The Score Magazine Feb15-March15 Issue by The Score Magazine

ISSN 0974 – 9128

Vol 09 Issue 02 (Feb 15th - March 15th 2016)

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India's National Pan-Genre Music MagazinE

STAR OF THE MONTH

ANTARA MITRA NARRATES HER HITHERTO JOURNEY, MUSICAL EDUCATION AT HOME AND FUTURE PLANS

MUSIKMESSE 2016 A GLANCE INTO WHAT TO EXPECT THIS YEAR AT MUSIKMESSE & PROLIGHT + SOUND FRANKFURT: 5TH TO 10TH APRIL 2016

COVER STORY

ADITYA NARAYAN THIS VERSATILE PERSON ABOUT HIS MUSICAL JOURNEY, LIFE AS AN ACTOR, DIRECTOR AND A TV HOST

ALSO INSIDE : ARTISTS TO LOOK OUT FOR IN 2016, DAVID BOWIE TRIBUTE AND MUCH MORE.

DIRECTOR'S NOTE Director, Strategy and Planning Ajay Prabhakar Director, Business Development Pragash VM Director, Marketing & Operations Sneha Ramesh Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Lead Designer Nipun Garodia Content Contributors Nilankur Dutta Manisha Bhat Pramita Bose Amogh Rao thescoremag

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Unless you were living under a rock, you must have noticed ‘Hymn for the Weekend’ and how it took India by storm in the last week of January. “Misappropriation!” was the scream by the easily offended and the internet was aflood with inane commentary on the “phoreners audacity.” The video is largely about Chris Martin strutting around a strikingly picturesque and strangely slum-dog millionaire-like Mumbai while Beyoncé plays dress up and reiterates everything Chris says with just a tiny delay. Following her fathers footsteps of playing inconsequential and brief cameos in Hollywood productions is Sonam Kapoor and until she pointed it on Twitter, only a large minority of the population was actively speculating about her inexplicable presence. The video had the usual effect on both the western and desi media. Somewhere along the line, the average journalist forgot that this was a 3-minute pop song and that the human population has endured much worse and survived: Remember Booty by Lopez? If you’ve heard the term “Know your audience”, you cannot possibly argue that Coldplay and Beyoncé didn’t: the song’s rating on the billboard will not help your case. If the average American is indeed made to believe that this song represents a sum-total of the Indian culture, then there is nothing you can do, sitting on the other side of the globe, by angrily tottering away on Facebook or Twitter. If your friendly neighborhood professional outrager thinks that the average Indian is going to believe all the BS in the video, then I highly you step up and ensures he or she pays a visit to the local psychiatrist.

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

ADITYA NARAYAN

This young star talks to us about his musical journey, his life as an Actor, Singer and a TV Host.

RASIKA SHEKAR 20

ANTARA MITRA

The beautiful Singer and Flautist talks to us about how she developed the interest in this art, her inspiration, future plans and much more.

ARTISTS TO LOOK OUT FOR IN 2016

Wondering which artists to add to your playlist? Read in this issue and tell us what you think.

WARREN D'SOUZA

Our Star of the Month talks about her success story, about her life growing up in Maslandapur, her musical collaborations and a lot more.

the Founder of SOUND.com talks to us about his life as an Audiophile and how he loves to keep it â&#x20AC;&#x153;Simpleâ&#x20AC;? that being his success mantra.

TRIBUTE TO DAVID BOWIE

MUSICMESSE 2016 40 A glance into what to expect this year at Musikmesse & Prolight + Sound Frankfurt: 5th to 10th April 2016

FARIDKOT

One of the foremost original Hindi pop - rock bands chats about their fun and exciting original music In this issue, we do a tribute to the legandary artist and his life as a musical artist.

ADITYA

NARAYAN

Actor, singer, music composer and TV show host, Aditya Narayan Jha is the son of famous singer Udit Narayan. He trained under musician Kalyanji and gave numerous Little Wonders concerts. He did a cameo in the film Rangeela and acted in the Salman Khan-starrer Jab pyaar kisise hota hai and Subhash Ghaiâ&#x20AC;&#x2122;s Taal and Pardes. As a child singer, he has sung more than 100 songs in more than 16 languages. As an adult he started with hosting reality singing show. Shortly after that he embarked upon his singing and acting career, making a debut in both with the film Shaapit. We had a nice long chat with this versatile person about his musical journey, life as an actor, director and a TV host. Read on to discover more.

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Reality shows provide a great platform for all kinds of talent. But honestly Iâ&#x20AC;&#x2122;m disappointed that not a single contestant has managed to scale great heights after their wins or stints in these shows. If only they stayed grounded & focused on becoming even better as musicians. Well, hopefully someone proves me wrong really soon :)

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How was it growing up in your father’s shadow? I think I’m very lucky to have him as my father. I have always admired and looked up to him. In fact I’m fortunate to have a very simple and a loving family who never made me feel like a ‘star kid’. It is probably because of our humble roots. I’ve seen my dad’s entire career graph. We belong to a village in Bihar which still doesn’t have electricity. My grandfather was a farmer. Mom, dad & I used to live in my mom’s house in Kalina in a 1bhk. It was his struggle that I have seen and experienced. I have seen both the sides : his struggle & his success. I know the value of 5 paise. That is what has kept us grounded. You know when I was born, my dad wasn’t actually happy because he was struggling then and was going through a lot of pressure. But I was lucky for my family. Qayamat se qayamat happened in the same year that I was born. He has never looked back after that day.

WHAT IS LOVE? It took me 10 songs to explain love in my album. Please hear it. BEST SINGER EVER Me in 30 years. Also Kishore Kumar & Papa

You started your career in music at a very young age. Do you think you would’ve chosen this path even if you weren’t born in a musical family?

MUSIC TO YOU IS

I’m not sure. A lot of it has to do with my DNA. Not a lot of people know that my mother too is a successful playback singer in regional films. I have loved the arts of music & films since the day that I can remember. Even before I developed a conscience, I was already in love with music. It’s in my karmic destiny to be born into this family & do what I am doing.

WHAT WOULD YOU LIKE TO EAT RIGHT NOW?

As a child, you also started working in movies, how was your experience working with Shahrukh Khan and Salman Khan at that age?

Everything

I have a terrible sweet tooth so I would say Nutella pancakes & Waffles with maple syrup! WHICH MUSIC DIRECTOR

I was too young to realize that I was working with superstars. To their credit, HAVE YOU LOVED WORKING they never let me feel that way either. I just remember having a lot of fun WITH? working with both, Salman & Shah bhai . I remember this one night with Shahrukh we were shooting in Mysore and after the schedule AR Rahman wrap we were chilling in this lounge and girls were dying to dance with him but he was busy dancing the night away with us. Salman is a riot on the sets. He is the biggest kid on set. But when we are shooting, he’s truly gifted. I remember being stuck in one of the emotional scenes in the movie and him patiently helping me out. They have always been very encouraging . I continue to look up to them.

You released an album called “Aditya” as a child artist, how did that happen? In the olden days, female singers used to do playback for kids. So technically I was probably the first and the only kid doing playback for kids. That is when Universal Music approached us and my parents asked me if I was interested so I was like yeah why not. They wanted to do a remix album since at that time there weren’t really any remix songs or albums. We shot a video with Ken Ghosh. It did very well and was a huge hit. Then my voice started to crack and I started sounding like a frog which is when my father explained to me that every boy goes through this phase for a few years during adolescence. So I took a break from professional singing for a few years and (tried to) concentrate on my studies.

How was the experience of working as a host of Sa Re Ga Ma Pa for Four Seasons? I’ve hosted over 250 episodes so far and it has been a great experience. Honestly, I had never even considered TV to be a career option when I was 18. At that time I was studying music in London. I had just returned home after completing my diploma which is when Zee called me to audition, which I did within the next couple of days & before I knew it, I was chosen! That particular season went on to garner a record breaking viewership, making me a household name overnight. People loved my work and I continued to host Sa Re Ga Ma Pa for 3 consecutive seasons. I hosted Sa Re Ga Ma Pa lil champs last year and I am all set to return as the host for my fifth season. Sa Re Ga Ma Pa has helped me establish my own identity, I bought my first house at 21 and re-started doing live concerts as well. I also started getting a lot of offers as a lead actor for movies. But one that caught my attention the most was Vikram Bhatt’s offer.

You’ve said that working in Shaapit made you rethink your priorities in life, how did that happen? I was not expecting this kind of success at such an early stage of my life. I love horror movies, so when Vikram approached me with ‘Shaapit’ I was extremely excited. I thoroughly enjoyed working on Shaapit. Unfortunately it didn’t do very well at the box office. That’s when I realized that all this abundance of job offers only lasts till the time you are doing well. Suddenly, film offers disappeared. That’s when I actually, for the first time in my life, thought about what my next step was going to be

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AS PLAYBACK SINGER Carry On Maratha - Title Track (Carry On Maratha - 2015) Ishqyaun Dhishqyaun, attad Tattad (Ram Leela - 2013) Kabhi Na Kabhi To Miloge - Rock Chaahata Dil Tumko Kabhi Na Kabhi To Miloge Shaapit Hua Kya Kya Hota Hain (Shaapit - 2010) Chal Chal Chal Ke, Batladein Koi (Chal Chalein - 2009) Papa the Great - Title Track (Papa the Great - 2000) Sun Lo Re Bandhu (Raja Ko Rani Se Pyar Ho Gaya - 2000) Kahin Aag Lage (Taal - 1999) Mujhe Maaf Karna (Biwi No.1 - 1999) Hai Nazuk Nazuk Halki (Pardesi Babu - 1998) Chupdi Chachi (Chachi 420 - 1998) Rappa Rappa Rum Pum (Do Hazaar Ek - 1998) Katti Batti, Khul Gaya Naseeb (Bhai - 1997) Chim Chimn, Hotel Mobile (Ghoonghat - 1997) I Love My India (Pardes - 1997) Mera Mulk, Mera Desh (Diljale - 1996) Ladki Deewani Ladka Deewana (Shastra - 1996) Chota Bachcha Jaan Ke (Masoom - 1996) Rangeela Re (Rangeela - 1995) Akele Hum Akele Tum (Akele Hum Akele Tum - 1995)

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What is your take on reality shows in general? Reality shows provide a great platform for all kinds of talent. But honestly I’m disappointed that not a single contestant has managed to scale great heights after their wins or stints in these shows. If only they stayed grounded & focused on becoming even better as musicians. Well, hopefully someone proves me wrong really soon :)

You’ve done many shows along with your father, how is that experience and do you discuss your music with him? On the contrary, we discuss very little music with each other. In fact, at home we usually spend more time talking and eating. My father is very supportive of everything that I do. My parents are usually the first ones to listen to a new song that I’ve sung, composed &/or written. We do travel a few times a year & do concerts together. It’s always surreal to have your name up there with Udit Narayan, headlining the show with him. I feel blessed. He is always proud of me. When I’m performing on stage, never does he once sit in the green room. He is always cheering for me backstage. And visa versa.

Ram Leela gave you some big hits, how was it working with Sanjay Leela Bhansali? How did this project really come about? I hosted this music show called ‘X Factor’ for Sony back in 2011. After that I had plans of doing a small course in filmmaking since I come from a music background. Sanjay sir was one of the judges on the show. Not a lot of people know this but he was supposed to launch Alia & Me almost a decade ago in a film. So I guess you could say that he was the first person to see an actor in me. So after the show ended, I asked him if I could assist him in his next movie. He reluctantly agreed. So when I was assisting him in the music department as well, I would usually sing all the scratch versions of all the songs in the film. One fine day he happened to hear my scratch version of ‘Tattad Tattad’ and liked it so much that he decided to keep it. He didn’t even make me wing the song again. So basically I’ve sung the song in one take and have no recollection of singing the biggest hit of my life so far!

Apart from Mohabbat, what are your upcoming projects in the near future? Sa Re Ga Ma Pa. I’ve also signed a film and start shooting soon! Can’t talk more about it but I am extremely excited to be acting after almost 5 years.

What would you like to tell your fans via Score Magazine? Thank you for always supporting and encouraging me. I love the fact that I have a personal connect with you guys (thank you social media). Everything I do, I do it for you :)

MANISHA BHAT

We discuss very little music with each other. In fact, at home we usually spend more time talking and eating. My father is very supportive of everything that I do. My parents are usually the first ones to listen to a new song that Iâ&#x20AC;&#x2122;ve sung, composed &/or written. We do travel a few times a year & do concerts together. Itâ&#x20AC;&#x2122;s always surreal to have your name up there with Udit Narayan, headlining the show with him

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PX-560M WHEN YOUR MUSIC MATTERS

Introducing the Privia Pro PX-560 Digital Piano, a stage piano unlike any other. From the first look at its striking blue case, you’ll know it’s different. It boasts some of Casio’s most impressive sonic technology, in an easy-to-use instrument that sounds every bit as great as it looks. For the piano player who wants to go deeper, the PX-560 delivers a comprehensive set of features that will take your music further than ever.

TOUCH YOUR MUSIC Front and center is Casio’s new Color Touch Interface. Its bright, 5.3" display is clear and easy to read, and the interface is inspiring yet simple. You’ll see familiar graphics to help you select instruments and functions, making exploring the PX-560 fun and easy. You’ll find yourself experimenting with new ideas, new sounds, and new ways of creating music.

THE KEYS TO SUCCESS The PX-560 features Casio's renowned Tri-Sensor Scaled Hammer Action II keyboard, which accurately reproduces the touch and response of a concert grand piano, despite the PX-560’s light overall weight. As on a real concert grand, the keys are heavier in the lower register, and lighter up top. Your fingertips will immediately feel the ebony and ivory textured keys, which not only feel more realistic, but also give your hands a positive grip to keep your playing on point.

THE PIANO In an instrument like the PX-560, the all-important piano sound must be as rewarding as the keys themselves. Casio’s Multi-Dimensional AiR (Acoustic and Intelligent Resonator) Sound Source delivers some of the best piano sounds you’ve ever heard. Its Linear Morphing

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technology creates smooth transitions between the softer and louder sounds. Damper Resonance gives you the deep feeling of the piano’s soundboard interacting with the strings. String Resonance models the harmonic relationships between vibrating strings. Hammer Response mimics the time between pressing the key and the hammer striking the strings. Key Off Simulation gives you control of a note’s decay by how quickly the key is released. And with a massive 256 notes of polyphony, you won’t have to worry about dropped notes, even while all of these incredible details are being recreated. These specifications are impressive, certainly, but what’s most important is that they combine to form the perfect and complete experience of playing a 9-foot concert grand piano.

A SOUND DESIGN FOR SOUND DESIGNERS Under the hood, the PX-560 is not just a highly capable stage piano, but a full-fledged synthesizer. Unlike most other synths, going deep into sound design is as easy as touching the display. The PX-560 features Casio’s Hex Layer technology, borrowed from the flagship Privia Pro PX-5S. This means you can create massive splits and layers, with four zones and a total of 14 layers at once. What’s more, you can edit these Tones to sculpt them into something new and all your own. There are three realtime control knobs, as well as a modulation wheel, all of which can be controlling up to two assignable parameters at once. With great-sounding filters, responsive envelopes, and extensive modulation, the PX-560 can be a sonic playground as well as a performance instrument.

TAKE THE STAGE The PX-560 is designed to perform, and to make you sound your best. You’ll be delighted at how lightweight it is (just over 26 pounds), and how easily you can integrate it into your live setup. Its 1/4" outputs

The PX-560 is the latest edition to Casio’s Privia Pro line. Featuring many of the sound design elements of the award winning PX-5S, the PX-560 adds new tones, user-programmable rhythms, built-in speakers, all centered around an amazing, easy-to-use 5.3” Color Touch Interface.

and inputs give you great connectivity for PA systems and multikeyboard rigs, and its dual pedal inputs can be configured to accept an expression pedal, damper pedal, or footswitches.

HOMEWARD BOUND In addition to fitting just about any commercially-available keyboard stand, the PX-560 fits neatly in Casio’s optional CS-67P wooden stand, making a stylish musical statement in any home. Add the optional SP-33 3-pedal unit to experience realistic soft, sostenuto, and damper pedals, fixed in place for an accurate piano performance. The built-in speaker system has more than enough power to entertain at home. If you connect your favorite music player to its 1/8" stereo audio input, it even becomes a high-quality music dock.

5.3" COLOR TOUCH INTERFACE

your playing, creating a backing band that plays in the style of your choice. In addition to exploring the built-in Rhythms, you can even assemble 30 customized User Rhythms by combining basslines, drum beats, and other elements. You can also create 100 of your own Music Presets, which encompass a Rhythm, Tones, effects, and built-in chord progressions.

A BUILT-IN STUDIO When the muse speaks, you owe it to yourself to capture your idea. You don’t want to miss the chance to record your creation. The PX560 gives you two ways to make sure your work is preserved. There is a 17-track MIDI recorder with editing features, and a USB audio recorder that creates an audio file directly onto a USB stick. You can create the sounds you want to play, record and edit MIDI songs with them, then add external instruments via the audio inputs, and capture the whole mix to share with the world.

TOOLS FOR SCHOOL

BRING THE BAND Going beyond the traditional definition of a stage piano, the PX-560 includes 550 Tones, covering a huge variety of musical instruments and genres. There are dynamic and expressive guitars, basses, strings, drums, and much more, enhanced by powerful onboard DSP effects. The 220 onboard Rhythms allow multiple instruments to follow

The PX-560 includes features that are especially beneficial for private lessons and music labs. Duet mode splits the keyboard into two equal pitch ranges, letting two people (i.e. teacher and student) play side by side on a single instrument. Classroom mode adds the ability to send each side to an individual audio output, making it compatible with the most popular third party piano lab systems. Two front panel-mounted headphone jacks also make the PX-560 great for lessons or practice.

PLAYS NICE WITH OTHERS Like all Privias, the PX-560 has a class-compliant USB port which connects to a PC, Mac, or iOS device with no drivers needed. Easily control your favorite music software, without any extra setup. The

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SNEHA RAMESH Rasika the Singer - Rasika started her journey with a tour in the U.S. accompanying the Ghazal legend Ustad Ghulam Ali Khan as a vocalist. Her singing was revered by Ustad Ghulam Ali Sahab himself and audiences alike for maintaining authenticity and rendering soulful music. Renowned singer and composer Shankar Mahadevan offered her a chance to sing for the film ‘Dekh Indian Circus’ that was composed by Shankar-Ehsaan-Loy. Following that, she started performing on world tours with the musical trio. As a playback singer, she has also sung for films 2 States & Kill Dil. Recent song ‘Sau Aasoon’ from Katti Batti. Rasika the Flautist – Rasika is a trained Carnatic flautist and has performed solo Carnatic flute concerts at various venues in the United States, Dubai, Chennai and Mumbai and has won numerous awards along her way. Last year, Rasika was invited to perform at the very prestigious World Flute Festival in Delhi. We speak to this talented girl about her musical endeavors and more. Tell us about your inclination towards Classical Music. How did it come about?

enthusiastically on both! My family, friends and gurus kept the interest going and still do!

It is mainly thanks to my grandmother who instilled that interest in classical music very early on. She is a remarkable Carnatic violinist who had been performing with many artists all over the world for so many years. I actually first learned to play the violin from her and then started learning vocal music from my aunt and mother. So classical music has always been a big part of my mother’s side of the family. And my dad has always had great appreciation for it. I grew up listening to a lot of Carnatic music at home. When I moved to the US from Dubai, I started learning the flute from Dr. Bhavani Rao, a multi-faceted artist and the inclination towards classical music just grew stronger.

Where do you draw inspiration from usually?

Having grown up outside India, how did you pursue Classical music? Contrary to what a lot of people think, there’s an enormous amount of interest and love for classical music outside India. You’ll find many organizations and bodies that feature Iindian classical music so prominently. Being involved in many of these along with close friends of mine was helpful. And of course, growing up with a lot of classical music lovers in the family was definitely one of the driving forces. The enthusiasm and love for it at home made me more passionate and perseverant towards learning. I must thank my mom for the constant encouragement and so dedicatedly taking us to classes. Most of our weekends were spent attending concerts, community events, practice sessions, competitions, etc. I was also lucky to find an amazing teacher who trained me and opened up my mind to many aspects of Carnatic music.

You are known to be amazing at Flute & Vocals, a gift indeed. How did such an interest come about? It was quite gradual to be honest. And I definitely feel blessed :) I started singing when I was about 8 or 9. One day I found an old flute behind this old dusty shelf we had in the balcony. I picked it up and spent the next couple of days playing it. I was able to produce sound and play a couple of notes immediately. I still have no idea whose flute it was or where it came from! My mom remembered the excitement on my face when I tried playing it and put me in classes when we moved to the US. All through high school and college, I listened to hours and hours of Hindustani classical music, ghazals, qawwalis, film music, blues etc. and started incorporating these forms in my singing. Although some people told me I should strictly stick to doing one or the other (play or sing), I found it almost impossible to choose. I equally loved singing and playing especially since I was exploring different areas of music with each of them. So I kept working

Everywhere really. Maybe more so from nature, dance and human lives. Dance is something that really excites me. I’ve performed with many dance productions in the past and it has always been inspiring. The rhythmical elements and art of expression and storytelling in dance forms makes it such a beautiful and powerful visual embodiment of music. I visualize a lot of the music I compose or play. As for human lives, the more you travel and interact with people from different places, the more perspectives you engage in. You find sudden inspiration from subjects that portray the human condition and emotion. Nature is of course something that just speaks to everyone. The energy is beautiful. When we open our hearts to it, it always has a lot to say!

You've widely performed. Which has been your best performance by far and why? Haha I would like to think it is yet to happen :) All the performances so far have been super enriching and exciting in different ways! One such I would never forget, was a classical flute concert that I had performed in Mumbai some time back. The response after the concert from everyone present there was extremely humbling. I specifically remember an old lady who came up to me, held my hand for a very long time and just smiled at me with happiness. It was a very touching moment. There was a different connection between me and my co-artists on stage that day and it was divine! The other performances that hold a very special place in my heart are the first performances with Ustad Ghulam Ali Khan Sahab and Shankar-Ehsaan-Loy. Both experiences were phenomenal and unforgettable to say the least!

Apart from this, you've also sung for films. Aren't both entirely different? Yes singing for films is a completely different experience. Sometimes, you have to work within a certain framework. But that makes it very exciting. You get to experiment with your voice and expression based on the situation and the emotion that’s being conveyed.

Tell us about your future projects. There are some collaborations in the pipeline. I’ve spent time working and rehearsing with different artists and we’re working towards the recording of theses different projects. A bit of solo work is also in the making; working on a couple of singles and it’s been fun! Excited to share soon :)

Your message to fans & readers of the magazine. I would like to say the biggest THANK YOU to you guys for being so loving and encouraging! I’m here because of your support and it means a lot! Thank you!

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announces

BLUES CUBE HOT GUITAR AMPLIFIER Gig-Ready, Compact Combo with Authentic Tube Logic Tone

Roland announces the Blues Cube Hot, the latest addition to the respected Blues Cube guitar amplifier series. Equipped with 30 watts of power and a custom 12-inch speaker, this compact combo is ideal for home or studio use, yet still delivers plenty of volume for stage performing. The Blues Cube Hot features Roland’s acclaimed Tube Logic design, which provides authentic tube tone and touch response with modern advantages like lighter weight and maintenance-free operation. Going far beyond modeling, Roland’s Tube Logic approach starts by carefully reproducing the inner workings of the revered tweed-era tube amp in every way, including preamp and output tube distortion characteristics, power supply compression, speaker interaction, and much more. Great feel, distortion control with touch and volume, bloom, sparkle, power supply “sag,” and more - everything that players love about a dialed-in, vintage tube amp is present in abundance with the Blues Cube. While the Blues Cube Hot is the smallest amp in the line, it still packs a big punch. A custom 12-inch speaker delivers a rich, full voice that’s enhanced with the amp’s classic open-back cabinet design and poplar construction. The single-channel configuration offers easy and intuitive operation, with a wide range of sounds accessible from a single knob. Everything from warm clean tones to full-throttle overdrive can be dialed in, and Boost and Tone switches provide further tone-shaping options. Additional controls include a three-band EQ, master volume, and onboard reverb. With Tube Logic, the Blues Cube Hot produces the complex output distortion characteristics of a tube amp when the volume is turned up. The Blues Cube’s variable Power Control provides settings of 0.5 W, 5 W, 15 W, and Max, allowing users to enjoy this musical, cranked-up tone while matching the volume to any situation, from recording to rehearsals to nightclub gigs. Footswitch jacks are provided for remote control of the Boost and Tone functions. The amp also features USB connectivity, making it simple for players to capture recordready tones directly into their favorite computer recording applications. The Blues Cube Hot is available in Vintage Blonde or Black.

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Future for ‘qualified’ audio engineers? Is there a future for a ‘qualified’ audio engineer? In this day and age where practically any one with a desire to learn can do it online for virtually free of cost, the need to enroll for a certificate, diploma or degree in audio production or engineering raises questions. Educational institutions across the world offer courses related to audio production while on the other hand studios around the world are shutting down or perhaps turning into vintage collectible museums. Then, is there a need for qualified audio engineers?

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Let’s look at it from the end-user perspective. There will always be a need to record music whether acoustically or electronically for future playback and most important- for our listening pleasure. And for that to be done, the music has to get across the microphone or instrument and reach the storage media and go through significant changes to enhance the sonic quality. Can a mere enthusiast do this? Certainly, you might say because all it takes is someone who understands the music, the signal flow and possesses an experimenting mind. Is there really an insistent need to know how many mill volts the microphone is producing to record an intransigent guitarist with fullon distorted guitars bleeding with chorus? A technical qualification in electrical engineering or science of sound per se will certainly help the qualifying engineer to further pursue a career in developing future technologies or enhancing spatial designs that will benefit the sonic community at large but you won’t be needing a dBV or dBu rating in the midst of a session when a vocalist is trying the 35th take unless you are sick and tired of the doleful lyric! Music recording will always be about capturing a performance in the best way possible with the available equipment for our listening pleasure and to document that piece of musical artwork for posterity. So, why is there a need to bring in a qualified audio engineer for this purpose? For this, we have to go back to the roots of the engineering path that most of our sonic capturing predecessors took in the services of capturing music. There was, the electrically qualified turned sonic engineer path, the renowned tea maker turned engineer path and the enthusiast turned engineer path. The evolution of technology and the industry only created the need to establish institutions or courses that would impart practical knowledge and hence a qualified engineer. For the purpose of this article, I will compare the enthusiast turned engineer with the qualified engineer since these types are a common occurrence today. The difference between an enthusiast turned engineer and a qualified engineer is merely a question of accessibility to resources and a platform to embark on a career in the recording arts industry. An enthusiast with a musical inclination and a desire to start a studio invests in equipment and with the aid of magazines, the online community (inclusive of videos, magazines and forums) and by trial and error slowly climbs the qualifying ladder.

A reputable educational institution introduces students to the signal flow of a recording environment, imparts knowledge of gear along with their respective parameters and finally its application while exposing them to a recording space that can be accessed by the student to experiment and indulge in creatively. Both paths eventually will get you to the same destination, which is capturing music for our listening pleasure. Nothing can replace the experience of learning from an experienced educator or observing an engineer in a classroom or studio respectively. A studio space with professional equipment and dedicated teachers gives an excellent start to a qualifying-engineer who is desirous to step into the world of recording arts. This raises the next point, which is about the quality of education being imparted to these qualifying engineers. If an educational institution values education and establishes its curriculum on not just skill based learning but an overall education delivered by learned and experienced educators who are willing to motivate the student alongside offering recording spaces and professional equipment for the student to explore their ideas thereby giving the confidence to step out in the real world, then the qualification will stand credible in the community. So, yes, the listening community and music vaults of the future will definitely need ‘qualified’ audio engineers in the years to come. And the ones who enroll for a certificate, diploma or degree just need to be careful in selecting their institutions. As long as there are qualified educators who are willing to motivate you beyond technical areas and there is a professional setup to work on, the student should not hesitate in furthering their ambition in the audio engineering world and earn a qualification. The certificate, which is awarded to you at the completion of the program, should only make you feel proud that from our ancestral teamaking unqualified roots, today it is a knowledge wielding guaranteed certificate. Beloved qualified engineer, even if you do not get to sit on the prized chair in any of the remaining world-class studios, or don’t get to thank your dog in a Grammy winning speech, you still are a graduate with knowledge and experience that can be applied at your disposal in the services of capturing music for future playback and the joy of listening! VINAY PRABHAKAR Head of Academics Swarnabhoomi Academy of Music

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STAR OF THE MONTH

ANTARA MITRA The superhit ‘Gerua’ number has added a new splash of colour to her playbacking CV and she waltzed straight into the bracket of A-listers overnight. Offering her voice to the top-league actress Kajol for the blockbuster movie Dilwale was a double bonanza for her this last Christmas. But 28-yearold singer Antara Mitra has her feet firmly grounded to maintain that winning momentum. Hailing from the modest small-town of Maslandapur in West Bengal, chalking out a career in music was understandably no cakewalk. But little Antara had her heart in the right place as a child and she pursued her craft quite diligently following her father Debabrata Mitra’s taalim, who was her first musical guru. She narrates her humble beginning, musical education at home, her hitherto journey, future plans and many more to Score magazine.

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PRAMITA BOSE

Has life changed after the ‘Rang de tu mohe gerua’ rage? Are you now getting more noticed in the music industry? Well, the rage is still on I guess (smiles)! But seriously whenever any piece of work gets wide attention, then automatically the team of people associated with it earns a fillip in their respective departments. Same goes for me. I’m flooded with multiple congratulatory calls, mails, messages, tweets, comments, bla bla bla. The song has as if, attained a toast-of-the-town status and this overwhelms me all the more. Listeners are just loving it with frequent requests for airplay and TV telecasts. Now, whether or not this positive feedback would snowball my song assignments in future, only time will tell. At the moment, am just happy with its resounding success.

How did music inspire you while growing up in Maslandapur? Music has always been an integral part of my formative years. Baba (father Debabrata Mitra) being a music teacher at home, would conduct regular classes in front of my eyes. I have been hearing all the ragas, tunes, beats and rhythm, ever since I was born. So it was naturally transformed into me through blood and genes. Later on I gradually started listening to all of baba’s old cassette collection. They really helped me brace up my basics. Today when I look back, I feel thoroughly blessed to be born in a musical family.

How has been your initial training in the vocals under your respected dad’s able guidance? As far as I can rewind my memory, I remember my baba to be my first guru. But as you can obviously gauge, it became too casual with him that I never sat down quietly and paid attention to his lessons, unless Ma had come in with a stick like a strict disciplinarian. I was still so naïve to comprehend the importance of learning the essential ropes of music. However till I was eight, I was picking up the classical sargams and bols from baba. I used to also memorise things that he would teach the other senior students in his class. So in a way yeah, I had learnt a lot indirectly and unknowingly.

Years ago, you broke into the national music scene and became a household name participating in Indian Idol 2. How difficult was that journey till you reached the popular talent-hunt’s finale? I don’t know how it all happened. I still feel very strange about it. There were too many people in that season of Idol as prior to that, Abhijit Sawant had become a huge name as the first champion of the competition. Supposedly, every single person who sings had taken part in that season, considering the massive turn out of candidates it had attracted at the auditions. Luckily, I kept winning the preliminary rounds and only sang whatever I knew, keeping my focus intact. Today if you ask me to enroll for the same show yet again, I don’t think I can manage that kind of a pressure-test any more. You know when you are 18, you don’t really hesitate to take the plunge headlong, no matter how challenging the task appears to be at the outset. And that probably had helped me in my case to go with the flow, because I was less nervous and circumspect then.

You started as a teenager and then almost grew up in the music industry. Has your maturity taught you the art of diplomacy to tide over the hurdles in this professional sector which aggressively breeds stiff competition?

Frankly speaking, I did not learn anything... Hahaha!! I’m still as gullible as I was in my salad days, continuing to commit the same mistakes over and over again. I feel am the worst of the bunch when it comes to professional rivalry! I think am too blunt for this sarcastic world and fail to sugarcoat things when it is most expected. I call a spade a spade and blurt out things quite matter-of-factly.

Your songlist shows a bulk of hits with the happening composer Pritam Chakraborty. Do you share a special bonding with him? Very much indeed! In fact, he offered me my debut break with a song called ‘Loving You’ for the film, Speed. I sang the duet with Sonu Nigamji. In a lighter vein, I’d like to fathom that it’s Bong connection which is doing the trick (laughs)! Pritamda too is a Bengali and so are half of his studio people. So he always looks for an opportunity to converse and express himself in his Bangla mothertongue with someone he feels at a complete comfort zone. My equation with him also got warmer for this simple reason beyond music (smiles)!

You also travelled with him for several stage concerts. What was the exposure like from these live performances? I travelled for a few gigs with dada alongwith current-day singing sensations like Nakash Aziz, Shalmali Kholgade, Aditi Singh Sharma, et al. The madness I see surrounding Pritamda for his brand of music is something extremely infectious and inspiring to us! I have actually witnessed people go crazy in colleges over his tracks from Metro, Yeh Jawani Hai Deewani, Barfi! etc. Touring with him has always been fun and energising.

Would you not want to work with other composers? Of course I would love to. I had already recorded for the acclaimed scorer-duo Sajid Wajid for the movie Ajab Gazabb Love. The track was a romantic melody with talented male vocalist Mohammed Irfan and was called ‘Sun Soniye’. Of late, I have worked with a few more composers but as I’m contract bound, I can’t divulge much about the songs until they get formally released. Please bear with my silence on this (smiles)!

Any musical collaboration in the making? Well, I have many musician friends in mind to collaborate in times ahead. But at present, I can only talk about our girlie gang coming up with a single soon. Good news is that Prajakta Shukre, Mauli Dave, Meenal Jain and myself will be heard together in a number to be shortly out. It’s a cover version of a well-known pop song of the 90s and am super excited about it. Yo, girl power rules!

Are you also planning to release your own single as a soloist? I’m actually trying to put up a digital channel of my own where I can keep posting my musical updates and contents. It’s not yet titled.

Tell us something about your upcoming stage shows. I’m doing a host of shows in the next couple of months across many cities in India but am amply elated about two back to back concerts scheduled in London come this February. After that, a small holiday is on my wish-list. Phew, that’s long overdue!

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MUSIC EDUCATION FOR LIFE SKILLS DEVELOPMENT IN CHILDREN by Pattie Gonsalves, Director of Institutional Advancement, Global Music Institute (GMI), Co-Founder of Music Basti

Most of my childhood was spent hearing about my dad’s travels in the “BIMARU” states in India (Bihar, Madhya Pradesh, Rajasthan, and Uttar Pradesh considered to be the most backward), and my eldest brother’s classical piano playing (today he is a pianist and a music therapist, and my dad is a grassroots as well as policy level development expert in the field of education). It was probably only natural that my interest in the impact of music developed. I have been fortunate to work with projects that capture and realize my philosophy of how art and music is inspired from within, and must be nurtured from without. The most recent project I have been part of is at “Shanti Bhavan”, a residential school for economically and socially disadvantaged children in Tamil Nadu. Here, you will find children playing Beethoven or a piano rendition of one of the newest pop songs on one or both of the pianos at the school as early as 6 AM before they go for breakfast. One of the pianos is a beautiful Steinway. I am visiting the school as part of a collaborative project between Artists Striving to End Poverty (ASTEP), a New-York based arts organization that connects performing and visual artists with the children studying at the school. This partnership is grounded in the belief that the deleterious consequences of extreme poverty can be overcome if the problems are tackled in the early stages of a child’s development. My work at Shanti Bhavan consists of understanding and highlighting the developmental and life skills (such as building leadership, decision making, confidence, team work), sense of self, values and attitudes (creativity, expression, view of the future) and musical competencies gained through the children’s participation in the arts programs. Research with the students has also revealed some links between academic and school involvement (school attachment, engagement, motivation, grades). In surveys with the students, they have reported feeling more creative, feeling better about themselves and feeling like they can do things they didn’t think they could do before. Some students have even reported that being part of the music program has made them care more about school, pay more attention in class and participate more in school activities. More than three-fourths of the students surveyed reported that they think music is important in education. “Music has given me the incentive to study. I get other work done so I can play piano!” – Student, 17

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“Music helps me calm down when I’m nervous. I go to the music room before a test and just play.” - Student, 13

Although there is compelling evidence to suggest that music is a universal and effective tool for the delivery of positive impacts, studies of interventions employing the arts, and the outcomes these can create, are however, a more recent development, especially in India where the arts are forced to compete for limited resources and even acknowledgment as a tool of development. There is a marked exclusion of the arts at primary and secondary levels of school education, coupled with an over-emphasis on technical disciplines. In addition, for vulnerable or marginalized populations, there is a single-minded focus on meeting ‘basic needs’, leaving little scope or interest in arts-based interventions that may pose a viable and cost-effective alternative towards their development and social inclusion. After-school programs for children and youth that operate in the non-school hours are now considered important partners that work alongside families and schools to support learning and development in children. Though programs might prioritize a range of issues – some more academic, others may be more focused on recreation, life-skills or leadership development and others may be a combination of these. Whether focused on music, art, sports, community service, most of these programs aim to contribute to the development of cross cutting skills to help young people take on any kinds of challenges whether at school, or later in college or their careers.

unveils

WAZA AMP HEAD AND CABINET Powerful and Versatile Hard Rock Guitar Amplifier

BOSS is excited to announce the WAZA Amp, an all-new professional guitar amplifier with companion speaker cabinets. The 150-watt WAZA Amp Head comes standard with the ultimate high-gain tone that’s been sought after by rock guitarists for decades.

Driven by Tube Logic, the amp provides four independent channels, custom voicing options via two Tone Capsules, and many other advanced features. One Tone Capsule is built into the WAZA Amp Head that features the legendary brown sound, and there’s a user port for adding an optional second Tone Capsule for future expansion. The Japanese term “WAZA” embodies the highest level of art and technique, achieved only through years of tireless dedication to one’s craft. Like the acclaimed WAZA Craft pedal series, this new amp and cabinet proudly carry this WAZA name and symbol to represent the pinnacle of BOSS’ technical knowledge, design wisdom, and master craftsmanship.

tone in the internal position, a pre-installed ‘WAZA Brown Sound’ Tone Capsule in the Amplifier A position, and an optional Amplifier B Tone Capsule slot inside the amp for future expansion. Armed with 150 watts of power, the WAZA Amp Head has ample volume for big stages and high-end touring applications. The amp also includes a variable power control with Max, 100 W, 50 W, and 1 W settings, enabling users to get cranked amp tones at lower volumes. Unlike simple power attenuators that can affect an amp’s tone and feel, the WAZA Amp Head’s power control works directly with the internal power supply to ensure great performance at every setting.

First introduced with the Roland Blues Cube amplifier series, the Tube Logic design has received praise from top players around the world for its rich, responsive, and authentic tube tone. In the WAZA Amp Head, Tube Logic has been used to create a highly versatile multi-channel guitar amp for pro players, with a special focus on the ultimate high-gain “modded” tone.

The amp’s rear panel includes two effects loops, an XLR line output, and USB for direct recording to a computer. Three speaker outputs provide connection to the WAZA Amp Cabinet 412 and 212, or other speaker cabs. There’s also a jack for connecting an included foot controller for channel switching and effects loop selection. Finally, a MIDI input allows the amp to be controlled via a MIDI switching device such as the BOSS ES-8 or ES-5.

The WAZA Amp Head features four independent channels: Clean, Crunch, Lead 1, and Lead 2. Clean and Crunch share one fourband EQ, while Lead 1 and Lead 2 share a second four-band EQ. All amplifier channels can be instantly re-voiced with the three-way Amplifier selector knob for amp character variation: legendary rock

The companion WAZA Amp Cabinet 412 and 212 provide optimized performance with custom-made 12-inch speakers and heavy-duty plywood construction. It’s also possible to stack two Cabinets (Cabinet 212 only) to achieve a classic look and enhanced sound projection while performing.

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That thing I always hoped for happened: David Bowie’s latest album has overtaken Adele’s persistent ‘Hello’ on the charts, debuting at number 1. People in general are talking about Bowie again (got to be the first time in this decade).

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NILANKUR DUTTA

Of course, this is all because the thing I never imagined could happen, has happened: David Bowie exits stage-left, with a liver full of cancer. Yes, all humans are given a limited leash on life, but if there’s one person you could imagine living forever, the one person who deserved immortality so he could wallop Death right in the face with Mark Ronson’s guitar, was Ziggy. And now he is gone, and we are left with a more prosaic world, where the Martian spiders do not visit any longer. The news of his death comes amidst generally a bad year for rock and roll: Glenn Frey, founder of the Eagles also passed away, as did Dale Griffin, English drummer for Mott the Hoople. Not that any of them had an influence as profound and monumental as David Bowie. There is very little left to say about Bowie that has not been said expertly in the thousands of obituaries and honors that poured in after the event. Both the words misfit, and extraordinarily charismatic invariably show up. He was both, bridging the gaps between reality and theater. At once, Bowie, The Duke, Ziggy Stardust. Even his death was an act of misdirection and magic, preceded by ‘Blackstar,’ which has now shot to number 1. The Belgians have even declared a constellation in his honour (who knew that the Belgians were in charge of the stars), seven stars shaped like the lightning bolt. But we are in 2016, and honestly, David Bowie has released exactly one really good album in the entire time that I have been alive. His days of rock and roll wizardry are a good forty years away. In popular culture, David Bowie, at least until he died, was as relevant as twerking. But there is something to it. Something that compelled me to throw out my draft of “10 Weirdest Gastrointestinal Tract Disorders While Onstage at a Concert”, and write this instead. Maybe it was the fact that I obsessively listened to “The Rise and Fall of Ziggy Stardust” over 10 million times between the ages of 16 and 16+8 months. Or because Bowie shows up in my life in the most unexpected places: in a movie I love (The Prestige), the soundtrack of my first real relationship (Rebel Rebel). He has spawned entire genres of music I love: glam rock, and bands that I am guaranteed to dig just by the virtue of his friendship to their members: Marc Bolan and Lou Reed. He was also in Zoolander. Despite his much flaunted homo/bi/pan-sexuality, my favorite obituary of David Jones, was offered by

his friend, producer Robert Fox, who remembered him at 23: quiet, shy, well-read and curious about everything. And despite all of the things that happened over the next half-decade, every time you listen to Bowie, whether it is brilliant or awful, you can make out the quality of earnestness: like he is trying to reach out to you. And that is why you will forgive “Dancing in the Street” every single time. And by all accounts, he died quiet and unassuming, his 18-monthbattle with cancer secret from the world, just a pffft and he is gone. “Rock n Roll” suicide, from early on his career, is almost prophetic: “You're too old to lose it, too young to choose it And the clocks waits so patiently on your song You walk past a cafe but you don't eat when you've lived too long Oh, no, no, no, you're a rock 'n' roll suicide” But here’s something which I think has never been said in the thousands of memorial posts: if you’re a millennial and you’ve never heard of David Bowie, and now that he is dead, you think it’s too late to be a fan. It’s not. Everybody gets one life, and creatively speaking Bowie had a long one. Check out “Rise and Fall..”,”Aladdin Sane”, “Space Oddity.” If you’re into a more pop-sound: there’s the sterling “Scary Monsters” from the 80’s. Listen to “Heroes”, listen to the original “Man Who Sold the World”, (there’s a reason why Kurt Cobain covered it). Go ahead, pirate the albums, he doesn’t care anymore. As It turns out, the music was really rather good. And that is as good as note as any to say goodbye to the man who fell to earth: thank you, it was all really rather good. "Such a creative genius, his music has inspired many. The world has lost a musician from the golden era of rock n roll " - Jonathan Reuben (Clowns With A Frown) “I am not a prophet or a stoneaged man just a mortal with potential of a superman I am living on - These lyrics from his tune quicksand best describes him. He was and always will be a true Rock & Roller” - Sunny D'souza (Bhargava’s Musik) “He was inspiring millions around him even the day before he died. such was his legacy .A great inspiration for millions around the world. A big loss to what's left of the goodness in the dying music industry.”Srikrishna Natesan (Blind Image)

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ARTISTS TO LOOK OUT FOR IN 2016 2015 was a significant year for Indian musicians, with some brilliant artists and bands making themselves relevant in the music scene. Looking at their disruptive growth and major accomplishments, we’ve got a bunch of artists that are a must-follow this year.

Dualist Inquiry

Raghu Dixit Project

Sahej Bakshi is a Delhi-based guitarist, producer and composer. Unique rhythms and sample-groove combinations are a staple for electronic music aficionados, but when combined with shear irrational rock-inspired creativity, you end up with a combination that defines this man’s sound. Right from NH7 to Sunburn Goa, he has been making a splash in the EDM scene recently, and has shown some exponential growth worthy of major recognition.

Bangalore-based Raghu Dixit and his band have performed over 250 gigs since their establishment, and have been making big leaps in terms of direction, music and fan-base. Their use of multi-lingual lyrics and an Indian folk rock sound helps them connect with a much wider and more diverse audience. Of course, having a stunning voice doesn’t hurt either.

Kanchan Daniel and The Beards In a city with audiences that have either extreme or mainstream tastes, creating and establishing a unique blues sound is a lot harder than it seems. This Mumbai-based band has managed exactly that, all thanks to the pure energy and enthusiasm that emanates from their sound. Groovy bass lines, tight drums, keys and guitar that define a sound influenced by soul, funk and RnB, and the raspy and robust vocal abilities of Kanchan Daniel, all make for some inspiring music.

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AMOGH RAO

Tetseo Sisters Assam’s folk music had never received such a significant spotlight until these girls came together. Music that comes directly from the soul of their instruments and themselves brings an innate earthiness and body to their sound, something so unique that they managed to make it to NH7 and also win the MTS Discover title. They sing in Chokri, the dialect of Nagaland, and also Hindi. This is one quartet you would definitely want to add to your world music playlist.

Mohini Dey This 19 year-old bass prodigy has managed to take the Indian music scene by storm, performing with some of the greatest and most influential musicians including A. R. Rahman, Zakir Hussain and Ranjit Barot. She began learning the bass at the age of 3, and started recording at the age of 10, making for some jaw-dropping music like a seasoned professional. Considering her versatile collaborations, sessions and projects, this is one artist you would definitely want to keep up with.

Thermal and a Quarter A band that calls their genre “Bangalore Rock”, a combination of myriad sounds ranging from soul and funk to jazz and prog, Thermal and a Quarter’s music is pretty much the embodiment of diversity. Right from new rhythmic ideas to originality in sounds, they manage to get the feel of rock without sounding like a quintessential rock band. Also, opening for a musician like Slash makes you down right awesome.

Pratik Kuhad Indie acts have blown in proportions in the past few years, but very few have made a noticeable impact in the industry. Pratik is one of those few success stories, where old-school passion displayed through music is all that’s needed to make it big. Simplicity in sound and intense, soulful lyrics that people can relate to, are some of the key attributes of his compositions. When A. R. Rahman tweets about your music, you know you’re doing something right. The

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WARREN D'SOUZA Warren D’souza, the Founder of SOUND.com talks to us about his life as an Audiophile and how he loves to keep it “Simple” that being his success mantra. SOUND.com was founded in 1998 and has pushed all boundaries and is known for producing unique sound that no other has simply because they have a history of doing the best events in the country and neighbouring regions like The Commonwealth Games, Oman Tattoo, Carlos Santana, Sting & Sunburn.

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You've created some very successful events in your career. Could you tell us something more about your work?

Coimbatore to Madurai and back to Mumbai. Apart from that, NH7 & Sunburn will go on as usual.

I started on a small scale initially and then took on major public shows from 2005. It has been 10 to 11 years of doing most of the big shows in the country. In 2010, I did the Commonwealth Games opening and closing and that put our company on the map, we got recognition and that's how everything unfolded. I do all formats of jobs ranging from Tv, Sports, EDM concerts etc. Even from a coke studio and MTV unplugged to IPL opening ceremony to AR Rahman concerts to International artists. I also do corporate related shows. We are not restricted to one genre. We did the 1st edition of sunburn and have done 7 out of 9 editions.

How do brands and gear make a difference in your Success mantra?

How in your terms do you define success and creating new benchmarks? In India, people don't have a clue about technology unless they have western exposure. We as a company succeed in giving service as well as sound as it is in Western Europe or North America. Our concerts are the same as you see abroad. Technology wise we have achieved bringing western standards to India. My success lies in the fact that I've been different. I was my own Guru/ headmaster. If anybody said “They say do this and that”, I'd question that and ask “Who they?” Even audio wise I questioned people and broke away from stereotype. Professionally and personally one has to be the same. Even in audio, if something wasn’t sounding right, I wouldn’t blame the musician or the sound. Instead I would go behind the science and that was a good learning.

What are your special plans for this year? South Asia games happening soon is the next international event that we're doing. It is happening in Guwahati and that is a challenge because it's far and a nightmare logistically. In January end, I travelled with AR Rahman for an India tour which in my opinion was nothing short of the best that the country had seen in more than a decade. The technology used for those shows were ahead of its time. We had 7 trucks of audio equipment being used traveling from Mumbai to

Brands are totally different from equipment. Brands are more of a legacy and basically stand for promise of delivery. I work with brands that have a legacy. I look at companies and invest in the ones that last long and not go for the ones that have poor after sales and support. I don't invest in a product just like that. I like the fact that some products are costly and not available to everybody. If they were easily available, then my competitors will have the same products. But even if they did, which is the case with some products, service brings out the uniqueness in us.

Where do you draw inspiration from? Passion! I was born to do this and knew that from day 1(Laughs). I always knew I was going be a sound guy. It is really simple for me and not complicated. I’m doing what I wanted to do and that kind of satisfaction is beyond money. You can't draw parity. I’m going to be in this mess for the next 20 years and going nowhere. The thing that is unique about us is that we have defined everything about the business and the whole idea behind what we do is about being different. It is the uniqueness about the way we do stuff..

Tell us about your association with HARMAN. It is basically a legacy brand like I mentioned earlier. We get great service and support from them and I buy the best products available in the market. It is complicated when u don't buy the right things. It is exactly like a relationship when you don’t choose the right person (Laughs). I like to keep it simple and buy what is best without contemplation..

Your message to upcoming people in your field. Be true to what you doing and don't try to take short cuts. Don't pay anyone to win a job. Be normal as currently it's hard to be that.

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The Mobile MIDI Keyboard Artists that rely on keys and keyboards to make their music, find portability and compatibility to be a major hindrance to their creativity. However, there have been some recent breakthroughs in mobile technology to serve this very purpose. We recently came across one such product, Xkey that manages to overcome these issues and then some.

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CME’s XKey is a portable MIDI keyboard that comes in 2 versions of 25 and 37 keys. The size ratio, touch, response and sensitivity remarkably mimic that of an authentic keyboard and yet the product itself is lighter than an iPad and is USB-powered.

ARTIST INPUTS

Salient features include:

“Today all musicians have their own set up and they have their own computers and mixers etc. To me what music means is the melody line, the first line and the spark”, he says.

Pitch Bend

Octave Change

Sustain Functions

Modulation

Polyphonic After-touch

128 Levels of Sensitivity

100% MIDI

Xkey App for iOS and Android

Robust, high quality construction.

Difference in features of X-Keys 37 37 full size keys(3 Octaves) Xport connector (proprietary Xcable provided) MIDI OUT (DIN-5 through Xcable).

Harris Jayaraj Harris came across XKey at the Messemusik in Frankfurt, and has been using it extensively ever since.

“CME is helpful in capturing the spark. It happens on the road and mostly when I’m out of the studio or when I am probably flying or having lunch or coffee. At such times, I have melody line and am looking for a tool to capture it. Having to get back to the studio and wait for the OS to boot is too time consuming and draining.

Sustain Pedal input (6.35mm (1/4") jack through Xcable).

I believe XKey is fabulous in this respect. It doesn’t have a battery and it takes power you’re your laptop or iPad.

Expression Pedal input (6.35mm (1/4") jack through Xcable).

I’m sure many musicians will be happy to see it.

Dimensions- Width: 553 mm (21.77 in)

It has long professional keys for guys who are used to playing keyboard. It has all the feel of a professional keyboard.”

Weight: only 880 g (1.94 lb) - 20% lighter than an 11-inch MacBook Air! Xcable (with MIDI OUT, expression and sustain pedals inputs)

Jordan Rudess The legendary keyboard extraordinaire of Dream Theater and Founder of Wisdom Music, Jordan Rudess spoke to us about CME. He believes CME does a beautiful job of using modern technology. He put his name behind this product since he wanted to see where the future of music technology would take it. This is the first product that has his name associated with it. “Xkey is amazing since it is really small and I can take it where ever I go” says Jordan. He included a few key aspects that make the product as versatile as it is. • It is extremely fast and a good finger exercise. • It responds to what he is doing, great for tests and training. • It is powerful in the MIDI domain. • If the touch doesn’t suit you, you can modify the curves and bring out the tones. • It is compatible with software in Mac and Windows, where the curves can be adjusted. • CME has always been progressive in its technology. The X-Key has two USB ports, one is connected to a device such as an iPad and the other has a USB connecter with 2 cables going out: standard MIDI cable, Stand panel and a continuous controller. CME is available in India exclusively though Audio Media Inc (www.audiomedia.in) The

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Musikmesse has a new concept and is setting a new course towards its successful future. With more than 65,000 visitors every year, Musikmesse is the world's most important trading platform and presentation space for musical instruments, sheet music, music production and music business connections. In order to consolidate its position in the coming year, too, the organisers have, after close consultation with manufacturers, visitor groups and professional associations, elaborated a considerable number of further developments. The Show now offers lots of new features for the specialist musical instrument trade â&#x20AC;&#x201C; and is set to become, at the same time, an even stronger magnet for musicians and music enthusiasts from all over the world. The changed sequence of days for the event is an optimum response to the requirements of all visitor groups. Equally, Messe Frankfurt is strengthening its international marketing for this sector highlight via its global sales network in over 160 countries. The implementation of the new concept is already in full swing. Even with its new concept, Musikmesse continues to put the trade visitors at the centre of its concerns. The Musikmesse Insider programme, designed with the customer in mind, offers decision makers on the European stage numerous VIP services to make their stay efficient and convenient. After its successful launch last year, the 'Musikmesse Insider' feature is to be extended. In the new Business Academy, trade visitors as well as manufacturers can take part in an extensive programme of further professional development. The lectures, given by well-known, distinguished speakers, provide a crucial advantage in terms of information and knowledge and help participants to understand trends in the sector and to draw conclusions, in turn, for their own business model. For the first time, Musikmesse will be opening a whole hall exclusively reserved for trade professionals. With the slogan 'Business meets Business' Hall 11.1 will provide the ideal conditions for discussions of sales, marketing and delivery in a quiet atmosphere. Additionally, it offers companies the opportunity to introduce themselves directly to specific customers. Companies have a completely free hand in the design of their stand in Hall 11.1. Another feature in Hall 11.1 is a modern conversation area with 'loft'-style dĂŠcor, which enables B2B discussions to take place undisturbed. The Future Shop presents visitors with an idea of what the music shop of the future will look like. They will discover new ways of displaying musical instruments in

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suitable and effective scenarios and turning a visit to the shop into an experience to be remembered. In addition, Hall 11.1 includes a modern lecture podium for the Business Academy.

Unique information platform, both for trade professionals and private visitors The new themed music worlds in Halls 8.0, 9.0, 9.1, 10.2 and 11.0 provide a comprehensive overview of new products on the musical instrument market. The specially designed display areas set the musical instruments in contexts that enable us to experience them in all kinds of ways. Visitors will find live stages, meeting areas for contact with the stars, top-flight lectures and workshops, as well as elegant, contemporary lounges with catering ideas to enhance the musical experience. This will make the halls even more attractive for trade visitors and amateur music enthusiasts alike, creating new contact interfaces between exhibitors and both business and end customers. The themed halls are open to all visitor groups throughout the fair and offer an ideal platform for both trading and brand building to take place at one and the same time. Each of the music worlds has its own particular flair, as befits each individual genre. In the Rock meets Pop section in Hall 11.0 visitors can expect, along with all the new products and innovations relating to e-guitars and drums, an affective place to make music, linger and chat about technical or professional issues. Electro meets Recording (Hall9.1) covers the whole area of electronic music, music production, and DJ-ing. At the same time there is the enticing Club Forum with technical workshops and silent parties. In the Classic meets Acoustic section (Hall 8.0) and Classic meets Keys (Hall 9.0), enthusiasts of more gentle tones will find everything that relates to acoustic guitars, string instruments and sheet music, as well as pianos, concert grands and keyboards. The Classic & Future Forum offers specialist lectures and

items relating to classical music, whilst the Piano Lounge is a stylish place to take time out, with upmarket food. Woodwind and brass instruments will have a hall all to themselves in 2016. Classic meets Jazz (Hall 10.2), as well as housing the cornucopia of products, is also home to the Mouthpiece Café, an ideal place for networking and for trying out the instruments – including sound-insulated booths. Then there is the Festival Blvd. with its touch of the open air, including several stages and street food offer.

Introduction of new forms of encouragement for the next generation Against a background of falling numbers of young musicians, it is a particular obligation of Musikmesse to seek to awaken and reinforce the pleasures of playing an instrument. On the day before the opening of the trade fair, the special area Music4Kids (6 to 10 April 2016) will already have taken some youngsters and children on a unique voyage of musical discovery. Under the supervision of teachers, young visitors can get experience of some unusual instruments and sound experiments, as well as taking part in live promotions, music workshops and interactive concerts. At the same time, Musikmesse is also seeking to extend its commitment to talented young instrumentalists still further. In the SchoolJam competition for student groups, Germany's best young bands will get their first taste of the really big stage. On the new Open Stage, upcoming music groups can introduce themselves to experts in the music business on a modern live stage, complete with backline. For the first time, the European finals of Emergenza, the largest international competition for young musicians, will take place within the framework of Musikmesse. Added to that, there is the European School Music Prize, which recognises outstanding projects for promoting music in primary and secondary schools.

Four days devoted to music Frankfurt has hundreds of bars, cafés, concert halls and discotheques to offer. Many of them offer special programmes, as tens of thousands of musicians and music lovers from over 120 countries assemble in Frankfurt. Numerous concerts and events are organised in close cooperation with Musikmesse – so that there are still quite a few things left to enjoy even when the trade fair has finished. A particular highlight awaits visitor’s right at the beginning. Musikmesse's opening concert, which will take place in the 'Alte Oper' opera house on 6 April, is part of the International German Piano Award. In it, the multi-award winning musician, Joseph Moog, will treat us to a performance of Piano Concerto No. 4 by Anton Rubinstein and Lithuanian-born Andreijs Osokins will play Liszt's Piano Concerto No. 1. On the same evening, Musikmesse, in collaboration with Offenbach-based string manufacturer Pirastro and the Hessian State Broadcasting Corporation, will present a Patronage Concert of Dr. Hoch’s Conservatory. Young musicians will get the opportunity to play alongside professionals in an orchestra. At the same time, Musikmesse, also provides the backdrop for this year's Frankfurt Music Prize, which recognises the musical achievements of outstanding personalities in the field, and for the German Musical Instrument Award, the prize for the best instrument of 2016. Further information about Musikmesse is available at: www.musikmesse.com The latest information on Musikmesse can also be found via the usual social-media channels: Facebook: www.facebook.com/musikmesse Twitter: www.twitter.com/musikmesse

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Faridkot was formed in 2008 when IP and Raj came together to make some fun and exciting original music. They have performed over 250 shows alongside artists such as Vishal and Shekhar,Kailash Kher, Mohit Chauhan, KK, Shaan, Aditi Singh Sharma, Bappi Lahiri etc. and have swayed audiences across the country. They call their genre Confused Pop and have been hailed as one of the foremost original Hindi pop - rock bands in the country (with hits such as Laila, Haal - e - Dil, Madho). We had a chat with them about their band, inspirations, their music and much more.

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Just curious- What brought about the name Faridkot? It is quite an interesting story. I (IP) was shopping in defcol when Raj first called me to form a band. At that very moment I was checking out this T-Shirt which had Faridkot written on it. I knew at that moment, that Faridkot was the name we need to keep. Raj liked it too and here we are now.

You guys call your band's genre "Confused Pop". What exactly created the confusion? We are not too fond of the concept of sticking to one genre, but we love to make songs that people can relate to. Hence, Confused but pop. :)

What is unique about the music made by you? We always try to be honest while we make our music. Our aim is to connect with ourselves at a deeper level while making music and we figure it is only possible if you keep writing what comes to you naturally. Since we started out as the audience, we've seen that if we can find what we do exciting, we can deliver it in such a way that the audience can also relate to it. So I guess the honesty in our music is our USP.

How do you guys make music? We donâ&#x20AC;&#x2122;t have a set algorithm to make music you know. It is like making love, you just do it. And see how it feels later. *Giggles*

Your perfect recording set up. Umm. High ceiling. Analog gear. A great engineer. And most importantly, a window with mountain view.

You both have traveled and performed with renowned names in the country. How did that feel? And how did you first get the opportunity? It really feels good. You know, to share the stage with people like Vishal-shekhar, Lucky ali, Kailasa.. These are the people we looked upto as kids. And now to be talking to them about music and life whenever we meet, makes us feel like we've grown up. :) and in the right way.

Your two albums are named very interestingly as "Ek" & "Phir Se". Who comes up with the names? We have a parrot. His name is totaa raam. So we keep 5 probable names in front of him. And he chooses one. Infact, the third album is unnamed yet as Mr. Totaraam has returned to the jungle. Still looking for a replacement for him.

Where do you guys get your inspiration from? Inspirations actually find us, from the tree in the courtyard to the bombs in war torn places, from personal relations to cosmix connections. There is inspiration everywhere, the hard part is to keep oneself objective yet dreamy enough to stay inspired.

Your favorite stage performed on till date? Aah man. Thats a tough one. Ok. We will give you top 3. 1. Arunachal Pradesh, Siyaang Valley, 2010 2. Kabul, dec 2013 3. NH7, weekender, Pune!!!!

If there is one musician/band you want to perform or make music with, who would it be and why? We would love to work with Mr. Rahman, Mr Amit Trivedi, and anyone who loves music and wants to create something fresh.

Tell us about your upcoming projects. We are currently working on a new single. It is quite an interesting tune and we hope to take it out as soon as we can. Because we have a lot of songs in the pipeline, but now the idea is to focus on one song, produce it well, make a good video and make sure it is marketed well. That is the plan. Let us see how it goes.

Your message to upcoming artists like you. Keep at your music. Be aware of what's going on in the market and know what you want to achieve from your music. Have a lot of dreams but be practical about how to achieve them. And just, be a good human. Other things can always be fixed. The

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PSR-S SERIES KEYBOARDS The Next level of Arranger Workstations New Arranger Workstation models PSR-S970, PSR-S770 and PSR-S670 are packed with more advanced features and all-in-one performance capabilities than ever before.

All three new Arranger Workstation keyboards feature two assignable control knobs that offer unprecedented control over a number of Voice and Style characteristics, innovative DJ Styles that put the focus on real-time Style and Voice manipulation, a large onboard Flash ROM that affords use of Yamaha's ever-growing library of Voice and Style Expansions, and a number of advanced connectivity options that provide performance and recording possibilities previously only found on the flagship Yamaha TYROS5.

Powerful Features for live performance The PSR-S Series features two assignable live controllers, a pitch blend wheel, Modulation wheel and two assignable foot pedal inputs ensuring that you have total control over Voices, Styles, effects and other functions during the performance.

DJ Styles DJ Styles are a new live performance concept, featuring a collection of chord progressions that eliminate the need for continuous chord changes with the left hand. Now you have got both hands free to play melody lines, use the live controllers, or even trigger additional external audio with the multi pads to add a unique flair to your performance.

Voice and Styles Expansion Packs and Yamaha Expansion Manager Voice and Styles Expansion Packs enables you customise the PSR S Series with a wide range of additional content from all over the world. When loaded the keyboard, you can instantly access authentic new sounds, rhythms and backing in the musical Styles of your choice. For more versatility use Yamaha Expansion Manager. Which allows you to

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create individual expansion data sets containing content from various packs and utilise the memory capacity on the instrument. You can even create your own Voices based on your sample.

Drum Setup function You can edit your drum kit sound to suit your performance. This function, part of the “Style Creator” allows the user to change drum sound parameters. In addition, you can easily change a chosen drum sound to different one.

Additional features > New Arpeggio function for instant access to a library of arpeggiated synthesizer lines and authentic rhythmic phrases. > Master Compressor effect to change the overall characteristics of the sound. The New S series is truly powerful & adds up to a musician’s performance, whether playing live on stage, music production or even song writing. All in one machine that is powerful & portable with endless possibilities. Yamaha's PSR-S Series is the preferred choice of musicians around the globe. Mohd. Rehan Siddiqui (Business Head - MI Sales & Marketing)