The Score Magazine October 2015 issue by The Score Magazine

ISSN 0974 – 9128

Vol 08 Issue 10 - October 2015

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India's National Pan-Genre Music MagazinE

BAND OF THE MONTH

THE LOCAL TRAIN WINNER OF SENNHEISER TOP 50 BANDS IN INDIA

STAR OF THE MONTH

NAKASH AZIZ TALKS ABOUT HIS RECENT HIT SELFIE LE LE RE AND THE FUTURE PROJECTS

COVER STORY

AKRITI KAKAR THE SUPER GORGEOUS DIVA TALKS TO US ABOUT A LITTLE SOMETHINGS THAT YOU HAVE NEVER HEARD BEFORE.

ALSO INSIDE : 10 TRACKS FOR THE NEWBIE INDIE-LOVER AND MUCH MORE

Director, Strategy and Planning Ajay Prabhakar Director, Business Development Pragash VM Director Sneha Ramesh Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Lead Designer Nipun Garodia Online Content Contributors Manisha Bhat Nilankur Dutta EDM content contributor Nirupama Belliappa Cover photography Anup Kumar Pandey

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DIRECTOR'S NOTE There are endless hurdles for musicians to become successful. Stars, no matter how big, are often put to an endless sequence of litmus tests and are critiqued for everything from their work to their conduct. Fatwa, a concept many of us are maybe unfamiliar with, recently showed it’s ugly side to the Music Industry with a Fatwa being issued to Ace Music composer AR Rahman. For the unfamiliar: Fatwa is a ruling on a point of clarification by clerics who interpret Islamic law. Most of these clerics are recognized and respected authorities while a few others are dubious self-serving kangaroo judges. Rahman, responding to the Fatwa, said he did not intend to offend anyone with his decision to compose music and that the decision was made in good faith. The industry and fans reacted with overwhelming support but the story does not end here: Religious tolerance towards art is reaching intolerable levels with pseudo-religious and cultural authorities resorting to moral policing. India grants the right to “Freedom of Speech” with "Reasonable Restriction". The reasonable restriction clause exists to prevent inflammatory statements but is often used to muzzle creativity in the name of religion. Is India ready for a removal of such restrictions? We certainly hope so, only because religious and cultural parody is the lifeblood of art.

PRAGASH VM

Director - Business Development

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contactus@highonscore.com +91 95000 12975 DISCLAIMER: Reproduction in whole or part of any text, photography or illustrations without written permission from the publisher is prohibited. The publisher assumes no responsibility for unsolicited manuscripts, photographs and illustrations. Views expressed in this publication are not necessarily those of the publication and accordingly no liability is assumed by the publisher thereof. Advertising copy and artworks are the sole responsibility of the advertisers. http://www.motherteresafoundation.org.in The Score Magazine is proud to support the Mother Teresa Foundation and urge our readers to join us in giving back a fraction of what we have been given.

I NSIDE

AKRITI KAKAR

The girl behind the voice of Saturday Saturday & Iski Uski talks to us about her music, life, family and some little secrets about her.

BAND OF THE MONTH 24 The Local Train talks to us about the story behind their name, how they feel about winning Sennheiser Top 50 bands, their inspiration and much more.

TOP 15 TRACKS

STAR OF THE MONTH

For those of you who are new to the indie scene, weâ&#x20AC;&#x2122;ve come up with ten tracks across a broad range of expressions.

MOJOJOJO

Nakash Aziz talks to us about his musical journey, his future plans, family and a lot more in this issue.

The alter ego of Delhi/Dubai based musician and producer, Akshay Johar, chats about his much awaited debut album - Bass Bahaar

A VERY RETRO RETROSPECTIVE EDM SEGMENT

Nirupama Belliappa gives us a good read about a fine balance between Electronica and Movement

PRODUCT TO WATCH OUT FOR

Want to start a band but nobody to play with? Don't worry, Harman India has a kickass product to offer to overcome the same. What Were Your Favorite Singers Doing in 2005

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Akriti Kakar Akriti Kakar is one of those artists that have come a long way without a godfather in the Indian music scene (not just Bollywood). From winning a reality show as a kid to judging it, read on to know more. You’ve been in the music scene for a long time now, Bollywood especially, how do you think the industry has changed since? Well, earlier it was way tougher to begin with for a person like me or many others who did not have connections or any godfathers in the industry. There were mobile phones but tariffs were high. These are very petty issues but at that point in time, it used to matter a lot. It was hard to even make a phone call, leave alone Whatsapp or even SMSs. What has really changed that is the social media which is making things easier to connect to composers. You can tweet them and send them your work or YouTube link. People are more openminded now and the whole scenario has changed.

How have you seen yourself evolve, from being a part of Little Stars in ’97 to judging Little Champs? Well, Little Stars was a completely different thing. It was a group created by Kalyan Ji & Anand Ji, the music composers. It was about grooming young children and preparing them for stage by telling them what it is like to just be a singer in contrast to being a performer and to also eventually go behind the mike and sing for Bollywood if they get an opportunity. I remember I used to lisp when I was a kid because my milk teeth weren’t breaking and my proper tooth was coming and Anand Ji used to give me crazy techniques that helped me a lot. Music is not just about the tune, it is about the expression and what the words say, especially when it comes to Bollywood, and he taught us all of this. Last year, when I was judging Zee Bhangla’s Sa Re Ga Ma Lil Champs I felt like life had come a full circle and also felt extremely responsible. It is not that you sit there and are given a certain position and can say whatever you like because you must sound cool, it is about a certain kid’s life. It was one of the most fabulous opportunities for me.

Speaking of which, what do you think about reality shows? Do you think that they do more harm than good? No, I don’t think it is harmful at all. Being a part of a reality show is not about winning. I keep telling all the reality show participants, wherever I go and perform, like Indian Idol or The Voice, or any young talent I meet, that they should consider it as a “Crash Course,” because they have the best of faculties working around them. To get that kind of team to work on you, in reality, you will end up spending all your money and not get anything. Whether you take that trophy home is not important, what you take back as learning and the connection you have built with the judges is what matters.

Coming back, how did you make your mark in the industry? How hard or easy was it for you to reach where you are today, especially without a Godfather in the industry? I think it was just about okay. I didn’t expect any miracle to happen to me suddenly. I was very fortunate to meet few nice people who went out of their way and gave me that half an hour of guidance every time I went and met them. I’ve always tried to go and meet the people I’ve looked up to, backstage. Some of them were so wonderful that they would stop their work, call us home, or to studios and give proper guidance. But one thing that Shankar Ji told me was to not become over-ambitious as it is very easy to take the shorter path, do mediocre work but you don’t want to be known for mediocre or great work, it is never in your hands, you just have to keep doing all the work that comes to you. Whatever work comes, even if it is singing one line for a song, just do it since you are gaining experience. He also told me “Don’t think of driving a Ferrari right not. When time comes, you’ll have an even bigger car.” Those were really words of wisdom.

You’ve said that you like independent music scene a lot more. Why is that? I always feel that an artist is an artist first. When you are singing for a Bollywood film, you are singing for a certain character which is also a challenge in its own way because if you have had a bad day at home and you have to go to the studio and sing a really peppy number, you have to get into the skin of that character and justify the song. But in Independent music, that is the only time the artist can put themselves in the way they want to be heard in front of the audience. Sometimes you get only dance songs, what if you feel that you really want to sing romantic songs but no one is giving such songs to sing. So what do you do then? That is when, for creative satisfaction and happiness, every artist should do independent music.

Apart from Bollywood and independent music, you’ve also collaborated internationally, how was that experience? Well, I worked on a project with Disney a couple of years ago but I think collaboration in the true sense would be with Sam Spiegel which is coming up in a couple of months. Sam Spiegel is one of the finest names we have in LA who produces music and one of the biggest names in the Ad scene, he was looking for a collaborative album and he just came down with some music produced beds. He wanted some Indian folk element and a female singer with Indian inflections to be a part of it. I have picked some old folk tunes and put my own twists. I’m really excited to see the final product.

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Even though you’re a Punjabi, you do a lot of Bengali songs and even judge the Bengali version of Sa Re Ga Ma Pa Li’l Champs. Is it for the love of Bengali music or is it something else that we do not know about? It just happened! This whole Bengali element in my life was not a deliberate move at all. I was singing at a Durga Pooja, and it just so happened that Jeet Ganguly Da’s wife Chandrani Bhabi was attending the concert and she heard my voice and told her husband that he could use my voice for his films in Bengali. Jeet is the biggest name that is there and he is responsible for commercial music reaching a certain level in Bengal. He has been very kind to give me songs. I have now become the Universal Didi. And then Sa Re Ga Ma Pa happened. It was really overwhelming for me to see how a Punjabi girl, like you said, was getting so much love from Bangal to an extent where people started recognizing me on streets which usually doesn’t happen in other cities with playback singers. So it’s very humbling.

There’s always a family support that plays a key role in an artist’s life, was your family supportive of your career path from the very beginning? Well, If I’ve actually dared to make my passion into my profession, it is just because of my family that I’ve been able to accomplish the little I’ve been able to do. Music came to me from my mother; she has done her post grad in Music from Delhi University. There was so much music atmosphere at home. My father never knew that at 4 years of age I’d start singing. He actually told me that if I came out of school with good percentage, he would bring me to Mumbai. When we came to Bombay to see what we could do by giving ourselves 6 months time we had decided that if nothing clicked/worked, we’d quietly go back to Delhi and I’d do M.A in Music. But now everybody is here, and life has been good!

3 most scary, funny or embarrassing moments in Akriti's musical journey

So now that your sisters are in the industry too, how does that change things?

you still manage to stay grounded and humble? It’s such a funny thing when someone says life changes when you have so many hits. I think nothing happens at all! Even if you have a lakh of people at a concert you are performing at and people applauding and you feel a certain high, you might start flying at that point in time. But when you come back home and your mom says “Beta, wake up tomorrow and clean your bed,” it just feels normal because this has always been a practice at my place. Even at reality shows, I tell the parents not to spoil the kids by telling them they sound phenomenal because then they will stop working hard.

Most of the songs you sing are peppy numbers, do you have a set genre or are you open to experimenting?

CURRENT FAVORITE SONG Sunrise by Norah Jones. FAVORITE ARTIST Very difficult. Not one person. I love Kishore Da, Asha Ji, Shankar Mahadevan’s music. WHAT DO WANT TO EAT NOW? Chaat THE BEST SONG EVER Tere Bin Nahi Lagta by Nusrat Fateh Ali Khan. I love all versions of it. PERFECT RECORDING ENVIRONMENT Studio does not matter to me. I think as long as the music composer let’s you maintain originality in addition to what he wants, that’s the most ideal set up according to me. IS WEDDING ON THE CARDS? Don’t know (Smiles). Eventually yes. My parents will definitely say YES YES YES YES!

I am happy to sing whatever comes to me because that is never really under my control as a play back singer. Somehow the dance numbers top the charts and get you more live performances. I’ve sung Abhi Abhi from Jism 2, that’s a beautiful romantic number and I love that space more. Companies promote faster numbers. So as singers what we can do is, just put your best foot forward every time you go to the studio.

The more the merrier! As a trio, we become the only ones in the country that sing like sisters. Sometimes when we go on stage together and people don’t know that we’re sisters, and I make an entry and exit and the other one comes, people go “Acha did you just quickly change and come” because we Are there any things that you think also do look similar. Apart from that, it you need to improve on? is also just so amazing how they have I was performing grown up with music. Many people in Bhuvaneshwar for an IT Anger management, maybe? If I don’t say think that it would be easy for me to it, my mother will scream that out from College and attached to the stage call music directors and refer but the kitchen. More than anger, I feel was a ramp. Everything was going on that’s not how it works. Prakriti, that if I don’t take liking for a person, great, people jumping around etc. and did the song Katra from Alone and whatever happens I switch off from suddenly you see the crowd’s eyes literally everybody said it doesn’t even that person and never look back. going from left to right and some commotion sound like a girl who is 19. She Sometimes I think that’s a big problem starts happening and people start raising their sounds very smart for her age. and I hate being that way. I definitely And even Sukriti, recorded for hands. My keyboardist suddenly stops playing want to change it. The grudge never Dil Dhadakne Do. I feel so happy and next thing I know he comes and drags me seems to go once it comes! to hear that Zoya Akhtar was out of the stage because there was a drugged making choices for voices. I get If not music, then what else guy walking around the stage. We had to inspired by them myself! do you think you’d have rather

Of late, all songs you sing are topping the charts, how do

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shut the show that had 5000 people. They had put a blanket over me because the students were screaming and had questions as to why we had shut the show.

done? Modeling? No way! I can’t pose to save my life and you have seen it by now. I have a typical 3 poses-

Photo credit : Anup Kumar Pandey Costume designer : White Solitaire by Bharti Bhrambhatt The

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MANISHA BHAT Hand on waist, chin up, Chin down and that’s it (Laughs) Since the time I’ve been told what I want to become when I grow up, it’s only been music. Nothing else!

Do you have plans of singing for South Indian Films? I would love to! It’s been on my mind for the longest time but maybe it will just happen when it has to. The kind of songs I’m getting to sing in Bengali happened out of the blue and I hope for the same with South Indian films as well. I really want to work with Illayraja Sir. It’s my dream! I’ve heard so many stories about him conducting people on the mike and how precise he wants it to be. I want to work under that disciplinarian person.

Lastly, what are your upcoming projects? I am going to be releasing a single - fun, quirky, Punjabi song. A single on Children’s Day called “Amma” is also in the making and is from the point of view of a girl child. The song talks about women. For films, there is a song called Junooniat which has Pukit Samrat and Yami Gautam. There are few more songs I’ve sung that will be declared later.

Your message to readers of The Score Magazine and your Fans To start with, I think it is really amazing that a music magazine has been going strong for so long and covering music and musicians. I feel absolutely privileged to be a part of it and to be featured here and not to be asked those typical clichéd questions. One thing I would like to tell everyone is to maintain originality because we might be Frank Sinatra or Bryan Adams fans or a Justin Beiber fan or any musicians fan but what is important is to pick up the nicest things from those people because they are your idols. If they are your idols, you can’t be them. It is always nice to dream big but if you pick up those little gems from those people, that’s what matters. You be the best of your own self and maintain originality! Only that will give you life and sustainability in the Industry.

Another time, at a show there was this guy who kept trying to come back stage. My manager at that point was this really big built Sardaji guy and he used to wear a cap. So this guy kept coming and hugging my manager, pulling his cheeks and requesting him to let him go up from back stage. This happens about 3-4 times and the final time that guy comes to my manager with a 500 rupee note to bribe him and asks him to let him.

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There is one scary incident that happened at a concert in Patna where my father was at the sound console and this random guy kept asking me to play “Chamma Chamma.” My dad asked him to leave. After about 4-5 times of asking us to play that, he actually came with a gunny bag that had hand grenades. He just opened it in front of my dad and said “If you don’t play it, I’m going to throw these grenades in this entire place.” My dad just said yeah sure in 2 minutes and then eye contacted with me to leave the stage. The band packed up slowly and the DJ took over and we all were out of the place in 5 minutes!we

had shut the show.

PX-860 WHEN YOUR MUSIC MATTERS The Casio PX-860 Privia Digital Home Piano is a beautifully made digital piano with a fantastic sound, wonderful build quality, and a vast range of options. If youâ&#x20AC;&#x2122;re serious about sound quality, then this is a piano that will stun audiences and that will keep up with anything you throw at it.

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This is a great instrument that will be suitable even for professional musicians who are looking for something to practice on and perhaps occasionally perform with. It comes with a cabinet and pedals and is beautifully made with an excellent sound and full keyboard. As reviewd by a pianist.

A GRAND REVOLUTION The flagship of the new Privia line, the PX-860 has the advanced AiR sound set providing an additional level of realism, including grand piano lid simulation and sympathetic resonance. A combination of a new keyboard action and a powerful new sound engine provide a new level of detail, nuance and expression for a superior grand piano experience in the stylish design that Privia is known for.

PIANO SOUND Utilizing Casio's new proprietary sound source "AiR", the PX-860 provides the amazing sound of a 9 foot concert grand piano. This grand piano sound is meticulously captured in stereo at four dynamic levels. The AiR sound source then delivers this sound with seamless dynamics for a remarkably expressive and powerful performance. For added realism AiR provides Damper Resonance for the rich sound of the strings when the sustain pedal is used and String Resonance to emulate the sympathetic resonance of the open strings in an acoustic grand. To further enhance the playing experience, the Hall Simulator provides simulations of the acoustics of real-world locations allowing you to experience playing the grand piano sound in a variety of locations.

KEY ACTION The PX-860 features Casio’s 88 note Tri-sensor Scaled Hammer Action II keyboard. This action is scaled to match the weight and resistance across the range of an 88 note grand piano. In addition, this action features simulated Ebony and Ivory textured keys for an incredible feel. Capturing your performance, Casio’s key action has three sensors to capture the dynamics of a performance with unparalleled speed and accuracy. To further enhance the experience, Casio’s Hammer Response feature takes into consideration the speed at which different sized hammers move inside acoustic grand relative to velocity the keys are pressed, this timing nuance provides the ultimate key to sound experience.

POWERFUL FEATURES The PX-860 offers an impressive 256 notes of polyphony, as well as a choice of 18 instrument tones. New instrument tones include stereo string ensembles, basses and electric pianos derived from Casio’s award winning PX-5S. The PX-860 provides split and layer capability allowing you to play bass in your left hand and have two layered tones in your right. Duet mode splits the keyboard into two equal ranges, allowing student and teacher to use the piano simultaneously. An easy to use USB port can capture your performance as a standard .wav file so you can easily share your music. The PX-860 also has a 20W + 20W amplifier provides incredible sound and an adjustable top lid to project the sound like the lid on a grand piano. The matching keyboard cover, stand and pedal board make this a complete digital piano that is a welcome addition to any home dècor.

CONCERT PLAY High-quality audio recordings of 10 live philharmonic orchestra performances are installed. Pianists can play along with recordings and enjoy the feeling of participating in a magnificent performance. Musical scores of the music are also included.

USB MIDI Casio continues the tradition or providing "class compliant" USB connectivity on Privia digital pianos. This allows Privia to be used with Mac or Windows computers without the need for downloading drivers. Class Compliant USB MIDI also allows Privia digital pianos can also be used as a controller the Apple iPad simply with the use of Apple's Camera Connection Kit.

AIR SOUND SOURCE To reproduce the sound of the finest acoustic grand pianos, the new Privia series features Casio’s proprietary AiR (Acoustic and intelligent Resonator) processor. Accessing more than three times the memory of the previous generation, the AiR processor utilizes grand piano samples recorded at four dynamics sampling to deliver grand piano sounds with long natural decays and remarkable expression. To further the grand piano experience, AiR adds realism by simulating the sound of the open strings when the dampers are raised by the pedal.

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TOUCHMIX +

HOUSE OF K MUSIC’S TRUE POWER COUPLE Top musicians explore and embrace the unhinged power & performance potential of “music’s premier awesome-twosome” – QSC Touchmix compact digital mixing consoles + QSC House of K loudspeakers.

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In a world that’s flooded with great music and music makers, it’s essential that as a performing musician you stand out from the crowd. A lot of this depends on creating an identity with a sound that’s as true and unique as you are! And to achieve this you must be absolutely sure that the gear you use will do complete justice to you and your sound. In addition to high quality audio performance and delivery, every successful performing musician demands for gear that’s compact & portable, dependable, flexible, and of course, uncomplicated! And delivering the perfect combination of power and true sonic fidelity, products like the profound and versatile House of K loudspeakers, and the revolutionary Touchmix series of compact digital mixing consoles, are shining examples of how QSC Audio products have constantly pushed the envelope for innovation in global world class pro audio technology with the goal of meeting the demands of musicians across genres and instrument applications. Musicians and pro audio professionals themselves have been the genesis for the creation of these leading the way via online forum discussions and many other media. And when they spoke, the company listened! Designed for musicians, production professionals and live performance venues that need the power and capability of a large “concert” mixing console in a compact, affordable and easy to use form, the QSC TouchMix Series of compact digital mixing consoles represents a breakthrough in innovation and digital mixer design - the result of a remarkable collaboration between QSC and industry icons Greg Mackie and Peter Watts. The TouchMix-8 and TouchMix-16 mixers offer the functionality and feature set of large format consoles in an extremely compact and lightweight package that delivers the kind of performance value capable of impressing even the most demanding professionals. And while the TouchMix not only resets the bar for performance and value, it also redefines the user experience for both professionals and novices alike. Alongside the Touchmix series is the globally acclaimed House of K loudspeakers (comprising the K Series, the KW Series and the KLA series) which represents QSC’s technical and creative prowess as all of the products in the K Family of loudspeakers incorporates the brand’s global leader amplification technology that’s been sublimely amalgamated with ultra-high quality processing and superior loudspeaker technology. While finely calibrated DSP optimizes performance while protecting the amplifiers and transducers, next-gen features like Intrinsic Correction™ and TiltDirect™ help users to achieve unmatched acoustical accuracy and performance. So when the power and precision of the K family of loudspeakers unites with the dexterity and ingeniousness of the Touchmix

series of consoles, there’s no surprise that the result is every performing musicians dream personal monitoring system come true! Popular musicians like two-time grammy nominee Larry Braggs, multi-instrumentalist Bob Bonnen and Black Jack Canyon Band are some among the many who tout this QSC union as the perfect solution for accurate sound reproduction of digital sources in a live application. And the common sentiment heard over and over is that this system allows them to be more expressive, add nuance and greater dynamics, and produce more creative and inspired live performances. Sharing his experience of actively using the Touchmix + House of K solution from QSC, Larry Braggs comments “I use the Touchmix 16 along with a couple of units of the K10’s and the K sub, and I use this system almost at every gig that I play every week. I use a lot of presets on the Touchmix 16 and I’m blown away with the quality – the presets on the Touchmix 16 really are a starting point for a mix. For example I can plug in a kick drum and just add some warmth to the room, and using the presets the kick drum will actually sound like a kick drum on my system – no added colour and no need to tweak the EQ! That’s the great thing about this system – you don’t need to be a sound guy to use the Touchmix coz QSC has already got all the stuff figured out and ready for you to use. It’s so easy, so user friendly, and the sound reproduction is just wow, especially on my K10s and KSub. When my band heard it for the first time, they told me it sounded like a studio quality mix! That’s the kind of great work QSC has done with the Touchmix and the speakers.” Bob Bonnen shares his take saying “I'm mostly a solo performer, and I do my own setup and run my own sound. Currently I'm using QSC TouchMix-16 with two KW122 speakers and one K10 speaker. I may use any combination of speakers depending on the gig. The K10 is small, lightweight and powerful with a very clean sound. It is ideal for portability, small gigs, and even outside work with the threat of weather which can turn quickly here in Florida. With the TouchMix and K10 setup and 3 big plastic bags I can secure my gear against rain in about 20 seconds. The KW122's with the wood cabinets are my favorite speakers for larger gigs. Crisp and clean across all frequencies. It's my new favorite speaker and I've tried most of them. The additional cost and weight for the wood cabinets is well worth it for me. The TouchMix easily replaces the rack and mixer system I had used before. The overall sound is noticeably better and less prone to feedback using compression at higher volumes. The EQ and effects rival that of quality hardware. And it’s very easy to use - I watched several online tutorials and set up my mix quickly without reading the manual. The ability to save settings and scenes is handy for different acoustic environments. I have saved the settings for my occasional trio which considerably cuts down on setup and sound check time. Put it all together and it's the best sounding, most flexible system I've ever owned. Besides the obvious benefit for the audience, I find that knowing I have great sound adds an extra layer of fun and confidence to my performance!”

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announces

Global styles and sounds along with WAV import and onboard sampling

Roland introduces the E-A7, a powerful and versatile arranger keyboard for musicians needing professional-grade sounds and authentic backing styles. Packed with over 1,500 sounds spanning a variety of musical genres, the E-A7 also comes with a huge library of backing styles from all over the world â&#x20AC;&#x201C; including authentic styles crafted by musicians in Asia, the Middle East, Europe and South America. Although the E-A7 is packed with sounds, further expansion is possible via WAV file import and the onboard sampling function, which gives the ability to sample the sound of a traditional instrument and use it as part of a musical performance. This also means that E-A7 is an instrument that stays up to date as musical styles change. The entire performance can even be recorded to USB memory which is a great way to evaluate how the performance sounded. The sophisticated arranger engine is optimised for live use with over 150 dedicated controls for fast access to the most commonly-used functions, resulting in simple operation and fewer mistakes on stage. With a dual-screen design, the E-A7 is highly intuitive to use; backing styles are on the left screen and sounds are shown on the right. This logical approach quickly becomes second nature and ensures that performing with the E-A7 is straightforward and stress free. Vocalists will appreciate the microphone input and dedicated vocal effects bank including an array of pro-quality reverbs and delays, all of which can be edited to suit personal taste.

Features Over 1,500 versatile tones from all over the world WAV file import and onboard sampling function Huge library of backing styles from Asia, the Middle East, Europe and South America Powerful arranger engine with direct control buttons and versatile, one-touch performance options 156 dedicated buttons for fast access to commonly-used functions

Packing a lot of power and functionality into a compact 61-note keyboard weighing just 8kg, the self-contained E-A7 dramatically reduces the amount of equipment needed to play a successful gig.

Logical dual-screen layout, with backing styles on the left and sounds on the right

To learn more about the E-A7 visit roland.co.in

Easy to carry and transport, weighing just 8kg

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Microphone input with dedicated vocal effects

BAND OF THE MONTH

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The Score Magazine had a detailed chat with the winners of the Sennheiser Top 50 Bands in India, The Local Train. The members of the band spoke to us about their journey so far, their music, their experiences and much more. Read on to find out Why the name "The Local Train"? Is there a story that you'd like to share with us? There is of course a story and we wish it was cooler or had a deep meaning but there isn’t. A song came before the band name. “Choo Lo” was one of the first songs we recorded and wanted to release it online. At that time all that was available was Myspace. We had a song and we wanted to upload it but we didn’t have a name for our band. On a whim we decided to name the band “The Local Train.” The song went viral in colleges! And since then we’ve been serendipitously stuck with a name we’ve grown to like a lot.

When was the band formed and how? Back when he was an undergrad in an engineering college, Raman wrote down a couple of scratches for songs and wanted to connect with people who shared the same vision. He came down to a studio in Chandigarh to record his first few scratches and met Ramit who was playing sessions there. They both liked each other’s work and although Raman paid him for the first session, they ended up spending it all on beer money! After a few discussions things started getting a little serious. Ramit and Sahil were old friends and he was the logical choice then to be the drummer for the band. Paras around that time had just dropped out of college in India and had enrolled in Musician’s Institute, Los Angeles. While struggling to find a permanent guitarist, Ramit came across Paras and talked him out of leaving the country and in 2011 is when the current lineup was complete. We’ve been together since and we doubt this is going to change.

Tell us something unique about your band. I don’t know if this is unique but we feel it’s really important. We as a band live together and work together. Not a lot of bands we know do that and honestly that has helped us really grow together. We are an out and out D-I-Y band. With no record labels or industry backing

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behind us we have to manage everything ourselves. From recordings to taxes to productions to social media, the music videos and even behind the scenes roadie work. We are involved in every step this band takes forward.

You guys recently won the First Edition of Sennheiser Top 50 bands. How did that feel? How was the experience? It’s not something we can put down in words! Of course we were ecstatic that we won but winning is just one aspect of it all. Honestly the way the management at Sennheiser welcomed us into their brand family was just so overwhelming! They really believe in our music and what else could you ask for from such a prestigious brand that has been in the industry for 7 decades! They are supporting us in every step of the way and being an independent band it feels so special to finally have the affirmation we’ve been craving for so long.

Did you know at some point that you guys will make it to the top? Haha! I think as musicians we all are day dreamers! So of course we discussed the possibility of us winning everyday! Around the time they were announcing the Top Ten list we were editing our music video “Yeh Zindagi Hai” and schedules were haywire with us working all night and crashing to sleep at 6-7 in the morning. Ramit was the first to see the result and he woke everyone up! The initial confusion and irritation gave way to the realisation that we won! We all slept a very happy sleep right after. Only when we woke up later in the day did it really sink in that we actually were Number One!

Where do you guys draw your inspiration from and why? It’s all around you! There’s so much content now that we’re exposed to thanks to the internet and the mobile revolution. It was so difficult when we were growing up to source cassettes or even cds for quite some time. Now we’re sitting in a small city in India and I can still watch my favourite band play live at the other corner of the world. Anything can inspire you! A small clip shared on whatsapp of this street musician in Brazil or the dvd concert footage of our favourite bands. I think if you’re motivated in general you’d have this curious approach to everything! All four of us devour content on a daily basis and we keep sharing stuff with each other whenever we see something interesting.

SNEHA RAMESH Which has been your most favorite place to perform at by far?

What do your future projects look like?

We’ve sadly played at very few clubs and mostly we get invited to the college cultural festivals happening across the country. Our original music is what helps us in getting these shows so usually if we are popular in that college then there’s a demand for us. This one time two colleges booked us for separate dates and handed us the advance. Both of them rescheduled their dates to the same Saturday! Both of them refused to take a cancellation. So we decided to headline two festivals on the same day. Our crew and a few volunteer friends were set up as teams to make sure everything is setup as quickly as possible. Travel plans were executed to the minute! And they had to be cause the two shows were in two different cities! We managed to play a show in New Delhi, rush to the airport, take a flight to Chandigarh and play the next one there. Pulling this off was extremely tricky and it’s still something we joke about. It was foolhardy but it worked!

New songs and new videos have to be a staple for the next year. But with every project we wanna make it bigger. Our song ‘Manzil’ is the official anthem for ICAP (Indian Collegiate Athletic Program) ICAP is on a mission to revolutionise college sports in the country and we’re honoured to be shooting a music video dedicated to promoting college sports in the country. We’re also on tour right now to promote the album launch. Worker Bee Productions has organised a massive tour for us. We’re hitting 8 cities in the first leg and we’ll be announcing more cities for the 2nd leg. The tour is called Band On The Run and it’s one of biggest tours organised in the country for an independent band.

Tell us about your new album. Although we’ve been out there as a band for quite a while this new release is our debut album. Before this we released singles along with music videos. This album has been a project we’ve been working on for the last 4 years now. Hence the title ‘Aalas Ka Pedh’! It all started when we came down to Mumbai to start recording our album at Flying Carpet Productions with Ashish Manchanda. For an independent band to record their debut album in of the finest studios in the country was more than we could ask for. But production delays and the phenomenon of going broke forced us to head back home. That’s where we finished our album in our little home studio. We had some trouble in finding the right sound for our mixes and that’s when we got in touch with Chris Hesse, a U.S. based producer who also happens to be the drummer for Hoobastank. He really liked our music and agreed to mix and master the final product.

If there is one band/artist you would like to collaborate with, what would it be and why? Lucky Ali! Maybe cause of the nostalgia. We opeed for him once and Lucky is such a fantastic and talented human being. Growing up listening to his music is something that really inspired us. We’d like to mention Sneha Khanwalker as well! She’s experimenting with such new sounds and doing it in a way that connects universally. That’s not easy to pull off and it’ll be great to work with her some day.

YOUR FAVORITE SONG Sometimes you can’t make it on your own - U2 BEST JAMMING EXPERIENCE EVER On the way to Cherrapunji, we stopped at this beautiful cliff corner with a waterfall right there! The place was just surreal. BEST STAGE YOU'VE PERFORMED IN. Rendezvous ’14 IIT Delhi. IF NOT THE LOCAL TRAIN, WHAT NAME? Farzi Darindey!

Is there any special message you would like to share to the readers of the Magazine? Buy our album! Haha on a serious note I think music journalism is an integral part of this industry and Score is doing an amazing job at keeping things real. You’re supporting an unbiased magazine that’s keeping music journalism alive. Just continue doing that. We’re grateful that Score’s doing what they’re doing and they have loyal readers who support them.

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TOP 10 TRACKS FOR THE NEWBIE INDIE-LOVER

The great thing about freedom is that you are never expected to hold back. Independent artists and labels have revolutionized our standards of music on a creative front and capabilities of self-expression. While they lack mainstream popularity, it’s this kind of music that defines the whole purpose of the industry. This isn’t a Top 10 List by a long shot, because let’s face it, you can’t put a label on creativity

Mumford and Sons The Cave Before these guys went all out rock with their Wilder Mind album, Mumford and Sons was as rebelliously indie as it gets. Hopeless Wanderer screams acoustic folk, with the double bass and banjo emphasizing key moments in the track. The progressive nature of the song is in contrast to the other tracks in this list, although it’s pretty easy to absorb in terms of arrangement and volume. Indeed, one of their best works.

Noah and The Whale – 5 Years Time If these guys wrote nursery rhymes, kids wouldn’t be the only ones singing them. Lyrics with childish meters, simplistic melodies that are attractive to say the least and vocals that make you want to clap your hands and sing along, really put this song at the top of anyone’s cheer-me-up playlists. Making music that sticks is really difficult when experimenting with unorthodox ideas, but these guys really knocked it out of the park.

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The Kooks – She Moves In Her Own Way Anyone who knows anything about indie has heard The Kooks. Ignoring their more popular tracks like Naive, this one sums up the band’s energy pretty definitively. With an almost adolescent brit feel, their melodies bounce beautifully. Easy to absorb and swing to, they still managed to stand outside of the mainstream circle without sacrificing audience exposure. Although not as intense as some of the artists in this playlist, they really stand out with their chill vibes and uniquely frilly vocals.

The Decemberists – A Beginning Song There are certain songs that just propel you into a singular feel and atmosphere with no bounds whatsoever, and this one is definitely one of them. The overwhelming warmth and brightness emanating from the track is beyond comprehension. You’d expect breath-taking moments to last as long as, well, a breath. This one however, lasts a whooping five minutes. A cup of morning coffee and suddenly, all of your life’s wants seem irrelevant.

AMOGH RAO Bon Iver – Skinny Love Coming to the more intense and hard hitting tracks, this one’s a keeper. Apart from the acoustic guitar and miscellaneous percussion, it’s pretty much just Bon Iver’s incredibly emotional vocals, and a whole lot of feels. The lack of complex arrangements and multiple instruments, really throws his voice in the limelight, which impressively coveys all of, if not more than, the sentiment. Plenty of covers of this out there too, if you’re looking for different interpretations.

Of Monsters and Men – Little Talks Of all the energetic folk songs one might expect to find, this one is definitely monstrous. The reverberating melody and heavily bouncing chorus really sticks until you’re tired of hitting repeat. The contrast between the male and female lead also does brilliantly in terms of layers and depth to the track, while the trumpet just blows everything gloriously out of proportions.

Hey Marseilles – Bright Stars Burning I’m personally very attached to this one. Bright Stars Burning demonstrates the power of subtlety and dynamics in expression, with brilliantly embellished instruments and a heart warming balance between intensity and flavor. The fact that these guys are practically unheard of outside their local radio station’s reach just goes to show the overwhelming and underappreciated talent that we haven’t come across only cause of settling for mainstream artists and chart toppers.

The Arctic Monkeys Fluorescent Adolescent If you’re currently under the impression that indie’s all about acoustic guitars and emotion, listen to these guys. There’s nothing technically complex about their instrumental stuff, nor are the vocals exceedingly challenging. However, the sheer energy, intensity and adrenaline that they bring to their tracks, defy logic. This one’s got a brilliant lyrical theme to it too. Ballads are hard to get right as it is, and then you listen to this song and just ponder over man’s expressive limitations.

Angus and Julia Stone – Yellow Brick Road Coming to slightly lengthier compositions, this one’s notable for its extremely picturesque lyrics that are complemented brilliantly by a simplistic set of acoustic instruments. Single artists usually tend to stick to expression through lyrics over instruments, as opposed to bands that just go all out. However, the gripping vividness of a single person’s perspective is stronger and more definitive than a mash-up of styles noticed in most bands, a prime example of which is this song.

Alt-J – Fitzpleasure This band has probably defined the standards of freedom in music, with innovative grooves, boundless melodic ideas and unique vocals, not to mention the highly unorthodox and controversial lyrical. The tastefully different vibe going on in the song makes you wonder why music like this hasn’t been released before. Relatively new to the music scene, they are generating quite the fan-base. With creativity and boldness of this magnitude, it’s not much of a surprise either.

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Star of the month

Aziz

This October, our Star of the Month is the man behind the super blockbuster hits, Selfie Le, Shaadi Ke Fall Sa & Gandi Baat. We had a chat with the super talented Nakash Aziz about his musical journey, his inspiration and much more. Catch his complete interview

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We always believe in starting with the obvious! Tell us about your musical journey and how it all started? It started with my father Naushad Aziz who is also a singer but a banker by profession, I inherited music from him. I started singing I really don't know when but I performed for my school annual day in Aurangabad at the age of 3. I performed the song Papa Kehte Hai from QSQT. We came to Mumbai (formerly known as Bombay) in the year 1990. I went to school like any other kid but used to perform songs and mimicry for my class whenever we had a free lecture. I started doing regular stage shows as a chorus singer when I was in class 7 and later on graduated to getting a couple of solo songs as the number of shows increased . I was obviously not very bright at academics or sports but music is something that came to me naturally and learnt whatever I could from my father and my mom was the one who would take me around for auditions of TV singing competitions or absolutely anywhere there was an opportunity to participate in a music contest. Well with competitions, one thing led to another and the rest is what it is today.

How does it feel like to be a sensation in the Bollywood industry? It obviously feels great! It has been a joy ride meeting all the amazing musicians and working with the best composers. I want to contribute to music in a huge way and explore several avenues in terms of song production and independent music. I also want collaborate with many artists. My journey has just begun and I believe that possibilities are endless.

How do you handle being so famous and popular? There is nothing that I need to handle. I try to be as rooted as possible. The people close to me matter the most. I want to be there for all my friends and family as much as I can. I also believe that if one is popular he or she should always try and set a good example for society.

So far, you have only given super hits in the industry. How do you manage to always give your best? I always aim to give my hundred percent. When a music composer trusts you to deliver a song, I believe it is our duty to live up to that expectation. Some songs work out well and some don't .That is a part of the entire process. I have been fortunate for the kind of songs that I've got but it becomes easier for me to deliver songs that I connect to. I feed on the confidence when composers show faith in my ability. The rest is in the hands of God Almighty. God has been kind all my life and I Owe it all to God and my parents blessings.

Where do you draw inspiration from? I draw inspiration from many things. I am just an element in this vast universe and inspiration is all around us. I just need to keep my eyes and ears open. I try to learn from everyone I meet, each person is equally unique.

How has your family played a role in your musical career? My music career is because of my family. They always encouraged me to pursue my passion. My father is the reason I can sing and mother has been my pillar of strength by seeing to it that I always went to each and every audition and made the most of every opportunity by at least not missing it .

Which has been your best performance by far? It is yet to come if you ask me. I believe people are doing amazing work all around the world. Really high bars have been set. I want to surprise myself by pushing the boundaries every time I set out to do something. It’s an attitude. I believe that I can and should exploit myself .

What is your take on the music scene in India? Do you think it is growing really fast? The music scene is a mixed bag. People are willing to experiment. I feel Independent music needs to come out with a lot of vibrancy. It is getting there with music labels and artists taking the initiative.

Tell us about your experience working with TV and Ad commercials Each experience is unique in its own way. But I feel television is limited in terms of resources or creating an environment although I did get to work with some amazing people in television I still feel television can figure out better ways of creatively satisfying the people who are turning to English TV shows. I do not doubt the abilities of anyone but I still feel Indian television needs to evolve. Ad commercials are a lot of fun. It has boundaries yet it allows u to explore things in several ways and also demands a certain amount of spontaneity which I really enjoy.

Where do you see yourself 5 years from now? Honestly, I try to live in the moment. Thinking about the future can really hamper your present .

If not for music, what would you have done? I would be probably be pursuing a career in the AD world. Ads are a lot of fun and a lot of detailed work goes into it. The beauty of conveying a message in a minute is a very exciting challenge.

Is there any particular collaboration you are looking forward to? I dream of collaborating with Coldplay someday. I just love the way their albums sound .

Your Future projects I don't really know about them until they are out on digital platforms or on Television .

Message to readers of Score. Believe in yourself , you are as unique as unique can be .

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FINDING YOUR VOICE by Julie Hill Those of us who are ambitious enough, attempt to create a unique yet recognizable sound, a "voice," as some may say. A memorable voice fills audiences' ears with inspiration; it sounds new and fresh and sometimes still rings with a kind of warm familiarity. In trying to create my own voice, I study decades past and those who have defined the genre I love to sing- jazz. I also study the voices of those who are revitalizing and reshaping the genre today. While trying to find my voice, I found it useless to try and mimic other voices. This is a mistake that many amateur singers make, perhaps because they believe they will take on the color and depth of a great voice by copying it. This is not how the voice works though. What brings color to the voice is emotion, what brings depth to it is honesty, what brings good pitch and rhythm is a fit ear, and - most importantlywhat brings meaning to a voice is life experience. If you only sing songs you understand the meaning of and furthermore, resonate with, you will be able to emote. You must have also experienced what the songwriter is writing about, so you can connect with the music honestly. Then, you can draw the emotions of your experience from your gut (which will be easier when you breathe deeply) and allow them to pour out through your voice. It is no secret that this is how our bodies work; haven't you heard the advice "Go with your gut"? It is because that is where our deepest, most honest emotions are. Billie Holiday says: "I always wanted Bessie [Smith’s] big sound and Pop’s [Louis Armstrong’s] feeling. Young kids always ask me what my style is derived from and how it evolved and all that. What can I tell them? If you find a tune and it’s got something to do with you, you don’t have to evolve anything. You just feel it, and when you sing it other people can feel something too. With me, it’s got nothing to do with working or arranging or rehearsing. Give me a song I can feel, and it’s never work."

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Rather than mimicking, a smart singer knows to engage in transcription. Transcription is the practice of singing and perhaps writing down the notes and rhythms of sounds you like. That could be a new song, a melody or rhythm you admire, or a sound you hear in life. It might be sung, played by an instrumentalist, or even created in your everyday life. Transcription develops the ear and the creative musical mind. Without it, a singer cannot grow much and is more likely to hit a wrong note in the heat of performance. For too long a time, I tried to control my voice to make it sound "right" or "nice" or "good." I can tell you that this was a colossal waste of time, and the sooner you give up on singing simply to please others, the sooner you will develop a unique sound. If you are trying to control your voice, your sound cannot be honest. We need honesty in order to create art - a unique expression that connects with the audience, moves them, perhaps even changes them- rather than entertainmenta distraction from life's responsibilities in order to engage in some temporary worldly pleasure. Another quote of Billie's I love is: "Everyone’s got to be different. You can’t copy anybody and end up with anything. If you copy, it means you’re working without any real feeling. And without feeling, whatever you do amounts to nothing. No two people on earth are alike, and it’s got to be that way in music or it isn’t music… You can’t even be like you once were yourself, let alone like somebody else. I can’t stand to sing the same song the same way two nights in succession, let alone two years or ten years. If you can, then it ain’t music, it’s close-order drill or exercise or yodeling or something, not music." Each person has a unique dialect and a unique life experience, and that should ring free through one's performance of a song. The music we sing and play well is naturally the music that rings true to our own lives and musical understanding, and when a bunch of individuals come together doing this simultaneously, that creates an original piece of music. The songs you should sing and play and the people you should make music with will find you at the right time. Have the courage to take them on as your own, to play with the elements of your medium and thus innovate something new and fresh, and through doing all this - inspire those around you.

A VERY RETRO RETROSPECTIVE What Were Your Favorite Singers Doing in 2005 Remember 2005? Harry Potter was fighting that dragon in Goblet of Fire, and Youtube had just started becoming a thing. Elton John had his swinging gay marriage and when you said catwoman people still thought of Halle Berry (very sadly). I think 2005 was a great year to look back at, because there is no time like now to make you feel really old. So I took five of the most popular artists in 2005 and 2015, and charted the momentous course of their careers. There is a lesson to this, and I hope you find it amidst all the bad puns.

RIHANNA & CHRIS BROWN Then: 2005 must have been the year of fortuitous events, with both Chris Brown and Rihanna making their debut into the world of music and celebrity. Rihanna was ‘discovered’ in Barbados by record producer Evan Thomas, and she went on the release her first album, “Music in the Sun” in August, which was certified gold. On the other hand, there’s Chris Brown, who at 16 would become one of the youngest R&B artists in the music business, released his eponymous album in November. “Chris Brown” by Chris Brown would win him two Grammy awards, and soar to the second place in the charts. What bright futures these young talented people had. Now: Chris Brown and Rihanna have dated, broken up, dated again, and so on and so fort until its violent culmination in 2009. After which, Chris Brown dated somebody else, fathered a baby with somebody different and went to prison for assault. And for some reason, this has done nothing bad to him, as he has moved from strength to strength in commercial success steadily over the last ten years. He even got a tattoo on his face, and he is still popular. Rihanna, from what I last know of, was spotted partying in Barbados. To repeat the story of her success and appearing pantsless at parties would take too long, I will will just content myself with one fact you might not know: as of 2006, Rihanna runs a foundation to care for terminally ill children.

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NILANKUR DUTTA THE BACKSTREET BOYS Then: This is a sad one. The Backstreet Boys might have been past their peak even at 2005, but they still retained a sort of cult following among their core demographic: highschool girls. People knew who Nick Carter is, and upon duress some might even remember another band member (Brian Littrell, A. J. McLean, Howie Dorough, Kevin Richardson. I had to google this). In 2005, Backstreet Boys “rock” album “Never Gone” was hailed as a comeback for the group. The single “Incomplete” peaked at number 13 on billboard. Now: Nobody cares. Did you know that one of the members of the Backstreet Boys left the group in 2006 and then rejoined it, in 2012? I won’t tell you which one, because you should care more about these people. The last music they seem to have made was in 2013, which sunk into the collective consciousness without a single ripple. They have been replaced by younger versions of the same thing, and even those groups have now started to break up. But the Backstreet Boys are still persisting. and they are now in the process of making a movie called Dead 7. Written by Nick Carter, it “ is centered around a ragtag band of gunslingers operating during a postapocalyptic zombie plague.”

KANYE WEST Then: Up until 2004, Kanye West was just a rapper. He was a pretty good rapper, having shot to Billboard No. 2 with his debut album “The College Dropout” but if you had to choose West from a lineup of millennial rappers, he would be the least crazy one. Consider this, West struggled to get into the rapping game because most major labels thought he was too respectable to be a rapper. His street cred, as it were, was not bad enough. 2005 is the year West would prove everybody wrong, with seven words on national TV, in a moment that would spawn songs, and be referred to by George Bush as ‘the low point of his presidency.’ In 2005, Kanye West said “George Bush doesn't care about black people.” Now: In addition to rapper, Kanye West is now a fashion designer, record label owner, short film director, father to one of eight directions and most possibly the incumbent president of the United States. Winner of 21 Grammy Awards, and one of Time’s Most Influential People in the World. That, and totally batshit insane. The man makes teenage girls cry at award shows, whilst simultaneously making music that is, in Lou Reed’s opinion, "majestic and inspiring, noone's near doing what he's doing, it's not even on the same planet."

KEITH RICHARDS Then: Rock and roll’s seemingly immortal wild child, Keith Richards has always like to live it up. In 2005, the Stones were touring for their album “A Bigger Bang”, and Richards’ contract rider included a “a medium white Casablanca lily arrangement with weeping eucalyptus” for his dressing room every night. Richards may be a drugtaking hedonist of the worst kind, but he is a sophisticated drugtaking hedonist. Back then, Richards was playing his trademark virtuoso guitars for hits like “Rough Justice” and “Streets of Love.” Now: In 2015, Richards is lending his trademark virtuoso guitar work to hits like “Cross Eyed Hearts” and “Trouble.” He has gono solo, like he has many times before, but he is still singing, and still playing the guitar like a god. Some things, thankfully, have not changed yet.

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PALM EXPO 2015 CONCLUDED SUCCESSFULLY AS THE LANDMARK EVENT IN CHINA The exhibition focuses on China’s cutting-edge solutions for professional audio, recording, sound reinforcement, professional lighting for theatres, performing arts, clubs & pubs, concerts, AV and systems integration for the entertainment, leisure, presentation, and commercial installations industry. The 24th edition of PALM EXPO (autumn) returned to the old venue and has proven itself as another action packed show this year. Over 550 companies and brands exhibited, spreading over 8 halls covering 40,000 square metres of exhibit space. On display were the latest technologies from professional lighting, staging and touring equipment and systems, professional audio, audio visual, video conferencing, post production products, PA systems and many more. The show had also welcomed many visitors from around the regions and countries worldwide. Moving back to the OLD venue had generated more positive feedbacks from trade visitors to PALM EXPO this year. These professional visitors had commented the ease of visiting the OLD venue and coupled with a more enhanced improvements at the event; with increased interactive features such as Product Seminars and Technical Symposiums in hall 6 at the show floor, had enabled visitors to a more comprehensive experience at the show. Trade visitors were seen actively engaged on the live demonstrations and latest offerings from leading international brands like Bose, BBS, d&b Audiotechnik, Harman Group, JBL, Martin Audio, Meyer sound, NEXO, Turbosound, Yamaha, and more. “We will continue to fine tune our platform in 2016 to suit market changes and exhibitor’s expectations” said Ms Juri Tan –Exhibitions Director of Informa Asia (International halls). To achieve the above objectives, closer co-operations with the industry players and the organizers are expected in the coming months.

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RECAP ON PALM EXPO 2015 Show Highlights PALM EXPO hosted an array of activities during this 4-day show attracted high interest from the enthusiastic crowd.

The 13th China International Entertainment & Technology Summit Held on 18 August at the Radisson BLU Hotel, the summit received strong attendance from over 260 delegates. They had an engaging time learning about, and discussing this year’s focus – “Theatre Construction and Operation Safety” with renowned speakers invited from China, Korea and Germany. Topics presented included Standards and Safe Use of Stage Machinery in China The System for the Safety of Stage Facilities in Korean Theaters – Regulation and Standards Safety in the Design of Stage Machinery Stage Technology & Art of Travel-themed Theatres Guest Security – A Dynamic Open System Requirements of Risk Assessment Safety Protection in Theatre Management

Entertainment Technology Applied to Culture Symposium The symposium held on 19th August had provided participants with a better understanding of the idea to explore future development of the entertainment technology and arts in the field of intercultural center. The active discussions further confirmed the interest and

PALM EXPO, China’s largest and most established international exhibition on Pro Audio, Light, Music and Technology, was held from 19 to 22 August this year. Jointly organized by Informa Exhibitions and China Entertainment Technology Association (CETA), PALM EXPO, served as an important platform for industry players and big brands to showcase their latest products and technologies.

enthusiasm of the seminar participants. The Chinese Public Cultural Managers and Entertainment Technology Industry Experts were invited to introduce the National Cultural Center’s status quo of the facilities and many other interesting topics.

The 10th PALM EXPO Beta Three Band Competition This exciting competition was held over the two days (21st – 22nd August), engaging the visitors with an entertaining musical fiesta. There were more than 200 bands around the globe participated at the preliminary round and only 20 bands were selected to get to the final!

New Products Conference & Technical Symposiums Located in Hall 6, from 19th – 21st August, the attendees participated in the symposiums actively, having the opportunity to be the first to view the new product presentation and launching ceremony from many well-known companies. Some of these companies were – Bose, SBS, KS Audio, Thunderstone, NTI China and more.

The Award Ceremony for "2015 Annual PALM Exhibitors Intellectual Property Winner" & "2015 Annual PALM Exhibition Technical Progress Award" On the morning of 21st August, the Award Ceremony had attracted a big crowd at Hall 6 – to the Technology Area. Visitors and exhibitors were eager to know who would be the winners after many rounds evaluations and assessments. Congratulations to our winners!

ABOUT PALM EXPO

exhibition for the entertainment, pro audio and light, music, trussing and staging, installation and AV industry. PALM EXPO has also evolved to serve as an important gateway to gain access to the thriving markets in Greater China. Being the benchmark and most highly-regarded event within the industry through strong support from local government and associations, PALM EXPO is also the world’s leading event of its kind that provides a proven platform that international key players meet, interact and exchange ideas with key decisions makers. For more information, please log on to www.palmexpo.net

ABOUT INFORMA EXHIBITIONS PTE LTD Informa Exhibitions delivers over 150 trade and consumer exhibitions annually across the globe. More than 800 talented individuals collaborate to present market leading events for sectors including Beauty, Construction, Design, Life Sciences, Maritime, Nutraceuticals, Pop Culture and Real Estate. Through face to face and digital channels, Informa Exhibitions enables communities to engage experience and do business. Informa Exhibitions bring together people who want to buy and sell and communities to network, do business and get inspiration. For more information, please visit: informaexhibitions.com

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For media enquiries, please contact: Ella Qin, Marketing Manager Informa Exhibitions Email: ella.qin@informa.com

PALM EXPO is China’s largest and most established international

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MojoJojo Hardly a stranger to the live Indie scene in India, Akshay is known for his work as a bassist with bands like Gravy Train, Barefaced Liar and the Doppler Effect amongst many. From playing with a multitude of bands as a bassist, to meriting a sought-after debut album tag as a producer â&#x20AC;&#x201C; Akshayâ&#x20AC;&#x2122;s had an interesting career graph. We at The Score Magazine had a chat with Mojojojo about his much awaited debut album - Shots Fired, and the electronic music scene in India.

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Let's start at the very beginning! How did your journey begin? My journey in music began at the age of 10, when my mother decided I should learn the Piano to enrich my extracurriculars. Little did she know, she'd set off a chain reaction. I went on to learn the electric bass in high school and chose that as my instrument of choice as it allows melodic AND rhythmic expression. Something no other instrument conventionally does. Also around that same time I got a bootleg copy of Fruity Loops, popular music production software and was listening to all kinds of electronic music. So I started dabbling and that's how the foundation got laid!

atop the red bull tour bus at Thapar University in Patiala. The energy of the 4000 strong crowd was electric and I had great time playing.

Give us a brief about your new album. How is it going to stand out from the others? So my debut album, 'Shots Fired', consists of 9 tracks, in English and Hindi both, plus some regional dialects as well. The tracks range from Drum and Bass to Moombahton to Glitch Hop and can be broadly classified under the 'Global Bass' umbrella. It's releasing on the 3rd of October, on Times Music, across digital platforms.

You are known to be one of the only few Electronic Artist in India who play Bass music. How did you get around to playing such music?

I started writing this album in September of 2014 and wrote most of the material between then and April 2015. The album is a distillation of the last 15 years of my musical experiences, with influences ranging from contemporary pop to Rajasthani Folk and hence imparting a very diverse characteristic to the sound.

That I would attribute to being a bass player. It came very naturally as the rhythm heavy, repititive nature of trap, drum and bass, dub was another form of expression of what I had learnt and performed.

There are a total of 7 collaborations on the album with vocalists like Tanya Nambiar, from Gravy Train, who's sung on 'Rise and Fall'. Mahima Dayal, who goes by Bawari Basanti, from the act, 'Basanti aur Woah', has sung on 'Storm' and then there's KR$NA, who's a rapper signed with Universal Music and has handled vocal duties on 'Jungle Raj' and the title track 'Shots Fired'.

So essentially for me it boils down to the groove and the diversity bass music offers, as opposed to say EDM, is very satisfying.

There are also 2 tracks that I've coproduced with one of finest indie producers in the country right now. Jai Vaswani, a.k.a Nanok has coproduced, 'Greed is Good' and Piyush Bhatnagar, a.k.a Sound Avtar has coproduced 'Shots Fired'.

Tell us about how you make your music.

The album is going to stand out because of its wide spectrum of moods the listeners will get to experience from the start to the finish and it's immaculately detailed production values.

There isnt a fixed process really. It works differently every time, depends upon where I'm drawing my inspiration from at the moment. Sometimes it's a melody that Iâ&#x20AC;&#x2122;ve made which becomes the foundation of the whole song, other times it's a groove I've made which substantiates the rest of the track. Also sometimes, it's just an emotion that's extremely powerful and moving and the track is constructed in my head. Although, that happens far less than I would like.

What's your take on the Electronic scene in India? Is it getting better? Of course, it's really heartening to see people getting into music production and experiment with new sounds, using DJing as a platform of expression for the music they've created or believe in. More and more artists are creating very distinctive sounding music, breaking out of the global trends and that's really refreshing because slowly and steadily we're making a mark for the country in the world!

Where do you get inspired from to make music. I don't make music unless it's really personal to me. There's always a very strong feeling or emotion behind a track, it just depends on how deep I explore them.

Which has been your best performance ever and why? There have been so many memorable gigs for so many reasons but the most recent was a couple of days ago,

Give the upcoming artists like you in the same genre your golden words of wisdom. This is probably not for you if you want to make a lot of money, if you like a routine, if you like fixed working hours or if you like going through life on auto pilot. Being an artist means dealing with constant self doubt, being relentless in your pursuit of your goals and having to give up on a lot of things like a social life, conventional life milestones and more. So be sure to come to terms with this before you make a commitment to this life.

What is your mantra in music? I believe in inclusion and feel equally for all kinds of music. Every genre has something to offer and has something one can appreciate and learn from. I also believe music is a very personal form of expression and everything that I write or create has a deep meaning behind it.

Your message to readers of The Score Magazine My message to all the readers of this magazine would be to seize life by its horns and strive to achieve whatever gives their life meaning.Â Odds might be stacked against you and it might seem overwhelming but dig deep and see it through to the end, it will be worth all the blood, sweat and tears. I also invite Score readers from across India to my album launch tour starting from 3 October in Delhi, 4 October in Kolkata, 9 October in Bangalore, 16 October in Hyderabad, 17 October in Jaipur, 23 October in Pune and 31 October in Nepal. More locations will be added to the list, you guys can follow me on www.mojojojo.net

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A Fine Balance

Electronica & Dimly lit night clubs, a sea of bodies on the dance floor swaying like seaweed in sonic synchronicity to the beats doled out by the DJ, connected by invisible sound waves that move their limbs in rhythm to the music. Electronica and dance are synonymous in this context – with DJs compiling intricate set lists designed to make their audiences move, groove, lose themselves. But Yotam Agam does it a little different.

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“My idea was to use electronica in conjunction with movements of the body, but instead of moving people through dance - I’ve chosen yoga” says Yotam, “It’s a sort of movement that is so beautifully connected to spirituality, and yoga has been a passion of mine and part of my lifestyle for years now - so has music. So why not bring both together? I’ve been collaborating with several Indian musicians to create electronica that moves not just the body, but the mind and soul too. T hat’s my creative aim”.

NIRUPAMA BELLIAPPA

Movement Yotam is perhaps best known as 1/2 of folk electronica collective Business Class Refugees, an act he founded with fellow musician/ producer Patrick Sebag. Together, they created a sound that was firmly rooted in electronica grooves and textures while still managing to retain the sort of raw humanity and soul that separates a good piece of music from a magical one. As someone who has seen them perform and worked with them over a few years now, I’ve seen first hand how their humility as people belies the sort of musical understanding, technical knowledge and immaculate production prowess that goes into creating each one of their compositions, paying homage to various streams of Indian music along the way. “I’ve collaborated with several Indian musicians to create the sorts of sounds and textures that inspire me – artists like Shubha Mudgal, Mahesh Vinayakram (son of Ghatam master Vikku Vinayakram), percussionist KV Balakrishnan, Janardan Mitta (a disciple of Ravi Shankar), Carnatic violinist Padma Shankar, flautist Navin Iyer – there is a certain depth and raw emotion to Indian music traditions that I strive to showcase in my compositions” says Yotam. As we sit cross legged on the studio floor, I ask him about his latest musical venture – bringing soulful electronica together with yoga, intended to accompany one’s yoga practice with music as a sonic focus point. “During yoga practice you always look for focus points – and the focus points come from visuals, or breathing, but of the five senses hearing is the one sense you can’t block out. And so many things are happening in our big cities, we practice in hectic environments that don’t allow for total quiet. But then I thought - If I wrap myself with sounds that are repetitive but still have a rhythm, it will help me focus more on the sound, and the rhythm will help with my practice. In Ashtanga yoga, rhythm is very important”. His last performance at the Covelong Point Classic Surf and Music Festival (organized by Yotam, Arun Vasu of the TT Group and Murthy Megavan of the Covelong Point Social Surf School) brought these

sounds together with the vocals/morsing of long time collaboration partner Mahesh Vinayakram. Though many of the samples Yotam uses are live instruments and vocals, there’s a certain creative freedom that electronica affords him that a live music set up would not. “This set up allows me to play with a huge variety of sounds, instruments and vocals all at my disposal – it’s like building up a puzzle – and that’s where the electronica kicks in. It wouldn’t be viable when playing with live musicians, and I wouldn’t have as much freedom or creative avenues to experiment with. What’s also beautiful about electronica is that you can work with different sets of frequencies – sub sounds, bass sounds, or even arpeggio sounds that are electronically generated, that give you a strong sense of freedom and pleasure. I can’t explain it – but the frequencies touch you, physically, especially some of the low/sub sounds – and then it really becomes a companion for the practice. It’s another dimension that pushes you to move and really enables you to focus”. Much of Yotam’s performances in this space are spontaneous, an improvisational process that’s based heavily on the atmosphere, the mood, and the energies of the yoga being practiced, using a vast bank of EarthMoments samples to create these layers of sound. “It’s all about improvising on what the teachers are doing in that moment – if it’s a dynamic class with rhythm, then I play accordingly and more rhythmically, if it’s a soft slow breathing practice, then the sounds I create reflect that. I use various drone based sounds, from pads to didgeridoos to Shruti boxes to singing stones, and this forms the base – then I keep layering slow movements in between, so people hardly notice the movement but something subtle is happening. Over that I lay down beds of gongs and bells, different rhythmic Indian instruments – tablas, dholaks – sometimes even subtle drum machines. For harmonics, I use a lot of harps, flute, vocals, and fender Rhodes samples. Every performance it’s different – that’s what I love the most”.

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TRIO BAND CREATOR

Want to start a band but have nobody to play with? Fret not, for DigiTech TRIO Band Creator Pedal is here to rescue you. As the name suggests, it is a â&#x20AC;&#x153;Band Creator Pedal,â&#x20AC;? a simple guitar pedal that listens to the way you play and automatically generates the bass and drums parts that match the song you play. It is just one step away from Artificial Intelligence, but if you plug your guitar into the TRIO and teach the TRIO the chords and rhythm by pressing the footswitch, you have your own band when press the footswitch again.

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The TRIO provides seven music genres to choose from, Blues, Pop, Alternative Rock, Rock, Country, R&B, and Jazz and up to twelve song styles are available for each genre and you can select between 3/4 and 4/4 time signatures. With this you can get into your jam room and jam away as each genre has built-in guitar effects which can be used along with the effects pedal for the bass and drums. Without having to depend on people and their schedules, this comes in handy and you can stick to your schedule and yours alone. The TRIO can learn 3 different song parts which can then be recalled as the song plays back. For hands free selection of song parts and styles, an optional DigiTech FS3X footswitch can be connected to the TRIO. Not only is it a perfect tool for songwriters and musicians, it also offers controls for genre, style, tempo, bass, drums, guitar, amplifier, mixer and headphone outputs. DigiTech TRIO Band Creator, which is and is a valuable resource for music students, songwriters, and more. It's the perfect way to learn how to play with a band. An entire rhythm section can be added and the Tempo control lets you choose the tempo of the rhythm section that plays, and level control of each instrument can be changed accordingly to create an ideal mix. The DigiTech TRIO was designed to create the illusion of playing with an actual rhythm section. The styles will follow your own chord progression and transition between chords using an understanding of musical theory. The 1/8" headphone output is perfect as it lets you practice silently. Learned song parts will automatically be saved in memory until cleared, even after a power cycle and there is an option to switch between songs, making it very, very easy for musicians to handle the device.

Specifications of DigiTech TRIO Band Creator: Pedal Type

Band Creator Pedal

Inputs

2 x 1/4"

Outputs

2 x 1/4", 1 x 1/8"

Power Supply Included

Yes

Height x Width x Depth

2.5" x 3.25" x 5.38"

Weight

1.1 lbs.

TRIO QUICK START 1 TEACH TRIO YOUR SONG • Press the FOOTSWITCH to arm TRIO (LEARN LED will flash rapidly). Keep your guitar quiet until you are ready to strum the first chord. • Start strumming in a steady rhythm. You are teaching TRIO a chord progression so play clearly and avoid embellishments. • As you complete your chord progression, press the FOOTSWITCH just as you strum the same down-beat you started on. This is when you want the band to join in.

2 FINE-TUNE & JAM • Adjust DRUMS and BASS knobs to balance the levels of the band with your guitar. • Adjust GENRE and STYLE knobs to try different variations of the song (STYLE LEDs light green or amber to indicate a style fit for your song with green being the best fit). • Engage GUITAR FX button to apply effects to your guitar signal. • Adjust the TEMPO knob or engage the ALT TIME button to change the song’s tempo.

3 BAND CONTROL • Press FOOTSWITCH once to start or stop playback. • When stopped, press and hold FOOTSWITCH for 2 seconds to clear song part.

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Genelec 7040 a new ultra-compact subwoofer.

In recent years, Genelec have observed an explosion in small-scale, audio and video production work,. these smaller productions, while often more limited in scope than larger works, still demand the highest levels of equipment performance and Genelec have addressed this need with the 8010, 8020 and M030 active monitors. The 7040 Active Subwoofer joins this family to create a professional, reliable, low frequency reproduction subwoofer, in a transportable package. The Genelec 7040 subwoofer packs the cutting-edge technology and the highest performance in an extremely compact package. All electronics, amplifier circuitry, drivers and enclosure have been designed and assembled, tested and calibrated individually in the Genelec factory in Finland. The 7040 features Genelec’s Laminar Spiral Enclosure (LSE™) technology. This unique enclosure design is the result of more than 10 years of research work and manufacturing experience and allows the 7040 to achieve a high sound pressure level (an essential property for a subwoofer) and move high volumes of air without distortion. Small rooms have limited floor space and Genelec engineers have optimised the 7040 subwoofer enclosure with this in mind. With external dimensions of 410 x 350 x 205 mm (16 1/8 x 13 ¾ x 8 1/8 in), the 7040A has a footprint that is smaller than that of a small practice guitar amplifier. It is also narrow enough to fit in a 19 inch rack and weighs a mere 11.3 kg (25 lb).

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Calibration of the Genelec 7040 subwoofer to the listening environment is done using DIP switches located on the subwoofer connector panel. These controls address typical monitoring placement configurations. An optional carry bag allows professionals to work on the move, with portable recording devices and in non- purpose-built monitoring environments with an accurate and flexible monitoring tool. The 7040 produces 100 dB of sound pressure level (SPL) using a 6 ½ inch woofer and a powerful Genelec-designed Class D amplifier. At the lowest frequencies this SPL is radiated from the bass reflex port by channelling large volumes of air movement through it. The LSE enclosure is made from a spiral-shaped strip of steel, providing maximal mechanical stability for the large pressures generated inside the subwoofer. The spiral forms the bass reflex port as well, enabling linear air flow also at the highest SPL outputs. This flowoptimized construction provides extended low frequency capacity and low distortion resulting in precise bass articulation. Designed to complement the 8010, 8020 and M030 active monitors, the 7040 delivers accurate sound reproduction and precise monitoring of low frequency content. These performance characteristics, combined with a compact form factor, make the 7040A ideal for use in music creation and sound design applications, as well as audio and video production work in typical small rooms.

Introducing the new Small SAM systems. They provide all the building blocks to easily assemble professional audio monitoring systems in challenging acoustic environments – automatically. The new Small SAM systems consists of two New compact two-way monitors: the 8320, the 8330 and a new subwoofer, the 7350. These systems are driven with an entirely new and highly intuitive Genelec Loudspeaker Manager (GLM™) Version 2 software. When no-compromise results are required, the new Small SAM systems are the perfect high-resolution solution! Genelec SAM – The most advanced and flexible monitoring solutions for today’s most professional users.

Authorised Distributor in India SOUND TEAM B-2, A/3 Nalanda Usha Colony,Ramchandra Ext. Lane, Malad (w), Mumbai 400 064. Tel: +91 22 2881 4041 | Fax: +91 22 2881 0374 | info@soundteam.in Contact: Mr. Shiv Sood | Mobile: +91 98203 41843 | shiv@soundteam.in www.soundteam.in