaker outs around the back – previously, these were RCA connections.

The overall sound has certainly improved a little bit. They operate a little cleaner than before. As a playback interface, Scarlett is top notch. The preamps are really clean and fuss free. The Air feature provides marginal improvement on some sources more than others, but when it does work it is a nice addition to have.

Overall at entry level, the Solo maintains its predecessor’s easy portability and compact and mobile form and will easily suit singer-songwriters wanting good-quality recording and playback on the move. The 8i6 will also suit newcomers and those branching out into more hardware realms, perhaps those with a smaller synth setup or a smallto medium-sized hybrid hardware/software studio. It’s a great option for small-scale instrument recording too. The top-end 18i20 crams more I/O into a compact unit and has all the connectivity that one may need. The gap to the more expensive Clarett series has become smaller with the added ease of USB connectivity. It looks like Scarlett will certainly continue to hold dominance over starter interfaces with this range.

nailing those Queen stacked leads. The Amps are based on the classic triple VOX AC30 setup,the BM 30 offers three amps with the effects chain in a Wet-Dry-Wet configuration to match Brian May's iconic setup. The triple cabinet is also heavily based on the cab section of a VOX AC30 equipped with with Celestion Alnico Blue speakers. The stomp box features The Red Special, created from a detailed study of Brian May's famous guitar. It helps to add its unique tonality and controls and the Treble Booster enriches guitar tone similar to Brian May's by boosting it before it reaches the amp.

Its certainly a fun addition to play around with. Quite useful for people looking to nail some Queen covers and sound as close to Brian May while doing so.

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Mastering will not Save You. Mastering is one of the most shadowed and misunderstood topics in the Audio Industry right now. Many believe it to be a creative process that will completely change the sound of the mix and transform it into a work of art, relying excessively on Mastering and sometimes even spending an unnecessarily high amount of resources on it.

There is little truth in this misplaced belief, but one must understand the true purpose of mastering to effectively reach this final part of the production and get the most out of it.

Mastering, if needed to defined most simply, is the process of getting a professional production ready for the consumer market playback systems. It is not meant to be a creative process that substantially improves the sound output of an inadequate production.

A few decades ago in the analog age, when recording was primarily on magnetic tapes, the final output the consumer will listen to would be on vinyl. The change in physical medium from which sound is played back alters the frequency and dynamic response in the sound. The sound produced from a magnetic head is very different from that produced from a turntable

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needle. Mastering then was a process of neutralizing this change and ensuring that the record translates to the new physical medium with minimum noticeable sonic differences. This was achieved through the use of extremely high quality equalizers, compressors and summing mixers.

Most of the big studios were still recording on magnetic tapes even after the introduction of CDs. Now the mastering process involved the conversion of an analog recording to a digital output while ensuring good translation. CDs being a digital medium allowed the reproduction of better dynamics and a wider frequency spectrum that was not possible on vinyl or cassettes, which led to more creative equalization practices in the Mastering process.

Today, almost all recordings are digital. Even the studios that use magnetic tapes for their warmth and saturation will print the signal to digital instantaneously during the production process itself.

Once the production is ready, the release is also digital.

The production and release mediums today are both digital, so why Master?

This is where the confusion begins. Since both the production and release are digital, requiring far less adjustments in sound to fit another medium, it has led to some young engineers and musicians claiming Mastering to be the holy grail of creative processes in music production and a promise of miraculous improvement in sound. The truth is, if the performance, recording and mix were not up to the mark, no amount of Mastering ingenuity can save the sound or bring it to magical new heights. If indeed the performance and engineering were of quality, Mastering should mostly be a technical process of bringing down a high resolution digital product to a low resolution one that can be played back on consumer systems. The reduction of resolution is not a creative process, but a technical one,

Fig. (Gradient banding on the due to reduction in resolution) Similarly in the audio industry, studios record at resolutions as high as 96kHz 24Bit, but the final release will be at 44.1kHz 16Bit. Reduction in sampling rate can cause some frequencies to appear blocky and reduction in bit rate causes a loss of dynamic range. To mask these artefacts caused by downsampling, dithering is applied during the Mastering process.

Applying equalization and compression to a Master buss is common but its use should mainly be to counteract the negative effects of the Mastering Limiter. Using these tools

which thanks to today’s advanced coding and technologies, is an automated process.

Let’s take digital images for example. A professionally shot photograph will have an extremely high resolution of around 300 dpi. But when this image is sent in for print to a magazine or a newspaper, the resolution has to be reduced to 150 dpi or even less. This drastic reduction of resolution causes gradient banding and colour loss as now there are lesser pixels available for each colour. The image also has to be converted from RGB mode to CMYK as printers use CMYK cartridges. The image needs to be prepared for a change in medium, that is from digital screen to paper.

Processes like ‘dithering’ and ‘de-saturation’ help mask the visual distortions caused by digital downsizing and make the image print ready for the consumer market.

to compensate for a muddy mix or wanting performances will more often than not yield a product that will clearly sound manipulated and unnatural. If you’re unhappy with the mix, get the mix engineer to solve it, not the mastering engineer.

Having said that, Mastering can have creative possibilites and add that little extra ‘oomph’. After all, a different pair of experienced ears will always help, but an artist should never undermine the importance of performance and good engineering practices in the hopes that a benevolent Mastering engineer will make everything alright.

--Mukul Jain (Chief Engineer, Proprietor at Ferris Wheel Studios)

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MUKESH AMARAN

ALBUM ARTicle

MALLIKA IYER

Hello, a little bit about yourself and your background in arts and music?

Design is my passion that I turned into my profession but music is my first love. Since 3 years of age, I started learning how to sing. I have learned different genres like Carnatic music, Indian light classical, Hindustani classical and western light music. I am a communication designer and a graduate from NIFT, Mumbai and am currently working as a user interface and user experience designer in a start-up.

At this point in your career, what role did music have to play in you getting to where you are?

Music has always exposed me to a creative dimension. I was never a picky listener; I could appreciate any genre of music because they are all so different. I would love to listen to Indian gazals as well as death metal. This openness helped me have a wider and autonomous perspective towards my clients while designing something for them.

Tell us about your collaboration with a client from conception to creation and the end product.

When “The Iyer Project” approached me to design the album art for their debut album called “ The epiphany of being sane”, I was fascinated by their genre of music which is Alternative Carnatic rock.

If you listen to their songs it will automatically make you move your heard with the rhythm of the songs.

This album was their great revelation as a result of them maintaining their sanity and sticking together as a band all

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these years. When they told me this I had a fair idea of what I wanted to design for their album cover. The use of scribble lines that make the faces of the band members was to represent the sanity of the band amongst the chaos of the scribbles.

Tell us a little bit about the process that is involved in making a piece by Mallika.

I generally try and understand what the user wants to convey and try to showcase that. I am there to communicate what they want with my designs and the best way to do that is to use my creative skills and step into their shoes to come up with the end product. Empathising with the customer generally gives me a wider perspective on what will or will not work. Art is just visual but the design is to make something visually appealing that simultaneously solves a problem.

How is creating an album art different from creating any other?

Honestly, it is not that different. The process is the same but the approach might be different. While making album art, we need to make the art synchronise with the music. The end result of any design is to create an impact on the user with the design, be it branding, user interface design and even album art.

Tell us about your art style and the concepts behind your artworks.

I love working in vectors, a bit of illustration and bold typography. But then again in a creative field, the style keeps changing with the trends.

GIG CALENDAR SEPTEMBER 2019

DELHI

BANGALORE

04-Sep

The Sonic Alchemists ft. Abhin, Eshaan, Kabir & Dan

The Pianoman Jazz Club, New Delhi

06-Sep

Praful Menon

Hard Rock Café, Bangalore

07-Sep

Sailing Submarine

The Pianoman Jazz Club, New Delhi

07-Sep

Skrat

Fandom, Bangalore

07-Sep

MediumRare ft Ciel [Discwoman/CA]

Auro, New Delhi

08-Sep

Dengue Dengue Dengue (A/V Set) + Raka

Fandom, Bangalore

09-Sep

The Mooner

The Pianoman Jazz Club, New Delhi

15-Sep

TAP - The Acoustic Project

Hard Rock Café, Bangalore

20-Sep

Bluetree : Modern Day Babylon

Fandom, Bangalore

14-Sep

Extrawelt (LIVE)

Auro, New Delhi

26-Sep

Thermal And A Quarter

Hard Rock Café, Bangalore

16-Sep

Niladri Chakravarty & Jishnu Banerjee

The Pianoman Jazz Club, New Delhi

23-Sep

Aronjoy Das

The Pianoman Jazz Club, New Delhi

25-Sep

Antikvariniai Kaspirovskio Dantys

The Pianoman Jazz Club, New Delhi

28-Sep

Arjun Vagale + Modrac

Auro, New Delhi

30-Sep

Pragnya Wakhlu

The Pianoman Jazz Club, New Delhi

HYDERABAD 07-Sep

Cheryl Dsouza & TSA the DJ

Hard Rock Café, Hyderabad

KOLKATA 13-Sep

Rhythm Shaw Live

Top Cat, Kolkata

14-Sep

Rock On Rolls

Top Cat, Kolkata

MUMBAI 05-Sep

Ann Clue & Theydream

Kitty Su, Mumbai

07-Sep

Disconnect 004

The Little Door, Bandra

08-Sep

Blackblood 17 #ThrashKaKhatra

The Habitat, Mumbai

12-Sep

Roy Rosenfeld ( All Day I Dream)

Kitty Su, Mumbai

13-Sep

Jojo Mayer / NERVE

Flea Bazaar Café, Mumbai

13-Sep

K I N G India Tour // Prabh Deep

The Habitat, Mumbai

19-Sep

Babelfish Album Launch Tour | Shubhangi Jos

Hard Rock Café, Andheri

27-Sep

Anand Bhaskar Collective

Hard Rock Café, Andheri

If it isn’t here, it isn’t happening! Write to us at contactus@highonscore.com to get your event featured!

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