The Score Magazine March 2018 issue!

ISSN 0974 – 9128

Vol 11 Issue 3 March 2018

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India's National Pan-Genre Music MagazinE

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ARTIST OF THE MONTH

ANISH SOOD

BAND OF THE MONTH

BOMBAY BASSMENT

SUKRITI & PRAKRITI KAKAR COVER STORY

ALSO INSIDE: POST FESTIVAL REVIEWS - SULA FEST AND VH1 SUPERSONIC AND MUCH MORE

Ready to perform.

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I NSIDE Band of the BAND Month: When Chai Met Toast OF THE MONTH:

BOMBAY BASSMENT 16

SUKRITI & PRAKRITI KAKAR

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IN-INDIA: JOHN MCLAUGHLIN

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ARTIST OF THE MONTH: ANISH SOOD

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INTERVIEW WITH MIKE BLACKMAN: INTEGRATED SYSTEMS EUROPE 18

INDIE REVIEWS

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10 TIPS FOR MIXING A SONG 34

HISTORY OF SAMPLING 37

NAMM SHOW 2018: PRODUCT LAUNCHES

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the team Director, Strategy and Planning Pragash VM Director, Business Development Sneha Ramesh Director, Marketing & Operations Ajay Prabhakar Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Creative Designer Manasi Doshi Content Contributors Shreya Bose Amogh Rao Sriram Ravishankar Souvik Chakraborty Aditi Sarawagi Priyaankaa Mathur Malik Arshaq

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Sukriti Prakriti &

KAKAR

As cliched as it may sound, tell us how it feels to have a twin sister who does exactly the same thing as you?

Prakriti: We get asked about this a lot and each time I’d say it’s a blessing to have somebody that close to you do exactly the same thing as you because not only do you get comfortable knowing somebody understands all the good and bad days but you also stay motivated and focused. We try to work with as many different composers as we can otherwise some people tend to confuse our voices. But hopefully with the coming years and coming songs, people too will be able to differentiate our textures and styles in terms of singing.

Sukriti: It's really exciting to have someone right at home, someone as old as you, with the same passion and profession as you too! It's like living with your best friend and having the same job. At the end of our day, we have so much to share with each other, so much to learn from each other and also be each other's go-to persons at every given point!

Being in an industry where there are the highest highs and lowest lows it's really comforting and amazing to have someone who's also family and is a constant support.

Right now, you are both in your high in Bollywood. Where or what do you see yourself doing 5 years down the line?

Prakriti: 5 years down the line, the plan is to be known for being somebody who prioritized Independent music just as much as playback. My aim in 5 years is for people to not instantly know what I sound like but also what I look like. As we know singers, especially playback singers often get overshadowed by actresses. In the coming years, I want to focus on making my music putting it out there and being the face to my voice.

Sukriti: Five years down the line, looking at how the music industry is shaping in terms of Bollywood and independent music equally coming through and being accepted and received so well, I see myself hopefully content with some really good playback songs but along with that, I want to release my own music and be the face to my voice. These days, there is a

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very minimal margin for females to get a good song entirely to them, but hopefully in five years to come, we can make plenty for our own selves and be out there just as much!

In an age where every other day a new singer is born, how do you keep abreast with the changing industry?

Prakriti: I think the key is to constantly be in touch with what’s working. To always be updated about the need of the moment in the industry. To be in sync with the sound, the trend and the new voices we hear. The industry is changing rapidly but it’s becoming more welcoming and experimental too. People are trying to be adventurous at the same time. But the key to keep pace with the change is to be out there doing something or the other reminding people you still exist and you’re here for more.

Sukriti: Honestly, I think it's a great time to be in the industry. Mostly because, as you mentioned there is a singer being born every day, but there is a new music director also discovered everyday so if you look like that, opportunities are maximised for everyone. One whole album these days has at least four music directors so there's a lot of scope for everyone. Yes, the competition is cut throat and you can't really lose focus but also I always feel like there's space and place for everyone to work peacefully together and be successful.

Who is that one composer you would love to work with and why?

Prakriti: Pritam da. I’ve been the biggest Pritam da fan ever since I’ve wanted to be a singer. I personally love his song choices for his singers.

Someday I’d love to know what kind of a song he may give me to sing. I feel recording his songs would be an incredible learning experience.

Sukriti: I have a bucket list here for sure.

Vishal Shekhar, Pritam Da, AR Rahman and

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Amit Trivedi. I've grown up hearing all their albums and some of the finest songs ever and possibly wanted to sing for movies and become a playback singer simply because I wanted to sing for each of them for as long as I can remember!

Hopefully, this year has something in store for me :)

You travel across the world doing gigs. Which has been your best till date and why would you choose that?

Prakriti: One of my fondest memories for a show would be a recent one from the Diwali show we did in Antwerp. I was extremely nervous because I had to set a whole new band for that one show because it got locked a little late and my original band want available. However we religiously rehearsed because it was a big show and it went extremely well.

Sukriti: Wow, this really got me thinking! It definitely has to be the college shows which have the maximum adrenaline pumping and performing in front of thousands of young people, dancing and singing with you is another level of high! But this one time, we travelled to Cyprus for a gig after missing our connecting flight only to realise that we were stranded there without our any of our bags because they were stuck in Dubai, and our gig was on the same night. We went straight to the mall and picked up clothes and shoes, ran for sound check and however managed to perform there the same night and it was miraculously amazing and one hell of an experience!

While growing up, you had Akriti to look up to.

What was your biggest take away from her?

Prakriti: She has literally been our role model growing up. It is because of her that we’ve seen the best and worst of the industry. We’ve seen her struggle, we’ve seen her shine. Till date I don’t BEST GIG TILL DATEthink there’s anybody Prakriti: Mauritius public show more professional than her. So the biggest take 2016. away from her will Sukriti: When me & Prakriti surely be work ethic.

Rapid Fire

performed at the Times Square to a local audience.. Super memorable!

Sukriti: Her confidence and conduct for sure.

CRAZIEST FAN MOMENTThe way she Prakriti: When one of our biggest fans carried herself Deepshikha tattooed our names on her at home or wrist!!! She got a tattoo of SuPra which is on stage! what most of our fans collectively call Sukriti Whenever still I'm Prakriti. They call themselves Supratics which with her, I think is adorable!

I feel like Sukriti: : Has to be this year on my birthday when I'm ten years old this guy sent 22 huge bouquets with tiny gifts and I'm and hand written notes on my 22nd birthday in always in last May! I was all sorts of embarrassed and awe of her. overwhelmed!

I feel blessed to be around WHEN YOU AREN'T SINGING, WHAT her journey DO YOU DO? because it taught Prakriti: Sleep and shop! me and Prakriti a lot. She's still the Sukriti: Something on the lines of first person we go Fashion / Lifestyle to when we're in any kind of personal or professional stress!

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Your mom was a music teacher herself. So were you always surrounded by music right through your growing up years?

Prakriti: Yes we’ve always had a very musical environment at home because mom was a music teacher. As kids we were trained by her but it didn’t last very long because since she was a teacher herself, she knew how important it is to be formally trained so she made sure we were trained professionally from outside.

Sukriti: That's completely right. We always were. In the very beginning , mom always knew how much we enjoyed singing but always thought we looked at it as a hobby, little did we or even she know that this little hobby and passion would transpire into a full time job for her other two daughters as well. She always wanted us to do something academically because our grades were good but since we were 10 we started singing and by 16, we were already on stage doing shows.

Do you look at each other as competitors? When you go back home after a long day, do you discuss your day?

Prakriti: Healthy competitors, yes. It’s always great to have some kind of competition at home because that’s what makes you work harder and be at it. It’s effortless for us to discuss our days because nobody understands us better than each other.

Sometimes we even audition against each other in studios, sometimes sing the same song for the same composer one after the other , sometimes it’s tough but at the end of the day whoever bags the song, it comes home. Initially it was tough but then we learnt that let the best one win!! We are extremely supportive of each other and consider being twins our USP. Sukriti: I think having a sibling specially a twin is so cool because there’s healthy competition since y’all are babies.

So that good spirit of competition is always there whether who completes homework first or who gets better grades and then when we decided to do the same thing and get into the same profession we knew what we have signed up for. We know each other’s strengths and weaknesses. When I hear Prakriti or when she hears me sing or do something, we're always learning from each other and it keeps us inspired.

There's always so much to catch up on after a long studio day, she's the first person I'd play any of my unreleased songs for feedback!

How do you deal with the anxiety before the release of your songs?

Prakriti: I think that’s my favourite part. I wish I could feel that anxiety every day because there’s truly nothing better than that feeling. As a playback singer you often just record a song, you’re told what the film is, the cast (sometimes) and that’s that.

Sometimes you don’t even get to hear the full song or the video before the release. This is what adds to the excitement and anxiety because we are usually surprised.

Sukriti: Few days or hours before some song is going to come out is full of Nervousness, excitement and anxiety. I think we get anxious because when it comes to people and audiences today, either they love a song or they hate it. There is no middle ground. And obviously when you've worked hard on a song, you want it to be appreciated and most importantly connect with your audiences. That's the most important part I think.

You guys are very active on social media and also have fan pages in your names. How do you think social media has taken over the scene?

Prakriti: I think social media has made a huge difference in everyone’s lives. Today so many people who were doing the same thing 10 years back are called influencers because people get influenced by their lives. It’s because of social

media that today people are intrigued by singers lives and actually want to know what they look like and why they do what they do. It’s helped singers like myself to come out interact with people and share every small little happiness with real fans. I’m grateful for all my fan clubs because they’re so supportive and we’d be nothing without their love and encouragement. We are glad that we get to speak to them sometimes through social media and share our songs so closely.

Sukriti: Social media is extremely important these days otherwise I think it's impossible to keep in touch with your fans or audiences or even be able to share your upcoming work with the world! You need to constantly keep tabs and social media helps you be constantly inspired, motivated and keep reinventing yourself in more than many ways! It's overwhelming to see how many pages some really cute fan girls and boys have created on our names and how much they love Prakriti and I together! It's a constant boost for us to keep working hard and have more and more music released in this year to come.

Having performed in many gigs, how do you manage to engage the audience? Do you customise your playlist based on the place you are performing in?

Prakriti: Always. I think not more than the first 5 songs of our set list are really planned. It’s always the audience that we mould our set according to. Always half an hour into the show we gauge what’s working with the audience.

Sukriti: I think the only way to engage an audience is to have a connection with them from the moment you start your show! On

our gigs we obviously sing some of our songs, but we also sing some of our favourite songs. And our show format has a huge section of non-stop mashups and medleys so that for sure helps in engaging the audiences for a longer period instead of doing one song after the other. And yes, we really depends where we are travelling and what kind of audience is there and we mend the set (delete some songs o add some new songs) accordingly!

Tell us your current and upcoming projects Prakriti: I think it’s the best time to be around. It’s finally time for independent music and singers to come out and shine. Today you can release your own music in mediums like YouTube and there will be audience for it. You can constantly offer your own music and there will be buyers. You don’t really just have to depend on films to get a song in. Today you can write your own music, sing it the way you wish and upload it. Finally singers are getting their due because they are slowly becoming the face to their voice.

It’s been on my mind to release a single for years now. I think it’s about time. Sukriti and I am working on our first one which is composed and written by us and will feature us as wvvell. I’m really stoked as it will be the first time we lend our voices on one song together.

Sukriti: I sang on the Mubarakan title track late last year and there was Neend Churayi from Golmaal returns which is on a hundred million views now. This year some really fun songs are lined up. My next is from Sonu Ki Titu Ki Sweety and then in Dharmas' Drive.

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SHREYA BOSE

BAND OF THE MONTH

Bombay Bassment Could we get a little history on the members until they joined Bassment?

Back in the day, our bassist Ruell and our ex drummer started a drum and bass outfit but felt their music needed more elements to make it full. So they approached our former manager who was a mutual friend for ideas and that's how it all came together. He linked us up together.

Bob and Major C at the time were into the emceeing/ hiphop and DJing scene in the nightclub circuit.

Your music is primarily extremely danceable hip-hop. Was that always the intention?

That is deliberate. We channel Hiphop, dancehall, reggae, afro beat, funk in our music and making it happy and dance inducing is our top priority.

The obvious question: What was performing at Glastonbury like?

It was an exhilarating and simultaneously a humbling experience. We were honoured to share a venue with the biggest names in the industry today, yet also humbled by the fact that people will go so far for music. Conditions were nothing fancy, but the vibe was priceless. The reception of our music was unbelievable, we were even offered a second performance at a different stage the following day after a rousing reception for the first performance. Couldn't have asked for a better experience.

Do you think your music would go well with a visual element such as films or shows? If so, what kind?

Absolutely. We feel art house movies and documentaries are our thing. But otherwise, visuals are also

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becoming a normal part of the music experience as technology improves and becomes affordable. So expect us to keep raising the bar as time goes by.

We caught your set at Vh1 Supersonic. You guys make it impossible to take a breather because every beat must be jumped to. Have you ever made something mellow, more conducive to lazy listening?

Yes, we do have laid back tracks. Catch our song Reggae Revolution or Yes, Yes Y'all. They're both relatively laid back. We got sounds for all happy moods

Is there an overarching philosophy driving your music? A common theme or idea that you are trying to get across?

Seeing kids, parents and grandparents on the floor is our mission. But we also do drop some knowledge, messages and consciousness from time to time. But at the end of the night, we wanna see happy faces.

Are you in the midst of new compositions right now? Can we expect something soon?

Yes. Coincidentally, we just recorded the first track off our next release earlier this week. Expect a single soon and an EP later in the year.

If there was only one thing that listeners could take away from your music, what would you like it to be?

Music/art (even by your neighbourhood artists, not just superstars) is as important as anything else that you pay for in pursuit of knowledge and happiness.

Ambient

ADITI SARAWAGI

Music

Background music refers to music which is played in the backdrop of public spaces and is listened to passively. It is not supposed to the main focus of the place but acts as a supplement to the ambience of the place and it is usually played at a low volume. Background music is played at social gatherings, restaurants and even retail venues. A popular an emerging genre of background music is Ambient Music which puts emphasis on the atmosphere and is usually in the form of instrumental music and is gentle and soothing to the ear. It intends to generate a sense of calmness and relax the listener. One of the pioneers in ambient music is Brian Eno. He is also credited in coining the term ambient music and his album ‘Music for Airports’ is considered a pioneering work in this genre. Though ambient music is mainly for passive hearing, ambient music is gaining momentum as an active listening genre of music too. The main instrument used is synthesizer and other instruments like piano, strings and flute are emulated with it too. It uses nature soundscapes to add to its ethereal quality.

On an average a human spends around 1.2 hours on hold and much more in waiting rooms, restaurants, lobbies and even airports, simply waiting. Making this experience ideal for customers is a major avenue where ambient music takes prima facie. In case of shopping malls or retail outlets, studies show that music improves customer satisfaction and music playing in the background makes the wait time feel shorter than it actually is versus when there is no music played. Ambient music is also known as waiting music at times.

When it comes to waiting rooms and lobbies, sometimes there is need of relaxing and de-stressing music like in case of hospital waiting rooms or doctor’s chambers. Ambient music simply playing in these places reduce the stress levels of people waiting. Something as mundane as standing in a queue in a bank can be made bearable by the right choice of music and company owners across the world are opening up to the multifaceted benefits of this concept. The right kind of ambient music can put you in the right state of mind and help in quietening

one’s thoughts. It is known as the ambient mode. It is also played separately and is said to heal anxiety issues.

Choosing the best kind of music for your company or retail space is important for the customers as well as employees.

A right mix of slow, fast and tempered ambient music is necessary to strike a balance. Music played must be of high quality and should be legally purchased from the artist. This is not only beneficial for the customers but also the employees as happy customers means less aggravation for the employees too. The type of music played should be in conjunction with the kind of business one has. For example, a massage studio will play meditative tracks but a clothing store will play high tempo latest pop music. The right kind of music also acts as a ‘pied piper’ phenomenon and may attract customers to a particular store or restaurant, also making them stay longer. Music has become a part of the in-store experience along with store assistants, interiors and the whole overall shopping experience. Music affects customers at a subconscious level and affects buying decisions too. It is said to build brand equity, affecting the customer’s opinion of the brand.

Ambient music played at restaurants also play a role in the overall dining experience and it should be chosen to match the restaurant’s profile. Music should be loud enough to be heard and enjoyed but not so loud as to hinder conversation. The right ambient music is not only important to people but to businesses as well. The right music ensures that consumers stay and might even make them return or recommend the place to their peers. It is also a place where people discover new music and new artistes. Ambient music has become an important competitive tool for businesses and it helps in distinguishing one’s brand experience as well.

With music pervading all places, ambient music is slowly and steadily pervading all public places and is also making place for itself as a separate genre of music.

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MIKE BLACKMAN INTEGRATED SYSTEMS EUROPE

Tell us a little bit about how the show started initially The show came about from three American based associations with international membership. They wanted to put a show together for the European market place to bring the buyers and sellers together.

They approached me and wanted me to organize it. The first ever show was in Geneva and the turnout was so-so with about 120 exhibitors and 3500 attendees. It was good enough to keep trying. We realized that the location was not the best and people told us that Amsterdam was a good place for this. We moved here and the show just took off.

There are two things: One, we are in an industry that is growing and secondly we are doing what the industry wants and we are doing it right. Every time we are successful, more people want to be involved and hence we keep growing.

You have AR, VR, Projection, Display, Audio and more under one show.

What exactly are you trying to achieve by bringing them all together in one place?

Firstly, when we started we were a small show and we decided to mix everything up because won’t it be good if someone only interested in Pro Audio falls across Projection because he is next to a display manufacturer. It introduces people to different aspects. Initially with 120 exhibitors, it was easy to see the whole show in half a day but now with over 1300 exhibitors, you can’t see the show even in 4 days. We try to structure a bit but the core value is that the attendees need all these different disciplines. For instance, if AV come together, it’s a user experience. Augmented Reality is just another way of projection. So that’s why it all fits together.

How do you intend to improve visitor experience at ISE? We constantly work on improvement. Next year, you will see more programs, conferences,

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more visitor focussed experiences.

One of my ideologies is that, the show is like a magazine. As an organizer, we are the ones that should supply the Editorial and that means providing Education, Information that is unbiased and neutral. Things that are not manufacturer focussed. And this is what we are doing for visitor experience.

What would you tell people in India about the show?

We have a show in India, the InfoComm show that happens in September. It doesn’t cover the residential sector but only Commercial. But we are in an industry that is constantly moving.

Many of the manufacturers have decided to premier their products here at ISE and that’s the biggest value we provide to them.

Indian market is a very important market and the way it is developing is great!

What are your plans for 2019 show?

It’s a 15 months process for us in terms of our work. Our Sales team starts the planning in October for the next year. Our top 50 exhibitors reserve their space one month before the show. In fact, we are almost sold out for 2019! It is a constant process.

What’s the success of ISE? We involve the industry at various levels. At the top level, we have an executive board with association people, people from boards of association and three exhibitors and they have direct insight and can help at strategic level.

Next level we have an Advisory committee made up of Exhibitors with about 25 members and is a cross section of the whole show, some audio, video, small and large companies and different companies.

We ask them for inputs and direction on where we should be going. With that we know what the exhibitors want and can focus on that.

SHREYA BOSE

Say Your Prayers

(INALAB):

Gaurav Balani has been swimming in the waters of independent music making for quite a while now. He has been part of iconic ensembles such as Parikrama and Shubha Mudgal’s Koshish. Now he is taking lead with Inalab, his own project support by equally iconic figures - Saurabh Chaudhry(Guitars, Parikrama), Tuheen Chakravorty (Tabla , Indian Ocean), Vishal Mehra (Drums, Euphoria). The piece has been mixed & mastered by Keshav Dhar (Skyharbour).

Balani certainly tries to bring to the song the same idiosyncraticity that led him to use a palindrome of his surname as his project moniker. It is easy to be drawn into the anticipatory percussive progression, courtesy the tabla of Tuheen Chakravorty. There are no major surprises, but the craftsmanship cannot be questioned. The guitars’ glossy shimmer is the perfect foil to the cautious and whispering cymbals. A precarious balance of pitch and persona is introduced early on, and maintained unfailingly.

My only complaint would be that the track seems abruptly shortened. Balani indubitably has solid reasons to end his piece where it does, but whatever story was being spun by the track seems unfinished.

One is most definitely left with a taste for more.

Moonglasses

(Man.Goes Human):

The music of this four member group is the very definition of indie.

Now, I certainly do not mean that they are generic ; they are not. However, they exemplify the qualities traditionally associated with "indie" music (outside the quality of simply being independently produced).

Their second EP is incredibly pleasant, even when they are broaching themes that are not. Each song is invested with its personal dreamscape, contrived by instrumental arrangements that do not exceed a breath over what is

necessary. Their songs play with the unique quality of creating ambience rather than compulsive focus. Each track is an invitation to drift. The sound is something akin to what would wander in through a window in faraway lands. Even in their heaviest moments, they exhibit a lilting cadence that calls to be lost in. Personal truths are revealed in a vortex of unwavering comfort.

Even the proclamations of violent, reluctant intimacy in “Crush Before Use” are tempered by deep personalisation.

It is impossible to distance oneself from the charm with which these guys communicate stress, struggle and consequent revelations. Every track offers the quiet assurance of understanding, the message that your personal demons are being heard and responded to.

Stories from a Bottle

(Bjorn Surrao):

This Chennai-based composer and singer has already done his rounds of film, documentary and the indie band circuit. Consequently, at the painfully young age of 25, he is able to make an album that is simultaneously accessible and aesthetic.

For the most part, Surrao’s strength lies in songwriting and arrangement. I cannot say his voice does much for me. However, he structures his songs for seamless good listening. “Walls” is unabashedly upfront about uplifting the listener. To the beat of capricious drums, a piano and a guitar create a space for repose. The lyrics’ push carpe diem, but you don’t feel any hurry to stop listening.

“Sunset Boulevard” and “Crystal Skies” did not strike me as too memorable. They are pleasant, and the latter experiments with muted electronic beats that are a welcome change from the garish use of the same in radio-friendly dance numbers.

It is in “Stellar” and “Kaadhal Neeye” that the album gives up the gold. “Stellar” incorporates a hint of techno in a classically dominated headspace - Carnatic violin, tabla and the trained vocals of Suchith Suresan. In “Kaadhal Neeye”, Suresan is joined by Shakthisree Gopalan. This one feels more aligned with cinema, focusing on orchestral buildup and adeptly creating imagery in the listener’s head. It is a superb piece, evocative and precisely artful at the same time.

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AMOGH RAO

Expectations were soaring for the 11th edition of SulaFest, and after a massive weekend we can safely say that they more than just met. From the impeccable organization and clockwork management to stellar programs and curiously fascinating music, this two-day festival bumped up a brand surrounding wine and turned it into an experience in itself.

Transportation and accommodation for guests were managed admirably to say the least, and helping hands at the venue weren’t just reserved for those who asked for it. The stalls sprawled across the venue were rivaled in their diversity only by the affordability of their products. Food was abundant, alcohol was generous and the wine was showcased in all its fancy.

Coming down to the music side of this festival, the lineup itself looked completely foreign, to the extent that we had to do our fair share of homework on these artists. This was totally worth it though, since the experience of listening to a melting pot of cultures across the world made this weekend stand out amongst all the music festivals we’ve ever witnessed.

We had French-Indian DJ Kiwistar kicking off both days, with his Electro Swing style dubstep. Run Pussy Run came out with a set almost defined to push boundaries and GRAIN put up a show that flowed through Electronica, dubstep and drum n bass. Gypsy Hill was a refreshing shift into world music, with elements of Balkan brass, ska, swing and surf rock. Headlining that night was Parov Stellar, pioneer of Electro Swing, with

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masterfully woven jazz, house, pop and electro. Day one ended with Crystal Fighters, the English-spanish electronic folk band to probably be one of the most popular progressive dance bands, incorporating folk and funk into their live sets.

Day two boasted bands like Adil Manuel Collective, a project that ventured into RnB and Neo Soul backed by elements from jazz, funk and latin. Brotha V brought down a massive response with relatable lyrics and indian classical vibes fused into hip hop and rap. The Beat was another crowd pleaser, with reggae, ska, punk and soul coming together in a comprehensive yet tasteful manner. Amit Trivedi’s set stood out amongst all the artists across the weekend though, with probably the most relatable music, established musicians and powerful energy that had the crowd going wild. The festival closed with Bauchklang, an Austrian beatbox group that changed the way pretty much all of us perceive beatboxing. Incredibly innovative and ridiculously talented, their set made for a massive end to the night.

The second stage was relatively overlooked, but had all kinds of stalwarts from the electronic realm performing, including Stephano Richetta, 8 Bit Culprit, Alex Ferrer and Phonique. As an overall experience, it’s pretty clear that Sula’s festival for music and wine is a brand of its own, with some of the most unique combinations of music and genres that we’ve witnessed in the country. Definitely something to look forward to next year and in the years to come.

MALIK ARSHAQ

MAN BEHIND THE CONSOLE

Having witnessed the proceedings of SulaFest 2018, it would be safe to say that the festival was an absolute success. While people poured in in large numbers to catch the performances and indulge in all that the vineyards had to offer, we managed to have a short conversation with sound engineer, Fali Damania, about the audio set-up for the festival, the equipment used and what it takes to build a career as a sound engineer.

Could you give us a run-through of your P.A and mixer set-up for the day?

The front of house (FOH) systems are L-ACOUSTICS K1 speakers while two Avid Venue S6L’s are used for the FOH mix and the stage monitors’ mix which are run from the same stage box with seamless gain-sharing capabilities.

The input signals are fed to the mixer through two Cat 6 cables, main and redundant, so we can switch in case there is any trouble with the main one.

What about the monitors?

We have about 14 L-ACOUSTICS wedges for the whole fest, you know, so we won't fall short on either stage and in-ear monitors as well, Sennheisers and Shure PSM1000’s.

Are you doing sound for the whole SulaFest or just this stage?

I'm actually a freelance sound engineer, I've been the technical head for SulaFest for a lot of years now. The audio rental

company is Sound & Light Professionals, they've been doing the festival for the past eight years.

Can you name of the artists that you mix for?

I work with artists like Amit Trivedi, A.R. Rahman, Divine, Pentagram...

Lastly, is there anything that you would like to say to younger sound engineers about making money and building a career?

The important thing is to just start, just get into it and don't waste any time. For the few years, it's really tough in terms of money for all us, me included. But you have to keep at it and get good at what you do. That's when people begin noticing that your mixes sound good and you start getting call-backs from other bands and other opportunities.

Each show should be your personal best, as far as the mix goes, whether there's five hundred people in the audience or five thousand.

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SHREYA BOSE

VH1

SUPERSONIC

Three days in Pune turned out to be extremely exhausting. I know the word is usually reserved for unpleasant experiences, but there is no other way to describe shuffling between four massive stages at Vh1 Supersonic. It was impossible to catch every act, and so you had to shed some tears and let some artists go.

I went for a carefully considered mix of constant favourites and curious novelties. The lineup was heavy on electronic artists, and for an amateur listener, it was a great place to find a taste for that sound. Techno-EDMtrance sounds a lot better when accompanied by strobe lighting, alcohol-fueled dancing and shoutouts

by Nikhil Chinappa.

I’ll start with the Sonic Realm stage. A monstrous masterpiece that delivered a visual and phonetic extravaganza with every act. Even if you didn’t like Nucleya or Gurbax or DJ ASA, you couldn’t turn away from the trippy images swirling on the four screens or the flawless quality of the sound.

As someone completely uninterested in Major Lazer or Marshmello, I was compelled to stay for multiple songs simple by virtue of the pseudopsychedelic picturization.

The Live Stage is the one that substantiated the promise of a multigenre festival. Here’s where you had Alt-J, who elevated a writhing crowd to a dreamscape with a setlist that almost touched the edge of magic. An eerie silence fell before they began each song, a split second when all of us drew in a sharp breath and lent our voices to their far superior ones.

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Here is also where you had Incubus, who took everyone back to the days of discovering rock music on late night radio and Limewire. From where I was standing, you could see older fans choking on the fact that they were seeing, in the flesh, some heroes

of their adolescence. Newer fans wondered aloud why they hadn’t heard much of them before, and by the end of the set, they swore to devote long hours to this band the minute they got home that night.

Sheer perfection was achieved.

The experimental stage, Laborotorie Supersonique was the abode of deliciously idiosyncratic sounds. The Adana Twins, The Midival Punditz, Raja Kumari, Dj Uri &Rynosax were among the few that inspired a long listen and burgeoning interest. Raja Kumari, in particular, drew a crowd that took on a face full of the afternoon sun and sang along to her hits.

For people who liked to dance, the festival was a phenomenal destination.

From three of the four stages emerged a constant stream of electronica and techno-heavy varieties. Three whole days saw people move to a combination of curious combinations of groove-inspired tones, seemingly unlimited beer, theatrical smoke and heady visuals calibrated to the ricocheting sound. The Spectrum by Awakenings stage did this especially well, as proved by the fact that many of the festival-goers spent all of the three days plopped and/or grinding in front of it.

To sum up, Vh1 Supersonic delivered on every one of its advertised promises. It certainly exceeded expectations in terms of production, timing, and security without compromising on the good time. The security surrounding alcohol might have gone a tad overboard, but since I have zero experience in running a major festival, I’ll just assume that the organisers knew what they were doing. They had to, because it couldn’t have been easy planning for something so monumental to finish within just three measly days.

SOUVIK CHAKRABORT Y

SINGING IN THE GRAINS :

THE BEST SONG STATIONS OF INDIA

The travelling musicians of yesteryears settled at different locations in the sub continent infusing the culture with their scent of music. Some of the most iconic singers, musicians and composers continued the legacy like a tradition and soon created a thriving fraternity across different pockets of the country. Unlike most continents, the music produced by this movement was essentially lacking a homogeneity and sounded 'different' and intriguing to the ears of its native listeners. The economies of scale associated with the industry of music, soon facilitated organized events across the regions in which the music belonged by tradition. These gatherings were celebrated like 'festivals' along with the spirit of the culture to which that music is associated with. Hence, we have got a host of unique festivals that should be every audiophiles' rollicking delight.

The Ragasthan Festival in Jaisalmer packs in a powerhouse of entertainment and refreshment, which hosts music, dance, cuisine and even independent cinema. Besides, hosting classical, techno, folk, rock and alternative music; the festival also boasts of an unique joyride on camel backs and three days of pure ecstasy and that too with the backdrop of the scenic Khurdi dunes! The Ragasthan Festival happens usually in the winters in the month of November.

The Rhythm and Blues Festival of Kasauli is celebrated by the Genesis Foundation, to facilitate the surgeries of underprivileged children with heart diseases. The mountains of the Himalayan range perfectly captivate the aura and essence of a band playing out jazz, rock or blues. This R&B festival has seen the footfall of many music freaks from around the world and has soon become a destination where one gathers to feelthe closest to nature with the sound of music echoing in his ear.

The Magnetic Fields in Rajasthan provide a perfect getaway to the freaks of the electronic music and the lovers of the rich tradition and extravagant architectures. The festival takes place in the splendid 17th-century Alsisar Mahal at Shekhawati in Rajasthan.

The Hornbill Festival in Kohima, Nagaland presents the sweet melodies of the hill amidst the lush green meadows in the backdrop. This festival is hosted by the Tourism Department of the State and is held for ten days in the cool month of December. The Hornbill fest is a fabulous getaway in the 'Switzerland of the East', with arts, sports and culture fused in one amazing festival.

The Ziro festival of Arunachal Pradesh transpires in the lush green meadows of the north east and the sere mountains in the distant. Ziro has been consistently promoting 'up and kicking hard musicians'. Hence, if you want to indulge in some raw and fresh talents of the country, Ziro is the go to destination for indie pop, rock and electronic musicians.

Not all musical fests in India are limited by the culture of its place, there are a host of multi genre best in class music festivals that would give any international line-up a run for

their money! Some of these festivals garner more attention from the musical travellers of our globe than some of the best of the best international festivals.

The Sula Fest in the idyllic hills of Nashik has been an ideal location for those who love a cocktail of good food and good wine. The Sula Fest also endorses a bunch of new talents every year at its festivals, thus nurturing a talent pool and at the same time exhibiting them to a host of wine connoisseurs and music enthusiast.

Mood Indigo Festival is a cute little project that stemmed out of an immense passion for good music and soon emerged into a hotspot of cultural exchange between musicians of different calibre. The best part of this festival is that it sparked off with an initiative by the students of IIT for a meagre budget of 5000 rupees, so if you are always game for a bit of an indie music at an independent music festival, do not lose tuning to this blockbuster of a musical high.

Sunburn is the iconic three day long extravaganza of world class electronic music. Sunburn takes the musical madness to another level by spicing up the musical experience with the locales of the naughty Goan sand beaches. Sunburn is the perfect YOLO experience that every music lover should experience at least once in their youth if not late. Sunburn has also grabbed a lot of eyeballs over the years for featuring ace artists from across the globe along with some of the underground troupe of newbie in our nation.

The Enchanted valley carnival in Aambey valley is another new age international music festivals that take on amazingly wide spectra of artists from techno and multi genre music.

The festival rocks hard at about hundred kilometres far from the bustle of the main city, lapped in the mist of the Shayadri range. This festival is almost all inclusive and considers even Bollywood in its main course.

So whether you have planned for a trip on a weekend or taken a long haul, or decided to travel in winter, summers or the rains in North, South, West or the North east; do not miss out on the amazing experience of diving deep in the divinity of music!

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PRIYAANKAA MATHUR

Thumri AND THE ALLIED FORMS A DIVE INTO THE ART OF MELODY CREATION!

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Known for its highly ornamental nature, Thumri is the most melodies Hindustani Classical Musical genre, capable of expressing a range of human emotions.'Thumri, Dadra, chaiti, kajri,baramhasa, Jhoola, sawan and many more... are the names of the Semi- Classical music genres, that happen to be the inevitable part of the regional folksongs of India.

Performed across the regions of Banaras, Lucknow (Awadh), Punjab these forms celebrate life, seasons, occasions and emotions, they have been immensely popular both among the regional masses as well as the classical music affectionate.

The 2 Day Seminar on 'Thumri and the Allied forms' organized by NCPA in collaboration with ITC-Sangeet Research Academy, Sangeet Natak Akademi & the Indian Musicological Society was indeed an experience for a life time. This seminar focused on the origin, history and socio- cultural associations of these forms. Various styles, viz. poorab, Punjab and Lucknow, associated with thumri, were discussed in detail along with audio/video recordings by the great thumri exponents of the yester years.

Vidushi Smt. Shruto Sadolikar brought in light on the history and evolution of ‘Thumri by saying,"The word Thumri is supposed to be an apabranch (corrupted form of the word) ‘tanvari’ and is a combination of the word ‘thum’( thumakna) and ‘ri’ which connotes the action of Rijhana (seduce),wherein ‘thumakna’ is an act of dance, that involves a graceful gait with dancing steps, that constitutes to the emotive part of the song, thus depicting the expression of Bhava with Laya.

The origin of thumri goes back to ‘Chalikya’ or ‘Kaishiki Vratti’ ancient era, that represented an act put together to depict feelings and emotions presented through songs and dances. While 'Halisaka' or 'Rasa' was a combination of 'Gana'(singing), 'Natya' (acting) and Nritya (dancing),that was propagated first by Bhagvan Shri Krishna.

In the medieval period, ‘Tuhfat-ul-Hind’ mentions Thumri as a ‘Sankeerna Ragini’ (complex genre) sung by combining multiple ragas to express the Bhava. ‘Raga Darpana’ refers to thumri as a popular genre sung in ragas like Pahari, Kafi and Barwa. Emperor Wajid Ali Shah was believed to be the one who pioneered Thumri, but actually it was Sajid Ali Khan.At the end of the 18th century Raga 'Jangla' was a popular 'Dhun' inherited by a Persian word 'Jangula', that means bells tied on the foot belt (Ghungaroo) and was sung in Delhi by a woman called Jani (a bar girl) along with dance. The ragas used for thumri were mostly Kafi, Pahari, Barwa, Bhairavi, Des, Pilu, Gara, Bihari, Multani, Paraj, Gandhari, Khat, Bihag, Jinjhoti etc. that mostly originated from the folk tunes. Great masters like Govindrao Tempe encapsulated elements of traditional Thumri presenting them through his 'Natya Sangeet' theatrical presentations, taking classical music to the commoners.

Pt. Birju Maharaj bought light on the rich lyrical thumri’s of Lucknow in -acting Radha and Krishna romancing on a swing with 'Jhulat Radhe Nand Kishore’ and ‘Meri Suno Shyaam, Choro Achariya’ wherein Radha requests Shyam to stop teasing her and pulling her robe, showcasing his expressive mastery, with delicate dance movements well rendered with layakari. While in ‘Bali Umar Larkaiyan’ in-acted various stages of a woman’s life,starting from a young Gopi to an old Bhakta, who played with Shyam in the early years and became his devotee later,depicting both the ‘Shringar’ and ‘Bhakti’ Rasas. He elaborated on mastering the laya- bhed(artistry of rhythm) that is equally important for a Thumri performer, who needs an absolute control on Sur (Notes),Taal (Beats),Chand(

poetry), Alankar (embellishments) and Bhava(expressions), that enables him to play and do Layakari aesthetically.

Talking about the Punjab Ang Pt. Ajoy Chakroborty said that thumri was imbibed from Lucknow into the Patiala Gayaki which was never its own, and thus later emerged as the Punjab Ang. He emphasized on perfect poises (spaces), voice modulation and sensitivity needed to reproduce the intricacies of thumri with mastery. Talking on ‘Swar lagawa’ in ‘Khyal that is quite straight so as to maintain the purity of the raga, while in ‘Thumri’ aesthetics, sweetness, delicacy and the emotive nature of the Bandish (composition) are given more emphasis that must be mastered under sahi ‘Taleem’.

Shri.Shekhar Sen connoted Thumri as a ‘Swatantrata ka Swar’ emphasizing on the freedom of expression that thumri bestows, in-spite of being a very complicated gayaki, constituting in itself many elements of Khyal, Prabandh, Poetry, Drama(expressions). It depends how beautifully one can paint the picture by using all the colours of the musical pallet. His composition “lalcheele hain, tir cheele hain” described the different moods of one's beloved, they being naughty, daunting, sensational and so on…pointing that one cannot emote (Bhav) unless, one understands the meaning of a thumri.

Malini Awasthi talked on the ‘Poorab Ang’ Thumri of Benaras, that focuses on the ‘Bols’ (words) and is called ‘BolBanav Ki Thumri’,sung in Braj and Awadhi languages and not Bhojpuri. Benaras produced many legends of Thumri like Girija Devi, Badimoti Bai, Rasoolan Bai, Nirmala Devi, Siddheshwari Devi, all performed all the genres of Khyal, Thumri, Dadra, Chaumasa, Banna and Chaiti.

Difference between ‘Thumri’ and ‘Dadra’ is that Dadra is more ‘Chanchal’(playful), while thumri is comparatively deeper depicting Viraha –Shringar rasas predominantly.

Dadra is sung in Dadra and sometimes in Keherwa taals, one needs to maintain the ‘Mizaz’(mood) that depends on the words, since both the taals have different Chaal (rhythmic styles) and are used as per the requirement of the ‘Bols’. In thumri the progression starts from a slow tempo in the first half ‘Sthayi’ ,that is followed by ‘Laggi’ (a fast rhythmic pattern) along with ‘Layakari’, that is stopped and then ‘Antara’ is started, again going back in the original tempo, before it is concluded. In Poorab ang, a ‘Sher’ or a ‘Doha’ is read in between the Sthayi and Antara and then is followed

by Laggi.

She also elaborated on the allied forms like Dadra, Chaiti, Hori, Jhula, Sawan and Barahmasa, Chaumasa, Hori, Jhula, as taught to her by legendary Appaji (Girija Devi Ji), mostly represent the festive and seasonal occasions, wherein Sohar, Shahana, Banna are called as the ‘Sanskar Geet’ sung during weddings. Chaiti has been a part of the folklore and was eventually imbibed in classical music.

‘Chadhal Charit, Chit Lage Na Baba Ke Bhavanwa’ is a famous Chaiti, that describes the Viraha Bhav of a maiden waiting for her beloved, as she feels restless without her beloved, at her father’s abode during the rains. While the traditional ‘Hori’ compositions are sung in Braj bhasha such as ‘Rang daroon gi main’ and ’Urat abeer gulal lali chai hai, depicting playfulness of Radha and Krishna.

The Seminar concluded with an exotic documentary based on the gayaki of the legendary Thumri & Ghazal Queen ‘Begum Akhtar Sahiba’, what could have been a conclusion to celebrate ‘Thumri’ and its Adaigi, that is capable of winning the hearts through its Manmohini Roopa.

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A CLEAR VIEW I

Recording & broadcast

POWER | PUNCH | DEFINITION

INTO YOUR MIX

Studio Reference Monitors

Call 9884304425 Email: vivin@promusicals.com

AMOGH RAO

John Mc

Mumbai’s music scene has grown exponentially since The Quarter’s establishment. We had the absolute pleasure of having an exclusive conversation with the one and only John Mclaughlin, where he talks about his time with Miles Davis, his understandings of musical styles and his band with Ranjit Barot, who also happens to be The Quarter’s co-founder and artistic director.

How has Indian music influenced your playing and style?

It would be difficult to estimate how much the music of India has influenced my playing and style.

I’ve been listening to Indian music for over 50 years; so naturally, it has had a profound impact on me. You should not forget that what drew me to Indian culture initially were the philosophy, and subsequently the discovery of the common ground shared by the music of India and jazz. Both of these musical cultures attempt through improvisation, the expression of what is essentially unspeakable.

What was it like playing with Miles Davis and how did that come together?

Miles Davis became my first hero at the age of 16. His music and his personality were irresistible. Not only was he a sublime artist, he introduced to the world, some of the greatest jazz musicians of all time. During the first week of January 1969 I arrived in New York at the invitation of drummer Tony Williams, who was at that time playing with Miles Davis, to complete his trio “Lifetime “. Since Tony was playing his final week with Miles, I met Miles the same day I arrived. What was the greatest stroke of luck ever, Miles invited me to join his recording of the album “In a Silent Way”. Somehow I passed this baptism of fire and continued to play and record with him until shortly before his death in 1991.

What is your take on the music scene in India?

Not quite sure what you mean by ‘take’, but there are many wonderful musicians in India. The Music scene incorporates the classical world, many musicians from which are involved in the Bollywood film world, the underground Asian pop world, and the world of Qawwali. All put together, you have a very rich musical world in India.

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What has your relationship been like with the rest of Mahavishnu Orchestra's members since it ended? Are there any upcoming projects with any of them?

The very first Mahavishnu Orchestra ended somewhat contentiously for the simple reason that we had too much success too quickly. Since then there is only one musician from that band with whom I have no contact. This is unfortunate because I have excellent relationships with every musician I have ever played with. In 1969, my very first manager gave me an important point to remember, he said : “John, failure is easy to deal with, success much more difficult.” He was right. I’m not planning any projects with the original members, but I should remind you that I recently finished a 6 week tour of the US during which we played almost exclusively, the music from Mahavishnu. It was an amazing success.

How did the 4th dimension come together?

In 2002 I was invited by the Cultural Center in La Réunion to bring a new formation for several concerts there. I’d had an idea for a quartet that shortly after became the 4th Dimension.

The group consisted of drummer Mark Mondesir, his brother Michael on bass, and Gary Husband playing keyboards and drums. For the past 7 or 8 years, Ranjit Barot is playing drums and singing, Etienne M’Bappé replaced Michael Mondesir on bass over 10 years ago, and Gary Husband is still with me.

How did you and Ranjit Barot end up playing together?

Every February 3rd, Ustad Zakir Hussain creates a musical event in honor of his father Ustad Alla Rakha. I’ve been invited several times, and at one time Ranjit was there playing drums. I had the opportunity during the event to play with Ranjit, and discovered what a marvelous musician he is. It really was a question of time before he became an integral part of the 4th Dimension.

Laughlin Could you name 4 Records across your career that you think have changed your life?

A very early recording of Beethoven’s 9th Symphony A 1952 recording of Muddy Waters with Little Walter A 1950’s recording of Django Reinhardt A 1958 recording of Miles Davis

Jazz is not the most popular genre among millennials. Do you think there's any way that could be changed?

Millennial are too busy texting each other to take the time to sit down and LISTEN! That said, Jazz has always been music for a marginal public. The advent of ‘Smooth Jazz’, ‘Funky Jazz’ etc, have not done anything to help the situation. Jazz needs the life and passions of the players in order to have any kind of authenticity, and many of these aforesaid recordings are destined to be background music in the Cafes. And of course, there’re guys like Ranjit and Ashutosh who are striving to revive jazz in their city. Their venue, The Quarter is a huge step to get younger audiences to come and appreciate the beauty of jazz music. We need more individuals who have the same energy and passion these boys have.

What do you think are the fundamental differences between Indian classical and western forms of music?

The fundamental differences depend upon which western forms you are thinking of.

There is an enormous gulf between the forms of Indian Classical and Western Classical. In Western Classical music, rhythm is limited to variations of 3/4 and 4/4, but the harmonic aspect is highly developed. In Indian Classical music the contrary is there: Rhythm is highly developed, and harmony not at all. On the other hand, there is much common ground shared by western jazz simply because improvisation is an integral aspect of both forms of music.

What would your advice be to artists trying to grow in this industry?

Be yourself and be strong!

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SRIRAM RAVISHANKAR

Wizardry!

Taala wizards BC Manjunath and Somashekhar Jois explain the ancient art form of Konnakol in Carnatic music and its relevance in today’s “beat boxing” times

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There are numerous rhythmic languages in the world that are used to recite rhythms before being played on the drums including the most modern beat boxing that replicates the sounds of drums and various ambiences as a way of recitation. Although this system of vocalizing rhythms isn’t a concept that is exclusive to the Indian rhythmic system, what sets apart the system, more particularly that of the konnakol is how thorough and thought out the entire system is. Unlike other systems that create syllables replicated from the different sounds an instrument can produce, konnakol is an entire language on its own without the dependency of any instrument – more commonly known as Solkattu (Sol – syllable; Kattu – bunch/group).

My two subjects, BC Manjunath and Somashekhar Jois are probably two of the most famous faces of konnakol who are not only deep rooted in their tradition but are also futuristically propagating the art form in contemporary ways so as to maintain its relevancy.

Virtuosos in their own right, both are extremely acclaimed South Indian percussionists and konnakol artists who have performed and given lecture demonstrations on advanced concepts at various music conservatories.

Their extremely famous Facebook, YouTube, and Instagram videos of short compositions have become a favorite amongst musicians across the world and have eventually resulted in global virtual collaborations that truly uphold the spirit of musicianship in a digital age.

Diving straight into it, Jois opened saying, “The origin of Konnakkol dates back to Vedic ages, which may be around 5000-7000 years ago, according to modern historians. ‘Konnakkol’ as an art form has references even in the most ancient of Indian literature such as Sangeetha - Natya Shastra, Ayurveda Shastra, Yoga Shastra, Ramayana, Mahabharatha etc. At different time periods, various names have been used for Konnakkol.

However, the word ‘Konnakkol’ doesn’t seem to appear anywhere. Vernacular words such as Koni, Kol, Konnai, Konipittu, Konnaikkiradu, Konuppittal, Chonnacchol etc. do not have any authenticity and can at best be attributed to fertile imagination of few music enthusiasts.

So, the word Konnakkol is in fact a colloquial term!”

Just like any Indian lineage, konnakols were passed on from one to another orally or better known as ‘karnaparampara’.

This practice is exactly what keeps the entire art form fresh and relevant irrespective of the generation it is prevailing in because each student of the art form, propagates it to the next student with his/her own interpretation that makes every documentation unique! In daily practice, Konnakol is used as a vocal reference for all Carnatic percussive instruments. More appropriately, in relation to the principle instrument, Mridanga. Many commoners assume the syllables as a derivative of the sounds that are produced by the Mridanga, but fail to understand that konnakol is an entire, fully developed language by itself. Training in konnakol, “Just like learning any other language, Konnakkol aspirants need to start their practice right from learning Bala Paata (Basic lessons) such as Sol (syllables) & their precise articulation, to Solkattu (words), to Jathi (percussive formations), to Nade, Pharans, Muktaya, Abhipraya, Mohara, Korvai & so on. All these can be learnt only under a proper Guru, in an authentic pedagogical methodology and not through any other aids,”

emphasized Manjunath. As exhilarating and tempting as it is to attempt the fast trailblazer speed compositions, consistency around the fundamentals and regular practice are the only ways any aspirant can recite such high speeds.

As one digs deeper into observing the intricacies of the art form and how ancient mathematics has been preserved within such an aesthetic context, “Konnakkol is perhaps the most complex, intricate & aesthetically designed yet simple to learn vocal rhythmic system in the world. At various time periods there have been prophetic people like Bharatha Muni, Arunagirinathar, Pallava King Mahendra Varman I & great legends such as Tanjavur Vaidyanatha Iyer, Pudukottai Dakshinamurthy Pillai, Mannargudi Pakkriya Pillai, Yazhpanam Dakshinamurthy, Palakkad Mani Iyer, Pazhani Subramania Pillai, Ramanathapuram Murugabhoopathy etc. who have contributed immensely to the field of Carnatic Percussion with their mathematical genius. With Mathematics being an integral part of Carnatic Music, the permutation-combination possibilities are endless,” Jois elaborated. “To understand a music system through numbers simply shows how evolved the system is beyond one’s expectations and individuality. Such depth of knowledge is timeless and infinite! The more you are willing to learn and experiment, the deeper you internalize the science of this system,” added Manjunath.

Speaking on the relevance of Konnakol in today’s times, “More than musical relevance, Konnakkol has a positive impact on us in physical, psychological and spiritual planes.

It helps us improve speech – clarity – modulation - tonal control, gain control of thoughts & emotions, improves logical reasoning, sharpens our intellect, provides peace of mind, and enlivens the soul. Today, Konnakkol is effectively used in the treatment of various medical conditions related to speech & cognition, not only in Ayurveda, but also in modern medicine,” both of them replied intervening each other.

“Konnakol as an art form today plays the role of the pied piper to international musicians across the world. With its deep roots in India, Konnakol has journeyed east & west, deeply influencing musicians, music lovers, students & children too. The inherent experimental nature of Konnakol makes it a captivating ingredient in fusion music of diverse cultures. The rise of this genre in the past century has created an extended fan following for this art form. Today musicians of varied backgrounds across the world, come forward to learn Konnakol primarily to gain mastery over their own music and additionally incorporate a distinct flavor to their performances,” Jois said. “It is an essential tool for musicians these days! In fact, Indian music system itself is becoming one of the best tools to possess for any musician today so as to understand their own cultural music better! The world is catching up,” exclaimed Manjunath. Jois further concluded by saying, “In the near future, Konnakol is bound to become a household name in every corner of the world. Any percussion technique, from any part of the world, can undeniably be comprehended and reproduced perfectly with the help of Konnakol. Thereby it is logical to expect that Konnakol will be the basic percussion course, in order to facilitate learning rhythmic structures of any musical culture. The present exponential growth of awareness regarding the possibilities & benefits gained, is by itself proof to the promising future of Konnakol.”

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SOUVIK CHAKRABORT Y

Anish Sood ARTIST OF THE MONTH

How did the idea come about?

I moved to LA for a month last year to work with some great songwriters and really had no idea what I intended to do with the music. Once the sessions were wrapped I came back with about 20 finished demos. I sat down, put them together and realised that an album would be the best format to showcase all of this music since the styles and vibe varied so much.

Does the whole album fit into a particular musical genre, or does it borrow from multiple forms? Can you spot key influences? What is most original about the music?

The album draws heavily from my teenage years when I was listening to a lot of jazz, rock and pop. When I decided it was finally time to write an album I wanted a fresh unique sound and exceptional songwriting. Hence I temporarily moved base to Los Angeles with absolutely no expectations or pre-conceived ideas. I then got to work with some of the best talent and I’m really happy with the end result. While the primary genre is house, the album also embraces pop, funk, disco and techno elements. I’d have to say the most stand out aspect is the use of a lot of live instruments on a predominantly electronic album.

What's your take on the Independent scene in India? Is it evolving?

Absolutely. I think independent songwriters and musicians are now in a really strong place and we definitely don’t need major labels to put out music anymore. Future Perfect is completed self-funded and released via my own label, Class Action.

Do you detect any clear purpose in the way the album is structured?

Is there a sense of progression or grouping?

Yeah absolutely. The album starts with Starry Night which is a fairly down tempo track for me at 110bpm. The next set of tracks gradually up the bpm as well as energy, venturing into the deep/progressive house space until we arrive at Castles which is number 6. There’s another fairly high energy big room track after Castles and the last couple of tracks are deeper again, bordering towards techno.

What DAW do you use for your production? Which are your favourite plug-ins?

I write, produce and mix in Logic Pro 9. I use a lot of Kontakt for sampled instruments, Sylenth and Repro-1 for synth and bass sounds and Native Instruments’ Maschine for drums. I also extensively use UAD plugins for mixing along with some stuff from Waves.

My go to compressor is the Cytomic Glue and for limiting I use the FabFilter Pro-L.

What are the 3 things you want to tell people about your album?

I think my primary objective with this album is to try and sound fresh. Over the past few years electronic music has become extremely formulaic and I want to break all the rules and preconceptions that a listener might have with electronic music. I also want this to crossover to new audiences who don’t necessarily listen to dance music and that’s what we have tried to achieve with the collaborations on the album.

Lastly, I really want people to connect with the music. There are a few feel good tracks and there’s a bunch of melancholic stuff on there too so I’m really excited to see how people will relate to it.

Is there a consistent lyrical style in your album?

Since almost every track on the album is written by a different songwriter, there isn’t a consistent lyrical style. But I’ve tried my best to maintain a musical flow throughout so you can listen to it from start to finish.

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Photograph by Priysha Rajvanshi

K POPPING india MAHAK RAJGARHIA

th ro u g h

What are the tweens and the teens listening to these days, we wonder. The answer is, music that is fresh, new and adds a little zing to give aka K-Pop.

participants and the turnout was over 2,000 people, all of which were crazy K-pop fans. This contest is no less than Mecca for K-Pop fans in India.

K-Pop expands to Korean pop or popular music from South Korean which has picked up in the recent years. A part of Hallyu or the Korean wave, K-Pop began finding its feet in the world in the 21st century after South Korea developed diplomatic relations with China.

This doesn’t end there. There are BTS’s ARMY & EXO-L’s, the official Indian fandom groups for the bands BTS & EXO. These boy bands are reigning the K-Pop music scene and how!

There are WhatsApp groups based on the region who you live in, Facebook pages, fundraising events and a countless other online methods that keep the buzz and fandom going for the listeners. Even VH-1 started a show called K-Pop’d to promote and get the fresh music some new ears.

This genre of music derives heavily from the American R&B culture given the kind of music, videos and beats it uses.

Bands like BTS or the Bangtan boys, EXO, Wonder Girls, Super Junior are the popular bands that have received worldwide fame and recognition. And not just fame, there are many YouTube channels where all that the bloggers do is make covers. Such is the K-Pop rage in the world.

But if you were to find the first K-Pop hit, it was none other than Psy’s Gangnam Style which was released in 2012 and stayed in the Top-10 of US billboards for straight 7 weeks.

And India is not far behind. It is as affected by the cute and charming singers and their music. Here, north-east was the first part to be engulfed by K-Pop followed by the metro cities of Delhi, Bangalore, Chennai & Mumbai because of the north eastern population that resides there.

And to prove the madness – India has its own K-Pop singing reality contest which was first held in 2012 in Delhi. But 6 years later in 2017, the competition is still on – and this time it was called K-Pop India Contest 2017 where there were 898

The Indian ‘K-Pop crazies’ have even managed to create a worldwide Twitter trend #IndialovesBTS when the band mentioned India in an interview with a reputed magazine last year.

And all this is love, passion and the ability to relate is a result of staying connected via the internet since all the fandom is online. From their videos to blogs to all the buzz and chatter, all of it can be found on the internet which is where the K-Pop fans thrive.

Their immaculately choreographed dance routines, the bling and the vibrant stage presence makes K-Pop what it is today, an international sensation.

And as most of the fans say, once you fall down the K-Pop rabbit hole, there is no looking back but finding your way to your favorites and sticking to them!

So let’s K-Pop maybe?

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10 TIPS

FOR

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

1.Basic Needs for Mixing

4. Equalisation

Mixing is an art. If you’re new to mixing, you need to concentrate your song before it gets to the mastering stage. While you might be tempted with all the plugins, you need to first ensure that your room is treated with the necessary acoustic panels.

This is very crucial for judging your mix accurately in your room.

Try to use the High Pass Filter (HPF) and cut the low rumble frequencies on most of your tracks as this can brighten your mix. A high pass filter can do wonders for your mix. While EQing always listen to the entire drum kit, avoid making decisions while solo-ing out a particularl track.

2. Mixing Position

Use the High Pass Filter (HPF) around 100Hz to remove the room rumble from your vocals. Boost the high frequencies in your vocals just a couple of dBs in order to make them pop out in your mix. Now you can apply compression, depending on your context of your song.

Generally, I'd set the ratio to 2:1 or 3:1 and with a gain reduction of -3db to -6db so that I don't lose too much of the dynamics in my vocals. You can also do a parallel compression if you want your vocals to sound even tighter.

You have to sit in an equilateral triangle position with respect to your two monitors which should be placed at head level. This will give you an optimal level of listening to the output from your speakers. A lot of beginners keep their speakers at a lower position and then complain about their speakers.

This way the sound does not travel directly to the ears and the output isn't accurate.

3. Speaker Position Do not place the speaker too close to the walls as you might not be hearing the bass frequencies accurately and you will end up making wrong mix decisions.

Always position the speakers 1-2 feet away from the walls. Also, place a pair of monitor isolator pads under the speakers to avoid the desk-rattling effect.

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5. Time for Vocal Mix

6. Electric Guitars Apply a High Pass Filter (HPF) on the EQ around 120Hz to remove any unwanted bottom. This will create some space in your mix and sit well in your audio spectrum. So carve around 2db to 4db of the honky sound around 250Hz to 400Hz using the

notch filter. This will really help your guutars to stand out in your mix.

7. Bass Guitar Tweaking!

A lot of starters want to have more bass in their mix and tend to boost around 50Hz or 60Hz and it drives the speakers too much and may cause your speakers to distort. It also spoils the clarity of your kick drum. Here is a simple trick to overcome that. Just cut a small notch around 70Hz on the bass track and boost 75Hz on your kick drum track, and it works like magic.

8. Don’t overdo things in your mix Take frequent breaks so your ears don't tire out. Don't take the opinions of ten different people while mixing. It’s better that you mix alone and make the final decisions. Of course, your client has the right to ask you to make few changes but it should not drive you to make the entire mix based off their opinion.

Remember, you are the mix engineer and you know which frequencies cause the problems in the mix. So try to explain to your clients politely and make them understand your decisions.

9. Synths and Pads A lot of music programmers do not notice the volume level of their synths and pads which tends to sound loud.

Here is a quick tip, use the Trim plugin in your DAW or just reduce your gain structure in your clips to allow your tracks to breathe. Leaving -10db of headroom for mixing will give you great results.

10. Final Mixing Limit your use of plugins. Know your plugins really well and how they sound in your mix. Learn to use a selected few. Find the right tone that works for mix while using plugins. There are no shortcuts while mixing, it comes with practice. My go-to limiter is the waves L2 which has been always the best sounding plugin in my opinion.

There are plenty of brands like the Sonnox Oxford limiter and iZoptop which sound really good. But beware of the levels so as to not distort your mix. Set the ceiling value of -0.3db and bring down the threshold slowly until you hit about -1db to -2db of attenuation in your limiter.

KAUSTHUB RAVI & SIVANESH NATARAJAN

A MUCH NEEDED CHANGE ART PRO VLA 2 Hardware Compressor Plugins have been getting better in recent times and make you really question the need for hardware units. In recent times, there have also been some affordable hardware units in an attempt to make it more accessible to the masses. The ART Pro VLA II compressor is a very good example. It is a Vactrol based optical compressor.

output level, attack, and release. The light up switches for VU meter sources and the LED gain reduction meter might seem gimmicky and take away from a vintage hardware unit image but they do serve their purpose pretty well. The compressor can be unlinked to act as two mono compressors and in stereo mode, the same gain reduction is applied to both channels.

Why would you want one of these when you have dozens of up-to-date emulations in the box? For starters, it's an excellent way for beginner producers and mix engineers to get into the analog world.

In initial tests, the compressor performed extremely well on bass - creating a nice tight sound that sat well on the track. It also performed quite well on vocals and had the transparent smooth compression characteristics of hardware units, the soft knee really adding to this character.

It sounds quite natural and transparent and shows more character when pushed quite hard. The warmth comes from the 12AT7 vacuum tube used in the clean transformer-less signal path.

The construction of the unit looks pretty solid. It has a 2U chassis and two handsome VU meters up front, along with standard looking knobs for threshold, ratio, input level,

In conclusion, this is an excellent place to start with as far as hardware compression goes. It could’ve used a mix knob for some parallel compression options. The transparency, unless pushed, may be seen as a bit of a downside for someone looking for a very character-rich hardware compressor. But for most applications, it works quite well.

UNIVERSAL AUDIO ARROW Thunderbolt 3 Powered Audio Interface The 500-600$ range space is fast filling with a lot of interesting entries in the audio interface department. We saw the recent release of the Arturia Audiofuse which, at 600$, offered quite an impressive array of features with some extremely clean pre amps, a ton of inputs and can neatly fit in the front pocket of your laptop bag.

UAD has just released their counterpart and the fact that it’s bus powered is noteworthy as up until now UA’s most portable interface, the Apollo Twin, required an external power supply. The UAD Arrow is a thunderbolt interface with two Unison preamps fed by two XLR inputs at the back with high class 24/192 converters. While some may prefer front XLR inputs for accessability, the rear ports give it an overall cleaner look. There is a single 1/4” Hi-Z guitar input and a 1/4” headphone jack in the front. We see the familiar multifunction rotary wheel to adjust the preamp and monitor levels. Again, like the case of the XLR inputs, it puts form over convenience. There are buttons for high pass filters,

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phantom power, phase flip, pad and control inputs. The single Thunderbolt cable for power and connectivity really completes the simple and minimal experience.

Although the interface offers a decent bit at the price range, the one that will seal the deal for most people is the integration of the UAD software/hardware combo. There are 14 UAD-2 Plugins included with the unit and is powered by a UAD-2 Solo core DSP. This allows for tracking and mixing through the preamp and guitar amp emulations, which as we’ve seen before, are quite good.

On paper, the unit sounds like a fantastic buy for the producer looking for a sleek, elegant and compact interface. The solo core DSP and the consequential limits of the unit to run multiple plugin instances along with the lack of more inputs may end up being the deal breaker for some. But for most intermediate users, it may be exactly what they’ve been looking for.

The History of Sampling

MALIK ARSHAQ

Have you ever listened to a track on the radio and had this unshakable feeling that you've heard the exact melody or drums or a groove on a track by another artist? Well, that's probably because you have.

extensive sample editing and manipulation. While a lot of artists use this technique to incorporate an entire musical section into their own production, there a lot of artists that employ it in a very tasteful and creative manner.

Sampling is the act of taking a portion of a sound recording or a song and integrating it into producing a different piece of music. This may include a drum loop, a bassline, a vocal section or even non-musical elements such as a dialogue from a movie or an excerpt from an interview.

Nowadays, it's almost difficult to find music that have no samples in them. With the trend of DAWs overtaking the production aspect of things, samples have now become extremely accessible and easy to acquire while the possibilities and flexibility of making music is endless.

For example, on the track “The Red Carpet” by rapper, Evidence, the vocal sample from “God Save America” by Congress Alley was used. The legendary Hip Hop producer, The Alchemist had chopped up the vocals, pitched it up and layered it beautifully with some bangin’ drums and bass. The way he had approached this process was completely unique and very much his own, giving the sample itself new life.

This artform first entered into popular music around the 1970s when DJs began manipulating vinyl records on two turntables and a mixer. In the Bronx, New York, block parties saw DJs looping certain sections of records which the crowd responded to. This gave to the first genre of music that was based on the art of sampling, it was Hip-Hop. By the time Hip-Hop had become a popular genre of recorded music, digital samplers and drum machines had become an indispensable element. Features such as Analog-Digital conversion, pulse-code modulation and “time stretching” allowed producers to approach the process in a complete unique manner. Products such as E-mu SP-12 and the legendary Akai MPC series became iconic and synonymous with the genre.

By the 1980’s, the use of sampling had spread to various genres such disco, electronic music, R&B and industrial music. In the current day scenario, most DAW’s allow for

There has always been a widespread controversy around the legal and musical ethics of the art. Since it became necessary to pay to obtain legal clearance for samples, there have been a lot of cases where the artist has been sued over using a sample that hasn't been cleared. A lot of musicians also put forth their opinions that sampling was nothing but people stealing music in the name of art. It can be agreed upon that when sampling is employed with a lack of creativity or technicality it can result in an extremely lazy and unoriginal end product.

That being said, when incorporated in the right manner, not only is it a display of creativity and finesse in terms of production, it also brings a sense of cultural context to the music. Apart from that original artist is paid for the use of the sample, just like you would have to if you if you wanted them to feature on your music. Artists that had put their music out a couple of decades ago suddenly see a spike in followers when people, intrigued by the use of a sample, go back to check out the original for themselves. It is an artform that is truly rooted in mutual benefit and paying homage to the past.

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CREATING MUSIC ON THE GO The tech world is growing day by day and its impact on music has been so heavy that people can now almost stop carrying instruments for certain shows and depend just on their laptops. We have now come to a point where even iPads are used for shows and are used to emulate various instruments like violin, nadaswaram, big synths and even drums.

can achieve realistic guitar sounds that bend, stretch and manipulate the sound into endless possibilities. The bending and stretching has made this popular for indian musicians that play Carnatic music on it.

In this article we will be covering 5 Apps that can be used to play music via iPad.

• Echo, a unique looper and multi-tap echo

Animoog This is a fun synth emulation with a great design. It has a lot of engaging animations on-screen which make it fun to play. The best part is its XY pads which are of great use. The presets are pretty good and there are a lot of options. This app also has an option that allows us to record upto 4 tracks on it.

Model 15 This is an emulation of a Moog style modular synthesizer.

It has the following features : • Virtual Keyboard • Sliders • In-built arpeggiator.

It also has a lot of presets which have very good tones and can be very useful.

The stand out feature is that it can be used for educational purposes because it teaches the basic flow of a synth.

Geoshred This is one of the most popular apps for iPad music. Almost every other musician uses this and has become so popular in the indian musician circuit as well because of its highly expressive capabilities. You

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Some of its features are : • Multiple Modeled effects

• Finger vibrato, slide and fret scraping • Unique mono mode using intervals of multiple strings.

• Built in arpeggiator • Alternative tunings • Intelligent pitch rounding

Alchemy Synth This might sound very familiar to the producers who use Logic Pro or Garage Band. The iPad version of it is pretty good as well. It performs pretty well in the iPad as well and has pretty good animations on the interface. While it's obviously not as functional as the plugin version, it is pretty good for using it through an iPad.

ThumbJam ThumbJam is a sampler that has a good amount of instrument sounds and unique playing interfaces. Just like the other synths, ThumbJam has note bends, vibrato etc for expressive playing. ThumbJam uses shaking and tilt to add expressions such as vibrato, glide etc. There are also effects like reverb and delay to add depth. The best aspect of ThumbJam is that we can load different instruments and handle them simultaneously with its split screen feature. This is a fun app that can be used in live performances.

Author Vishal Ramakrishnan, Global Peace song of the year award winning and music producer.

He is also a music production trainer. For more details, visit www.vishaladitya.com

Live stage performances in our country have always been so ridiculously energetic that pretty much every artist that comes down to India has gone back satiated. However, not many witness the other side to this musical exchange. The intimate, stripped down, bare-bones exchange of not just knowledge but energies and vibes that make up a masterclass.

This particular one hosted by Furtados Mumbai, brought together Plini Roessler-Holgate, David Maxim Micic and Jake Lowe, arguably the most talented song-writers in the progressive music scene today, with twenty of what could only be called super-fans who happen to play instruments.

Putting those two spectacular hours into words would be beyond our talents, but we do have some key learnings that will benefit every budding musician out there.

Song-writing

This was pretty much the first and most obvious question to come up in this session considering the awe-inspiring nature of Plini’s talents in writing. His particular approach is what he calls a series of decisions. Every song starts with a spark of notes or a singular idea. What happens after depends on where you want to take your music without hampering its flow.

Stating Electric Sunrise as an example, Plini explained how his Dream Theater influences affected his decisions when it came to placing build ups, breakdowns, bridges and dynamics within this masterpiece. David explained how his writing was pretty much just expressions of moments and experiences in his life. For example, the track When She Crafts came together because of his girlfriend who was staying with him and had a craft project to work on. He begins working on his projects based on these ideas, and doesn’t stop until saturated. Repeating this process every day, he comes out with what he considers mostly uninspired but sometimes surprisingly outstanding work.

AMOGH RAO

TAKEAWAYS FROM A

MASTERCLASS WITH PLINI

Technique

All 3 guitarists explained their comfort levels with time signatures, how feeling time is not just about counting the beats but feeling the pulse, getting more comfortable with odd and unusual time, and using cues such as repeating melodies and highlighted ‘ones’ to stay with the pulse. David explained how he was fortunate to grow up in a country where odd time signatures like 25/16 were pretty common in traditional music. Plini emphasized on how important it is to use time as a tool for expression and not as a means to sound clever or unnecessarily complex. Jake explained his technique to improve his vocabulary, by picking a scale and exploring note combinations across different shapes and octaves. Getting comfortable is simply a matter of practice, but with the intention of clarity of expression over speed or complexity.

Expression

A major topic of learning was the idea of soloing and expression. Jake mentioned reading a book called The Inner Game of Music and explained how our mind is usually divided into two entities. The conscious aspect always reminds us of our inability and shortcomings, while the true expression comes from our inner child, the subconscious. While writing or playing solos, it’s essential to try to neglect the conscious as much as possible and be human and imperfect.

That’s what makes for the best form of self-expression.

Many more such gems popped up during the conversation such as gear, endorsements and life stories. We also witnessed 3 stripped-down versions of Plini’s and David’s compositions that had everyone welling up. Disregarding our bias towards such brilliant music, this masterclass was objectively nothing short of magical, and hopefully the next time an artist decides to share his knowledge, we’ll all be there to listen.

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Picture credits: Prabal Deep

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MALIK ARSHAQ

Picture credits: Getty Images

NEW INSTRUMENTS AND GEAR FROM

NAMM SHOW 2018

Every year the world’s biggest and most innovative developers and manufacturers flock to Anaheim, California to display an amazing collection of musical instruments, accessories and proaudio equipment at the NAMM show. This annual spectacle is a major platform for brands and companies to get their products out to the forefront of the audio world.

The 2018 edition of the NAMM show was a four-day spectacle that was held at the Anaheim Convention Center. It included

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numerous exhibits, educative demonstrations and around 140 performances that included A-list artists such as U2 and Infected Mushroom. From the overwhelming list of products launched and exhibited at NAMM 2018, we managed to curate a selection that really stood out.

Music Instruments and Accessories • Schecter C-1 SLS Elite - With its flamed maple-capped swamp ash body combined with a beautiful humbucker tone,

thanks to its Fishman Fluence Modern active pickups, it is an amazing blend of brightness and warmth.

• Fender American Original '70s Jazz Bass - Reminiscent of the 70s, this J Bass had variations in body style, hardware, and appointments that invited new playing techniques like slapping. This live performance and recording favorite is known for its midrange growl and its Pure Vintage ’75 Jazz Bass single-coil pickups.

• The Korg Prologue - This modern analog polysynth features 61 full-size keys and 16 voices, along with Split, Layer, and Crossfade modes. Each voice comes with two analog oscillators and a digital oscillator offering FM and wavetable synthesis.

• Moog DFAM Semi-modular Eurorack Analog Percussion Synthesizer - You now have the luxury of generating analog drums with Moog sensibilities. This synth allows you to generate fat analog rhythms, combined with its modular patchbay, the possibilities are endless. Dual oscillators, the dynamic eight-step sequencer and LP/HP filters allow you to play with a plethora of sounds for your percussive explorations.

• Fender American Original '60s Precision Bass - Continuing the legendary tradition of the Fender P Bass, with a wideranged tone that set the standard for the modern electric bass.

With the Pure Vintage '63 Precision Bass split-coil pickup and a thick C-style maple neck, this bass gives us a combination of a fat low end, a punchy midrange and a toothy treble.

• Zildjian K Sweet Crash 20" - These guarded B20 bronze cymbals are extra thin, processed by traditional hammering techniques, giving this crash some amazing dynamics. Tapping on the edge reveals a dry, silky wash and striking the bell delivers a sharp, resonant blow.

• Roland TM-6 Pro drum module - The target audience for this product are drummers that incorporate samples into their acoustic drum setups. This module works at an amazing speed when paired with acoustic microphones. 500 onboard one-shots from Roland's V-Drums vault as well as custom samples and backing tracks via SD card are accessible. Adjusting parameters like transients and pitch have been made easy with help of the LED indicators giving you visual feedback. The TM-6 Pro can also be used as a MIDI converter to trigger virtual instruments in your DAW. • EVH Wolfgang Special - Black and White Stripe with Maple Fingerboard - This Eddie Van Halen product comes with EVH Wolfgang humbuckers that result in a fat and girthy sound.

Add that to the quartersawn maple neck, the EVH Floyd Rose Bridge and the black and white striped finish and you have an instrument that is a dream to play as a well an absolute eyecandy.

• DW Collector's Exotic Tasmanian Snare Drum - Made from pure Tasmanian Blackwood with the exotic black sassafras finish ply, this snare comes with a velvety low end and thunderous punch. These snares are limited to just 200 pieces and sound exactly like they look, amazing.

Pro-Audio Equipment • Focusrite Clarett 2Pre USB 10x4 Audio Interface - This interface gives you two mic/instrument/line combo preamps with ultra-low latency. With a 192kHz/24-bit digital conversion, low noise floor and distortion, this is an ideal 10-in, 4-out interface. The "Air" effect makes this piece of gear a completely unique interface.

• Neumann U67 Collector's Edition Large-diaphragm Condenser Microphone - This reissue of Neumann’s 1960 flagship large-diaphragm condenser is an amazing piece of work. Based off the EF86 pentode tube with a transformerbalanced tube circuit, this versatile microphone is a legend resurrected and delivers all the desired sonic properties. Its high SPL handling capacity and flat frequency response allow it to be used on almost any source.

• Retro Instruments Retro Revolver Tube Compressor Transformer-balanced I/O and a differential all-tube signal path give this vari-mu design compressor that desired smooth texture. Based off the British Altec 436, features such as variable input, output, attack and release options along with a highpass sidechain filter and an illuminated VU meter, make it a versatile compressor that sounds sweet on most instruments.

• Black Lion Audio Seventeen FET Compressor - Black Lion's Seventeen is a take on the classic '76 FET limiters, combined with today's context of technological development.

With features such as frequency-adjustable sidechain, separate highpass and lowpass filters, and a wet/dry mix knob along with an impressively low noise floor, the Seventeen is a force to be reckoned with.

• Yamaha EAD10 Drum Module with Mic and Trigger Pickup - The EAD10 lets you capture a drum kit as you hear it in a room, or access hundreds of presets with high-quality digital samples. It is also armed with USB and aux inputs that allow you to record/jam along with backing tracks. The stereo mix can be delivered through dual ¼” outputs. You can also store your jams or tracks on the internal hard disk or transfer it out to a computer.

• sE Electronics RNT Premium Multi-Pattern Tube Condenser Microphone - This large-diaphragm tube condenser microphone is the lovechild of sE electronics and electronics designer, Rupert Neve. With high-bandwidth frequency response and an enormous headroom, this microphone is an absolute beauty. It is powered by an external Floor Box that lets you set the gain for the microphone, the hpf frequency, as well as switch between different combinations of the Omni, Cardioid and Figure-of-8 polar patterns.

• Focal Shape Twin Dual 5" Powered Studio Monitor with Passive Radiators - The Shape Twin is the solution to all your monitoring needs. The quality of sound that is produced through the dual flax-sandwich cones and the M-shaped inverted-dome driver is absolutely stellar. In addition to this, thanks to the dual-passive-radiator design, you can now place these monitors close to a wall and not worry about inaccuracies in listening due to low-end building up.

• PRESONUS NSB8.8 AVB NETWORKED STAGE BOX With 8 combo mic/line inputs and 8 locking XLR inputs and XMAX class A preamps, the NSB8.8 is a great tool for live shows. This unit is also designed for easy set-up and control with other Presonus products.

• Playtime Engineering Blipblox Synth For Kids - Designed to encourage creativity and audio exploration, the Blipblox is a synthesizer with professional features disguised as a children's toy. Based off the traditional synthesizer processes of designing your own waveforms with various algorithms but at the same time having the aesthetics and the simplicity of a children's toy, it is built to engage both adults and children alike.

For more information on the products and the events that took place at NAMM 2018, please to head to highonscore.com.

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BOSS announces the

GT-1000

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

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

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realism in direct recording and full-range monitoring applications.

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

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

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

POINT BLANK LAUNCHES ITS SECOND TERM IN MUMBAI, INCLUDING TWO BRAND NEW COURSES After the launch of Point Blank's first ever term in India last year, they have now announced their second batch of courses for 2018, including two new options, all in collaboration with The True School of Music (TSM) in Mumbai. Last year we launched the unique DJ/ Entrepreneur Course, taught at TSM’s state-of-the-art facility. This will be returning from April 2018 with an expanded programme which now includes a Weekend DJ course, split over two weekends to give the top selectors of tomorrow their first experience of being behind the booth. In addition, they are introducing the Mumbai edition of our flagship London DJ course: the three-month Complete DJ programme. You can enrol on any of these courses and get a free copy of Pioneer’s Rekordbox DJ performance software worth 10,000 Rupees!

In their first term, DJ students in India were given access to Point Blank’s expert instructors and curriculum, taught by PB London’s lead DJ instructor Ben Bristow. At the end of the two weeks, the students put on a live performance at SummerHouse Mumbai, showing off their new skills in the fully-kitted club. The DJ studio at TSM has since been upgraded with the latest Pioneer DJ gear, and you can check out the video below to get a flavour of what you can expect on the courses this year.

Students and Instructors from the inaugural DJ/Entrepreneur Course in Mumbai

In 2018, you can choose from three unique Point Blank-developed programmes to study at the right pace for you in the thriving centre of dance music in India: Mumbai. They are collaboratively taught by Point Blank and TSM instructors, and each is tailored to allow you to take your tuition to whatever level suits you best.

The DJ/Entrepreneur Course follows the same framework as it did last time: an intensive two-week course combining practical mixing skills alongside expert music business insights, designed to give you the tools needed to push yourself, and your new skills, to the forefront of the scene.

Of the two new courses, Weekend DJ is the more condensed. This course, split over two weekends, is designed to get you DJing on your favoured platform in whatever style as quickly as possible. You will learn using the best equipment in the business from Pioneer DJ, and make use of Point Blank’s 20+ years’ experience of training DJs.

The latest Pioneer DJ Equipment in one of our state-af-the-art classrooms

Last but not least is our flagship Complete DJ course. If you’re serious about learning as many skills as possible using the very best gear, this is the course for you. Over three months you will be given detailed tuition in beatmatching, mixing with CD, Vinyl and MP3, scratching and more, and finish with playing in a top Mumbai club!

Students work on their own allocated station each in class and have access to practise time outside of class using our range of incredible gear including Pioneer DJ’s CDJ2000 Nexus, DJM2000 Nexus, EFX 1000, RMX 1000, and DDJ-SX DJ Controller. Point Blank have an updated photo tour of the school so you can see the new array of gear.

Get all the information you need on their Mumbai School here. Still need more encouragement? Take a virtual photo tour. Talk to them by calling +91 22 6624 3200, or visit their contact page for the full list of ways to get in touch.

A student using our state of the art DJ studio at TSM in Mumbai

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BOSE PROFESSIONAL DEBUTS S1 PRO MULTI-POSITION PA SYSTEM New ultra-portable Bose® S1 Pro is a highperformance portable PA, floor monitor, practice amplifier and primary Bluetooth® music system Bose Professional is debuting the S1 Pro multi-position PA system – the ultimate all-in-one PA, floor monitor, practice amplifier and primary music system, and the latest addition to the acclaimed Bose® portable professional product line.

Designed for singer-songwriters, DJs, other musicians and general PA use, and drawing upon the award-winning technology developed for the lauded Bose L1® and F1 portable loudspeaker systems, the S1 Pro allows users to sound great anywhere. The S1 Pro truly delivers on the combination of performance, portability and versatility – ready to perform flawlessly whenever and wherever.

At only 15 lbs (6.8 kg) and with dimensions of 13" x 9.5" x 11.2" (330 x 241 x 286 mm) (easily fitting in an airplane’s overhead compartment), the ultra-portable and rugged S1 Pro is lightweight and designed for effortless transport using the convenient carry-handle.

The S1 Pro is engineered to be used in four different positions to accommodate a wide range of applications – tilt-back, elevated, mounted on a speaker stand, or placed on its side (as a floor monitor). Built-in sensors detect positional changes and trigger Auto EQ, which automatically recalibrates the system’s internal settings for each different placement/application, ensuring that users always sound their best with optimum sound in any position.

The S1 Pro comes with a three-channel mixer. Reverb and tone controls are featured on two channels with XLR / quarter-inch combo jacks, and a third channel is for either 3.5 mm (1/8”) linein or wireless Bluetooth® connectivity. Additionally, a line-out jack offers easy expansion to other systems.

Using the wireless channel, music can be played from a mobile device easily using Bluetooth streaming (great for pre-produced backing tracks or background music), while getting great

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sound quickly with integrated ToneMatch® processing for microphones and instruments. Additionally, users can enjoy hours of play on-the-go with the S1 Pro’s optional rechargeable lithium-ion battery; a special setting and intelligent circuitry offer a choice between trickle charge or dedicated full-power charge.

Bose S1 Pro key features: • High-output sound from a small, convenient system that is ready to perform whenever and wherever • Lightweight, ultra-portable enclosure is designed to transport effortlessly using the convenient carry-handle • Onboard three-channel mixer offers independent ToneMatch, reverb and EQ controls on two channels (XLR / quarter-inch combo inputs), with a dedicated channel for either wired (3.5 mm) or wireless Bluetooth music sources (offering streaming from mobile devices with one-touch pairing) • Multiple positions with Auto EQ ensure that users always sound their best, regardless of placement orientation • Speaker-stand compatibility, for standard 35-mm pole mounts • Optional rechargeable lithium-ion battery allows users to perform anywhere for hours • An optional rugged backpack-style carrying case with special storage compartment (for cables and accessories) further enhances portability The S1 Pro multi-position PA system is currently available with a U.S. MSRP of $599 (optional rechargeable lithium-ion battery is also available at $99 U.S. MSRP).

For more information, visit PRO.BOSE.COM.

Sennheiser announces the launch of

XS Wireless 1

Sennheiser expands its music industry portfolio with a brandnew radio microphone: XS Wireless 1. Excellent live sound, a stunning design, and incredible ease of use that makes the system a perfect choice for up-and-coming artists who want to upgrade to wireless.

The XS Wireless 1 series comprises a total of six wireless microphone sets for the budget-conscious user looking for ease of use, fast set-up and reliable transmission. Artists, bands and presenters are ready to perform within seconds, thanks to automatic frequency management with one-touch synchronization and intuitive, icon-based controls.

The series uses the renowned Sennheiser evolution capsules, and employs antenna switching diversity for reliable reception. The individual sets provide up to ten compatible, preset channels in eight frequency banks, and are available in a number of ranges across the UHF spectrum (A: 548-572 MHz, GB: 606-630 MHz, B: 614- 638 MHz, C: 766-790 MHz, D: 794-806 MHz, E: 821-832 MHz + 863-865 MHz, K: 925-937.5 MHz). The receiver provides balanced XLR and unbalanced jack outputs.

XS Wireless 1 sets come complete with receiver, transmitter, microphone (capsule) or instrument cable, power supply unit and batteries. Two XS Wireless 1 Vocal Sets give a choice of two different microphone capsules, the e 825 cardioid capsule or the superior capsule of the e 835, also with a cardioid pick-up pattern. The XS Wireless 1 Headmic Set with ME 3-II headworn microphone is an ideal solution for any live sound application where users need to have their hands free when singing or presenting.

Brass players will be delighted to discover a dedicated Brass Set in the XS Wireless 1 range, which provides an evolution e 908 T gooseneck microphone that clips onto the instrument.

Commenting on the launch, Mr. Vipin Pungalia, Director Professional Segment, India quotes “I am delighted to announce the launch of XS Wireless 1, which will be a complete delight for the brass players. Excellent live sound combined with simplicity that first time wireless users prefer, is the hallmark of XS Wireless 1. In developing the series, special attention has been paid to making user operation as straightforward as it can be, and offering great sound while ensuring affordability.�

About Sennheiser Electronics India Private Limited The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totalled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centres, are also part of the Sennheiser Group.

For further information about Sennheiser India please visit en-in.sennheiser.com Join us on Facebook.com/SennheiserIndia and follow us on @SennheiserIndia The

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TOP 7 REASONS WHY THE NEW CELVIANO AP-270 FROM CASIO IS THE ULTIMATE JOY TO PLAY ON.

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Casio is really famous for producing millions of great electronic products and have been designing and building digital pianos for well over 40 years. The new AP-270 is part of a traditional furniture cabinet line of digital pianos called Celviano. The new AP-270 is the lowest price digital piano in the Celviano line and has now been released in India. It will be available in satin black finish including a matching piano style padded bench. The new AP-270 has some very distinct upgrades over the previous model AP-260 in a number of ways and the AP-260 was the same price as the new AP-270.

1. Redesigned cabinet – Casio has given the piano cabinet a good overhaul with fewer seams, smoother installation, more piano-like in appearance. Even the speakers under the piano have been redesigned to be more "invisible" and less obvious to give the cabinet a more realistic look.

2. The piano sound chip – The sound engine has been noticeably improved along with an exclusive stereo piano sound sample from a handmade New York Steinway 9' grand piano. Up until now Casio and others have used sound samples from a variety of pianos including from Europe, but never from a real New York custom 9' concert grand. The new AP-270 is the only Casio piano made out of all models with this new Steinway piano sound and I can tell you first hand that it is the best piano sound for a traditional piano cabinet digital piano in this price range that I have ever heard. Beyond that, the New York Steinway sound has a couple of variations to it which also sound great. I was very impressed when I played and heard this new piano sound and did not expect the AP-270 to sound as good as it did. Also when you use a good pair of stereo headphones the stereo Steinway piano sound is even better because you get to hear all the tonal nuances coming directly into your ears.

3. The sustain pedal – The sustain pedal and its ability to hold the piano sound out over time and then to have that sound decay and fade out is crucial to any intermediate to advanced pianist and that's where many of these digital pianos fall short.

This time the new model has more than twice the realism in sustain/decay time of the piano tone along with the volume of the sustained piano sound to hold a more realistic level before fading out. I noticed this change from the previous model right away and for people that play piano at a higher level than a beginner, this new upgrade will simply make your music sound better with a more organic tone like a real piano. Along with half-damper pedaling for more natural piano sustain at different pedal depths and the improved damper resonance which gives the piano sound a more organic natural reverb (echo) response especially when playing on the high octave keys that don't normally have good sustain.

4. The Polyphony in this new piano – The polyphony has been increased from the previous 128-note polyphony to the new 192note polyphony. This is considered as piano’s processing power which enables the piano sound to be larger, fuller, and more resonant along with being able to play more complex music without notes dropping out or sustain time being too short.

5. 22 Built-in Tones - The AP-270 now has 22 separate instrument sounds which are an increase from the previous model and all of those sounds have been improved to be even more like the real thing including the electric pianos, harpsichords, organs, choirs, etc. and as mentioned earlier also the acoustic piano tones. It is interesting to note there are now a total of 7 distinct acoustic piano sounds using a New York Steinway grand piano sound and a European grand piano sound which is far more than the other brands in this price range. The main piano sounds are also easily accessible with buttons on the control panel. Most people want a variety of actual acoustic

piano sounds rather than the non-piano sounds so this new Casio AP-270 delivers on this point.

6. New Control Panel - The control panel of the new model has changed from having the buttons above the keys to having them on the left side of the keyboard. Casio did this to make the piano look more minimalist and give it a cleaner appearance with a bit less clutter. Casio has placed the names of the sounds and additional functions above the keyboard so they are easy to find and this is done through with pressing one button and then using a specific key to trigger the feature. It's fairly easy to operate and much easier than similar control panels in other brands because the features (sounds, effects, metronome, etc.), are labeled on the new AP-270.

7. Simulated Ebony & Ivory Keys - The tops of the keys are made of synthetic ebony & ivory material to replicate the older real acoustic pianos from many years ago when ivory and ebony were legal to be made into piano key tops. Casio has been using this material on their keys for a number of years now but in this model Casio has redesigned and upgraded the "feel" of those key tops by changing and smoothing out the texture so that it feels more like actual ivory and ebony and I noticed this change right away when playing the piano. When you touch those keys the surface now feels better and is more natural to play. This is a relatively small change but a good one and shows that Casio is paying attention to the details as well as the big things.

As you can see by the improvements I just mentioned that this new AP-270 really does have many significant advantages in all aspects of this piano, but at the same time Casio has kept some nicer previous features and functions of the AP-260. This would include layering of two sounds together for simultaneous play such as string symphony and grand piano, as well as a split sound function allowing for an instrument sound on the left hand and a different instrument sound on the right hand.

Other useful functions and features carried over to this model include transpose, an adjustable metronome for rhythm and timing training, and last but not least a 2-track MIDI recorder for left and right-hand piano practice and playback. This 2-part recording system is something other digital pianos in this price range do not have and being able to record and playback your left and right hand separately is really useful for students. Most students need to practice and hear each hand one at a time, and for more advanced players, they want to analyze their performance by listening to how each hand is doing one at a time and then played back together. You can also speed up or slow down the playback portion so that you can record the song at a slow speed and playback at normal speed or you can record at a normal speed but playback at a slower speed so you can better hear how you played and identify your mistakes better that way.

So here's the bottom line; The AP-270 is a lower priced digital piano with higher priced features in an attractive traditional furniture cabinet with matching piano bench, sliding key cover, and full privacy panel with features that concentrate and focuses on the best piano playing experience possible in its price range. It does not have a lot of unnecessary bells & whistles so is great for families or players who mainly just want to play the piano and have the necessary elements in a piano to do so. With the improvements that Casio has made to this Celviano model as compared to the previous model and the current competition out there, there really is no other digital piano that comes close in this price range in my opinion.

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YAMAHA FG-TA GUITAR Playing guitar in a great sounding room is the most inspiring, engaging playing experience imaginable –far more enjoyable than in a dry-sounding room like a lounge, office or den. Yamaha’s TransAcoustic Guitar recreates the incredible experience of playing in a rich, live room without needing any external amplification or effects –just the guitar itself. Whether you’re practicing, writing, recording or just playing for fun, the TransAcoustic Guitar will make you play better, longer and with more creativity. Once you’ve experienced it, you’ll never want to play another acoustic guitar again.

Yamaha FG-TA Guitar Features: - Reverb / Chorus for engaging, inspiring sound - TA guitar has natural sounding reverb/chorus built-into the guitar with no need for external effects, amplification or technical knowledge.

- Authentic acoustic sound - The body is a solid top guitar based on the Yamaha all new FGseries guitars. The new scalloped bracing pattern provides louder and stronger sound without compromising on the stability and durability of the top board.

- Minimizing acoustic sound loss - The number and size of the holes in the body have been kept to a minimum to reduce acoustic sound loss as much as possible.

- The control panel for the electronics has been made as small as possible to minimize the size of the opening required in the guitar side.

- Premium build quality ~Made in Yamaha~

Based on an FG acoustic, so sharing all of Yamaha’s FG build quality features and benefits including: - Thin finish for great sound and durability - Hand-fitted dovetail neck joint for tone and stability - Thinner body woods for improved resonance - Precisely selected, seasoned and dried tone woods The

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MUSIKMESSE AND PROLIGHT + SOUND 2018:

Musikmesse (11 to 14 April 2018) and Prolight + Sound (10 to 13 April 2018) bring together companies with retailers, professionals from the musical-instrument, event and media-technologies sectors, as well as musicians from all over the world.

From classical instruments, guitars, bases, wind instruments and percussion to electronic equipment, hardware and software, the Musikmesse product range covers the complete spectrum of musical equipment.

Moreover, the fair offers powerful attractions for all visitor target groups, e.g., an extensive seminar programme for retailers and distributors, numerous stages and event areas, instrument workshops and musical instruction for young people.

At Prolight + Sound, companies from all over the world present their latest products and innovations for lighting, sound and broadcasting technology, theatre and stage technology, AV media technology and systems integration in seven exhibition halls. Additionally, visitors can experience PA systems, LED screens and mobile stages and tent systems on the outdoor area under realistic conditions.

Besides a comprehensive product overview, the trade fair is accompanied by a high-grade seminar programme that offers valuable expert knowledge and reveals new areas of application and solutions.

In 2017, the two events attracted a total of around 100,000 visitors from 144 countries to Frankfurt Fair and Exhibition Centre. For the 2018 edition, recently launched, successful formats such as the Drum and Guitar Camp and Musikmesse Festival will be continued. Moreover, there will be several interesting new show features.

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A3E to launch its ‘Future of Audio + Music Technology’ educational conference at Musikmesse and Prolight + Sound Another highlight for the international audio community is to be integrated into Musikmesse and Prolight + Sound. For the first time, A3E (Advanced Audio + Application Exchange) is organising an exciting professional-development programme within the framework of the trade-fair duo. The ‘Future of Audio + Music Technology’ conference will be held in Room ‘Entente’ on Level 4c of Hall 4 on Friday, 13 April 2018 and illuminate subjects that are impacting decisively on the global music industry. The conference will be held in English and admission is free of charge for all Musikmesse and Prolight + Sound visitors.

The key topics to be covered by the conference include cloud DAWs for worldwide collaboration, Wearable technology for musicians, App integration for traditional instruments, artificial intelligence and many more.

Musikmesse Insider: Benefits programme for musicalinstrument retailers Specialists retailers of musical instruments, equipment and sheet music can register for the ‘Musikmesse Insider’ benefits programme. Registered participants profit from free admission on all days of the fair, on-site support, free cloakroom service and new services such as guided tours to selected exhibitors. On arrival, they will be welcomed at the Insider Counter in Hall 11.1 and be given their personal Insider bag with vouchers for snacks and drinks, information about the fair and other useful extras. Additionally, Insiders can take part in the Business Matchmaking programme, which brings them together with exhibitors of particular relevance to them. The Musikmesse Insider benefits programme is aimed at retailers from all around the world with max. 50 employees.

THE INDUSTRY MEETS IN FRANKFURT

Drum Camp and Guitar Camp: performances and workshops by top musicians The Drum and Guitar Camps, where visitors can see and hear well-known artists closer than at any concert, begin a new round at Musikmesse 2018. Internationally renowned guitarists and drummers give daily performances in a soundproof cabin fitted with the latest event technology in Hall 9.0.

After their performances, the musicians will be available to sign autographs and answer questions about their equipment and playing techniques.

Lovers of sophisticated riffs and driving grooves can look forward to numerous premières and prominent returnees.

For example, Karl Brazil (Robbie Williams, James Blunt), Ash Soan (Adele) and long-time Pink Floyd percussionist Gary Wallis will appear on the Drum Camp stage while, at the Guitar Camp, the stars include Jen Majura (Evanescence), Jeff Waters (Annihilator) and Mattias ‘IA’ Eklundh (Freak Kitchen).

Moreover, visitors can benefit from daily workshops and masterclasses at the Drum College and the Guitar College where they can learn from professionals how to improve their playing skills. The coaches and contents will be announced in the near future.

MerchDays to be part of Musikmesse and Prolight + Sound 2018 MerchDays, the meeting place for the entertainment merchandising sector, will be held for the first time within the framework of next year`s Musikmesse and Prolight + Sound in Frankfurt. Merchandising and fan-article suppliers will present their products and services in the Galleria 1 on the Thursday and Friday of the fairs, 12 and 13 April 2018.

MerchDays will be open to all visitors of Musikmesse and Prolight + Sound free of charge.

Musikmesse 2018: ‘The World of Vintage Guitars’ presents historical Fender instruments from 1950 to 1964 and Fender Custom Shop highlights There will be a new magnet for lovers of guitars with tradition and history at this year’s Musikmesse. At ‘The World of Vintage Guitars’ area, an exhibition entitled ‘Fender by Leo Fender: The Evolution of Fender’s Electric Guitars 1950-1964’ uses original instruments to show the development of Leo Fender’s models during the golden years from the early fifties to mid-sixties. Additionally, the Fender Custom Shop presents a large selection of individual instruments hand-made in the USA during this period, as well as vintage guitars played by legends such as Bonamassa, Joe Satriani, Stevie Ray Vaughan and other stars.

Many genuine treasures will be available for visitors to play in a separate room. Guitar fans have the chance to make their own impression of the special vibes generated by vintage instruments.

Musikmesse Festival presents concerts by international renowned artists For the third time, the fair will be accompanied by the Musikmesse Festival with concerts by top artists in the clubs of downtown Frankfurt. Musikmesse visitors will be given a Festival ticket entitling them to attend Festival events at a reduced price or, in certain cases, free of charge. For the first time, there will be highlight concerts directly on the festival ground. Among the headliners of Musikmesse Festival are internationally renowned acts such as Albert Hammond, Asaf Avidan, Dionne Warwick, En Vogue and Gino Vanelli.

More information about Musikmesse and Prolight + Sound are available at www.musikmesse.com and www.prolight-sound.com.

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cket online Book your ti to 25 %: and save up se.com musikmes

11 – 14. 4. 2018 Frankfurt am Main

Let’s jam! When music makes the perfect moment.

Instruments, equipment, sheet music & events in all music styles. Unique in Europe!

Musicians from all over the world meet up, discover instruments and try them out. +++ International Top Acts at Guitar & Drum Camp +++ Piano Salon Europe with Presentation and Lecture Stage +++ NEW: Audio, DJ & Recording Platform in Hall 4.1 +++ Acoustic Stage: Live Music from Classic to Jazz and Pop +++ Street Food Trucks & Festival Atmosphere +++ and much more +++

Musikmesse Festival info@india.messefrankfurt.com Tel. +91 22 61 44 59 00

Experience all facets of music live over four days: at the exhibition centre and throughout .................... Frankfurt.

With 50 concerts at 30 venues.