The Score Magazine May 2018 issue!

ISSN 0974 – 9128

Vol 11 Issue 5 May 2018

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India's National Pan-Genre Music MagazinE

QUIRKS & QUERIES

KAVYA TREHAN Anime, ads and Mosko she has it all.

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BAND OF THE MONTH

ONE PLATE IDLI Mixing mridangam and viola

ON THE COVER

NEHA BHASIN

Swag se swagat,Youtube Fanfest and more

ALSO INSIDE: INTERVIEW WITH MICHAEL BIWER, GROUP SHOW DIRECTOR AT MESSE FRANKURT, INDIE REVIEWS AND MORE.

inside

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ON THE COVER

NEHA BHASIN

LOOK OUT FOR

INDIE REVIEWS

BAND OF THE MONTH

ONE PLATE IDLI

QUIRKS AND QUERIES

KAVYA TREHAN

READ ABOUT

DOCUMENTING INDIE IN INDIA READ ABOUT

GROOVING RIGHT? EXPERT'S TIPS

MIXING IN A HOME STUDIO EXPERT'S TIPS

SOUND EFFECTS, FOLLEY & FIELD RECORDING

THE TEAM Director, Business Development Pragash VM Director, Marketing & Operations Sneha Ramesh Director, Strategy and Planning Ajay Prabhakar Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Creative Designer Manasi Doshi Content Contributors Pramita Bose Shreya Bose Sriram Ravishankar Malik Arshaq

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PRAMITA BOSE

NEHA BHASIN

At first glance, she cuts an image of a popstar and packs in much punch of glamour with talent. Singerperformer Neha Bhasin is but a desi girl next door beneath the glossy gauze of an exotic lass. She talks to Score correspondent on her Bollywood outing, Godfatherly influence in the industry, the unusual texture of her voice, her take on nepotism versus raw anonymous aspirants, independent music, strains of the soil, festive sojourn, social media activity and many more to get glued to in a cosy têteà-tête.

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For many artistes, it takes a lifetime to bag a Filmfare Award. For you, it’s been 12 years since you started out as a playback singer in Bollywood. Are you overly happy with this top-notch recognition or you feel it’s a little late in the day?

I started my career in the year 2002. So technically, it has been 15 long years of my dedication to this music industry. Seriously, I never dreamt of being a playback singer. For me, getting a Filmfare Award was a bonus.

You know, I have always fancied a Grammy and I look at winning this prestigious Filmfare statuette as a stepping stone to my final destination. Whether or not it is late in the day, I am nobody to judge that because I believe, all good things come to when you are ready for them.

Is it important to be in influential camps or under the aegis of a godfather to get a plum break at the right time at the right place, because in the age of abundant talents, often the industry loses out on a bonafide vocalist due to lack of proper scope, exposure and backing?

WelI, I don’t believe in camps. Neither do I subscribe to the concept of godfathers. I only stick to talent and determination. I have always lived by example.

I was never mingling into social circles with a sugary voice, begging for work. I have never played by the rules. Yes, I have paid the price for that in terms of taking my own time to make my own mark.

But that’s my belief system and I think it clicked for me though most people initially denounced my ideologies and thought I was too much of an idealist.

Till recently, the debate on star-kids versus rank newcomers from outside was raging on. What’s your take on this? Even you had made inroads through a competition and never got an easy launchpad like a home production. Were you ever treated like a stranger on the industry’s threshold when you were a fresher?

See, I can only speak for myself on this issue. As an individual, I can never go asking around for work inside the industry as I just cannot massage people’s egos. I truly believe that your inner abilities should emerge in front of the mike and not by chasing people. Yes, I have felt like an outsider and I actually felt like I didn’t exist for this music industry. I don’t know the exact reason behind this but I don’t harp on those feelings anymore. I am more dedicated towards my work and creating music because that’s what makes me happy.

What musical genres or which artistes you generally prefer listening to? What or who’s currently on your I-pod?

My musical choices are eclectic. From pop, pop rock, classic rock to a bit of hip-hop, dance music and jazz, I have a generous mix on my playlist. The artistes am currently tuning in to are definitely my favourites. To overcome a lousy day, the best of Billie Holiday works

wonders. I just love lending an ear to her. Among the current artistes, I like some music of Kendrick Lamar, Charlie Puth, Ariana Grande, Sam Smith and Adele.

The two artistes from our generation that I really worship are definitely Beyoncé and Pink. It’s not just because they are great singers but because they are great performers as well. My all-time favourite as most aficionados of the 90’s would agree is none other than the king of pop Michael Jackson.

Singers like you, Anushka Manchanda, Jonita Gandhi, Sona Mahapatra, Nandini Srikar, Shilpa Rao, Kavita Seth have a wonderful tonal quality at the base which is a far cry from the hitherto reigning sickly-sweet, shrill voices. Do you think such sonorous texture and huskiness are instrumental in redefining the yardsticks of mainstream playback in the present times?

I have always had a husky voice with a sort of volume at the base and I think, initially this wasn’t widely acceptable. Back in 2002, when my professional journey took off, my voice was labelled as a pop diva’s thing and hence, offers hardly came my way for mainstream singing. I did bump into a lot of people enquiring if I had a bad WWthroat or simply brushing me aside with the remarks that I do have a beautiful voice but maybe it doesn't match the popular tastes. Although actresses were sporting short skirts but the kind of voice ruled on public demand was a silken, satin, feminine one. So, I don't know if that is a trend and I don't care either if it is one. Fact is, I am here to stay and I think my voice is an asset. It sets me apart from the crowd. It gives me an identity and I love it.

Today, I have learnt to use it as a tool and mould it in my advantage to croon with power. When I sing, I feel every note and I hope to ring the same bell in people's hearts. So yes, I would like to call my vocals a soulful expression.

How tough is it to sustain as an independent artiste in the blitzkrieg of Bollywood movie music which enjoys a monopoly to outshine and eat into the spaces of other platforms of music?

It is tough dear. Well for that matter, nothing that you desire in life comes easy on your platter. I guess good things always tag along with a price, which is to work really hard to sustain not just as an independent performer but as an artiste in any given industry. So I fathom, we need a bit of both.

It is actually very important to effectively balance the two out. I think after delivering a lot of labour, witnessing failures and possessing a tenacity of not giving up easily and being absolutely obstinate, I have been able to pedal both at this point of my life.

Is any album/single in the works?

I am constantly working on singles. So, you may definitely expect a string of songs coming out this year. It

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would comprise some Punjabi folk and a slew of originals along with lots of collaboration planned out for the remaining year. So hey, there's loads coming up!

Any national/international collaboration lined up?

An array of collaborations will be unveiled very soon, one of which is not my own venture but a project in association with a channel. Also, another lies on the anvil, surprisingly not with a singer but a very famous actor-dancer. This apart, some synergies are coming up at the national level. As far as international alliances are concerned, I would really love to deliver one but nothing is in the pipeline to speak of for the moment.

You also have an affinity with Punjabi folk songs.

How did it get ingrained in your system?

I grew up listening to Punjabi folk songs sung by my mother, grandmother and all the women in the family.

My mom and grand mom were great singers with a god-

different capacities. I would also wish to team up with choreographers, who are great dancers or singers. Trust me, I love scouting talent and doing my small bit into that direction to render people with a real chance at art.

Currently, your version of ‘Dil Diya Gallan’ is also winning accolades all over. What’s so special about this song that it’s already a superhit love anthem and everybody’s humming it day in day out?

I think ‘Dil Diya Gallan’ is one of my favourite songs I have ever lent my vocal chords to. I absolutely love the composition and have even complimented Vishal and Shekhar sir on their magical score. I told the duo that I simply marvel at the way they set the song into tune and the words written by eminent lyricist Irshad Kamil too descend soulfully on the ears. I feel that I couldn’t have been more blessed to gain an opportunity to do a beautiful unplugged version of the melodious romantic number.

ople who are really pe e th r fo pt ce ex s ow kn no one I think the one thing that emotional person. Even ry ve a am I . ly si ea ry ve close to me is that I cry meets again, I really or ay aw s rt pa ne eo m ok and so when I am reading a bo ly good story or a good al re a ar he I n he w y cr en feel bad. I sometimes ev know about it. y an m t no d an l na io ot ely em song. So yes, I am extrem gifted voice. I think that element is in my DNA. Folk music is something that happened to me by destiny and I have a natural liking for it. I thoroughly enjoy while performing it and feel a sense of empathy and responsibility to take it forward and cement it into the hearts of the current generation. Folk as a tradition, should be carried forward I personally believe.

Do you want to someday produce good music in order to promote true and pure talent?

I am creating a sense of consciousness by producing high-quality, wholesome music. I like to think of myself as an idealist and a purist. With regard to springboarding other talents, yes! I keep trying to empower people on the digital podium. I also coordinated with a dancer from the USA on this front. She is a YouTuber and not many people knew about her. I had a wonderful opportunity to vibe with her and bring her aboard to connect to my songs. I do look forward to working with people of

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Arranger Sameeruddin with whom I do all my folk songs deserves a line of special mention here. He has designed and produced the earthy sound and music of my spin-off of the chart-bursting track. It warms up my heart every time I perform it on stage and something always stirs me up internally when I sing that song. It is always a fulfilling experience.

Talk to us about your recent performance at Goa Fest 2018.

Performing at the Goa Fest 2018 was definitely a dream come true tryst for me. It is because the local audience is the kind of mob I, as an artiste, usually yearn to belt out songs for. There the masses understand my music, comprehend my eccentricity as an artiste, understand my bizarre fashion sense, appreciate the mismatch of audio-visual appeal that I put up while chanting out folksy flavours yet wearing wacky clothes at the same time. I would like to say that I am kind of in and outof-the-box and they are open to it. They are the kind of audience that I love. Their applause still resounds in my senses! Besides, the organisers were admirably great and true blue professionals.

Tell us something about the success of your recent single ‘Chitta Kukkad’ that received over one million views.

‘Chitta Kukkad’ is one of my favourite folk songs and I have sung it in traditional lyrics. Punjabi Tappe singers originally sing this song in a question and answer format but I sang it in a more conventional way wherein I spoke about the importance of daughters in a family. The song has been on the to-do-list of my team for a very long time now and after my fans voted for ‘Chitta Kukkad’ on my Instagram against another folk song, we decided that we definitely gotta give it a go. It makes me immensely happy to see that the song was very well received. We did it absolutely acoustically with live percussions, live strings and live guitars to make sure that it is done very organically.

In today's digital era, it’s a norm for every artiste to interact with their fans through social media. How active are you in this area? And do you also at the same time feel that too much proximity and exposure with celebrities might kill their fantasy and mystery elements?

I am very much active on social media, albeit not on all leading networking sites. I used to be quite regular though once. I am pretty updated on YouTube as that’s the best medium to connect with my fans via music. Currently, I am in love with Instagram. I think it’s because you get an outlet to let your fans see the real side of you.

Earlier, the celebrities were like distant stars in the sky whom we loved a lot but never got a wind of who they really were.

The general perception rules that onscreen personas or performers behind the mikes tend to be perfect but this notion can be misleading at times. I make a deliberate effort to spread the message of love and kindness plus launch a crusade against bullying, eve teasing and molestation. I believe in using my platform in the right spirit and be highly honest about it.

I don’t really give two hoots about what people think about me. I am here to be me and I am really proud of who I am.

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SHREYA BOSE

reviews Sabar (Shadow and Light): I shall start off with the absolute obvious. Pavithra Chari and Anindo Bose do good work. Its hard to find them engaging in amateurish drivel (and I've had a fair bit of that this month).

As their debut album demonstrates, their melodic games are definitively delightful.

With Shadow and Light, there is no cause for disappointment. The album is a playground for variation - between genres, styles, languages, thematic focus and all else. Chari's classical training is blatant in the way her voice careens through a plethora of diverse instrumental arrangements. She is effortlessly at home with every track, epitomizing flexibility, and most importantly, fun. You can almost see the elation in her eyes as she croons.

Sabar is purposely experimental, deliciously structured with influences ranging from jazz to electronica to classic Hindustani classical overtures. You will struggle to pick a favourite, as the range for comparison does not exist. Despite fundamental similarities, every song is determined to offer a different side of the emotional spectrum. 'Dhadkan' celebrates the untiring endurance of hope, 'Kahaani' exemplifies the void that accompanies a serious loss, 'Dilruba' comes in with a mix of bitterness and adoration towards love - an old story crafted with delectable novelty. 'Patjhad' concocts the most identifiable fusion between electronica and classical inclinations without being too insistent on the 'fusion' aspect of it all.

It struck me that the songs came out so well because the artists focused on the only thing that gives art any significance whatsoever - self-expression. The songs are personal chronicles, even if they did not emerge from personal experience. There is confessional quality that invites the listener into interaction. The listener is given an opportunity to explore their own reactions to the music and lyrics. Like all good music, the songs ask to be ruminated on. The intention is for the listener to enjoy the sound, and find what engaging with the sound reveals about their ownselves.

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Jilted (MusicUnLtd.): I haven't heard of MusicUnLtd. before. Their Facebook page identifies their music as "Alternative / Progressive / Psychedelic Rock". They claim that the title track from their new album 'Jilted' is reggae. I wouldn't disagree. The instrumental aspect follows the basics of reggae tonality. How authentic it remains to its predecessors in Jamaica, I couldn't say.

The band qualified this song as a "teasing, playful reggae song" (as seen on their FB page).

I was neither teased nor amused.

What stops the song from being enjoyable are the vocals. Autotuning the female vocals is the very definition of a travesty, eliminating whatever saving grace the male voice could have infused. The artistic point of this exercise is entirely lost on me. The rhythm feels askew, saddled with simplistic, predictable variation. There is no perceivable hook, and I was hard pressed to find a reason for a replay.

The music video has the two vocalists swaying awkwardly, so clearly uncomfortable with what they are doing. I might be entirely wrong, but they do not look like they are having any measure of fun (and therefore missing the point). One can only hope that the rest of the album fares better.

Shorelines (A Passing Glimpse): This New Delhi-based band is studio-only, which means you won’t be seeing them live anytime. Would you be missing out? I’m not entirely sure.

Their debut EP is an exercise in pleasantry. True to mainstream conceptions of ‘indie’, the songs are primarily built on acoustic foundations. Charm is the dominating aesthetic. The songs are easy to follow, and do not make demands upon the listener's intellect. You may be assured that they can be listened to without deliberate attention.

Feel free to play them if you enjoy having a soundtrack to your thoughts.

I cannot say that I was floored by any part of the EP. There is nothing wrong with any of them. Each plays perfectly ways, and can be an excellent accompaniment to wine and Sunday company. If that was the purpose of the band, they have accomplished it without a hitch.

I enjoyed "New York", particularly because I have always enjoyed art that explores the plight of the lost and forlorn (also because I love Sinatra). The disillusionment that accompanies idealisation of anything (in this case, the city or rather the image of the city) is adeptly expressed. One can relate to the melodic complaints of the exhausted dreamer.

There is nothing in the EP that would qualify as bad music. Its clear that the band had put in significant effort with each piece. However, you will have trouble finding something that impels you to a moment of personal revelation, or even awe.

What they sing of may seem familiar, in fact, a bit too familiar. Often, it plunges into the realm of the 'generic'. If inwardgazing, semi-wistful truths are your thing, you will be better off delving into the work of Prateek Kuhad and the like.

Nonetheless, I can only hope that A Passing Glimpse played it safe, and that their subsequent creations will reveal a taste for pushing some limits.

Northern Eye (Mixtaped Monk): I remember reviewing this man’s last EP. I remember being fairly impressed, which is why I was wary of his new release. No one likes to be disappointed, especially by an indie artist.

It is hard enough for independently driven circles to gain credibility as it is.

I had very little to worry about. Arka Sengupta did well. His music is the kind often termed ‘ambient’, which is about as vague as it gets. The label is not entirely inappropriate as his work focuses on influencing the listener’s sensual atmosphere. However, one must not make the mistake of synonymising ‘ambient’ with ‘spaced out’, as that would constrict the genre’s applicability. Mixtaped Monk crafts sound to engage his listener deliberately. He draws relevance from a multitude of stories, in this case, mythological accounts emerging from various cultures.

To express a tale instrumentally can be misguided. Without lyrics, there is always the possibility of radically personal interpretation. While this can be fun, it can also be fatal for the artist’s intention. If one views good art as authentic self-expression, this phenomenon comes dangerous close to defeating the purpose.

In this case, I am not entirely sure if the artist’s point got through. What I can vouch for is that the music is more compelling than the genre gets credit for. Every track courts your attention, and regards it with ease. Precision is celebrated, but enough space is made for unstructured joyriding. Multiple replays are called for, and could easily serve as background to some interesting cinematic experiences.

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BAND OF THE MONTH

Let's start with the cliched question of how the name One Plate Idli came about.

I was looking to do something fun since a long time, since I have always been looked at as someone doing very intense music.I was asked to perform Carnatic music but in a very contemporary way, and had just about 10 days to put it together. I had to come up with a name, and all I had to do was tap into my fun side, and there it was.

What genre of music do you consider your work to be? Who are your major influences as a band?

My genre has always been "original indian music". I dont use actual folk, but i might take the flavours of it.I don't mostly use carnatic compositions as is or mess with it. Mostly all original, except for a few .Thats why I use the line "From regional to original". My influences have been, Anand Shankar, Trilok Gurtu,Joe Zawinul, Badmarsh and Shri ,Nitin Sawhney to name a few.

Your band has a lovely sound. Do you like experimenting with it or are you particular about the way you need to sound?

I do have a vision for the sound and I am particular about that .As long as its within the sonic spectrum and within that flavour, all is good.

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What are the main theme/ topics of your songs. Tell us a bit about your songwriting process One plate Idli is an instrumental band. There are no themes as such.

As an ensemble, there are melodies, and there are counter parts ,written to colour the songs as aesthetically as possible. Each part has role to play in the composition. So instead of the conventional way, where there is a melody and all other instruments ONLY support the melody. Here the role is much more than just supporting. It has its unique role and and hence it manages to create several dimensions

What according to you makes your band unique in an industry where there is a new band born every other day?

I think one of the things that makes us very unique from other bands is our approach to the music that we are producing. Even in terms of the fact that ours is a completely instrumental setup and within that there’s again a range of instruments that have never really been put in the mix together as one product.

For eg: A mridangam and drumset with Bass and textures of Carnatic violin harmonies along with a carnatic guitar sound. So, as you can see our whole sound signature is very unique.

Your best performance till date and why?

I don’t know about our best performance per se because it’s hard to keep a bar like that. We always want to keep delivering performances that are better than the last. So we are always in competition with ourselves.But the first gig will always be a memorable one coz we had no idea how the audience is going to receive it ,and we were super happy with the response that we received .Its that response that has encouraged us to go further.

What has been your biggest challenge as a band? Have you been able to overcome that challenge? If so, how?

One of the biggest challenges is to always sound fresh, fun and relevant within the gambit of what we are doing i.e: presenting a completely fresh perspective of Classical music.

We are always in search of better and better ways to present it on stage alongwith elements that might be complicated and so to maintain that level of consistency and drive to keep pushing the bar is of course a challenge but therein lies the fun. Otherwise it’s pretty pointless to just dish out something that sounds similar to any other band/sound. I think so far we have been managing to overcome that challenge and we hope to keep at it.

Q

MUKESH AMARAN

uirks & ueries

KAVYA TREHAN Picture Courtesy- Prabal Deep Photography

RAPID FIRE 1. Favourite band - The Japanese House 2. Favourite track - Radio Silence - James Blake 3. Best music festival to play at - Weekender 4. Favourite anime - Deathnote 5. Favourite Mosko track - You don't even know 6. Favourite venue to play at - Oddbird Theatre, Delhi

You're in your car with friends on a road trip. What music would you be playing in your car?

but she's always surprising me with her work and I get to learn a lot from her.

I would probably be playing my current favourite, Smerz.

What's the story behind MOSKO?

Does being a musician come with a responsibility to speak against social issues?

A short one - people from different backgrounds, musicalities and food preferences coming together to experiment with sound and have a blast on stage.

I personally feel, being a musician comes with a responsibility to express yourselves truthfully- one is always free to choose what they must talk about.

What is the future of the Indian music scene that you wish to see happen?

What should the music scene in our country represent, according to Kavya?

I wish there is a massive increase in the amount of ears that are eager for new and original music - supported by a strong infrastructure consisting of PR companies only dedicated to musicians, really good management in order to nurture artists and labels supporting the talent our industry has.

Tell us about your love for anime/ manga and how it affects your music.

Anime has been a source of escape into a world that allows imagination to take over - and that's the influential element helping us to always be creative and energetic.

Who is your favourite artist across all artforms in India and why?

My sister, Khyati Trehan Not only is she multi talented

It should rep authenticity and originality.

On the note of celebrating women this month, who are your favourite women in the music industry?

Sarah Chawla, Sandunes, Raja Kumari - and so so so many more!

Your ideal playlist for winding down after a long day? (A few tracks and artists).

The entire album - Process by Sampha.

If you could be an anime character who would you wannabe?

Mikasa Achermann, Attack on Titan.

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MICHAEL BIWER Group Show Director Entertainment, Media & Creative Industries of Messe Frankfurt Exhibition There has been a tremendous change in the state of tradeshows across the globe. How has the Frankfurt show kept abreast of the change?

Tradeshows are having a lot of changes at the moment as digital is on and everybody seems to look on the internet for products and news around.

But I think, tradeshow should be a combination of networking, bringing people together and people get to touch and feel the product which we cannot get on the internet. We also try to bring some knowledge transfer for the visitors and something that they cannot see on the internet. For example, at ProLight and Sound, we have the immersive forum, which is a 3D audio that you need to hear and can’t really go on the internet for it.

You have to see it and have people explain it to you. This is what we have at our tradeshow, bringing new stuff and people together making it a good networking platform for everybody.

What new has been implemented this year for both MusikMesse & ProLight and Sound?

We have Immersive Forum, Future of Audio that has come from the US on how music and digital work together.

For example, the new song of Ed Sheeran and Eminem where Eminem

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was probably sitting in New York in a studio and rapping on the mics and Ed was sitting in London in a studio and how this works together,. There is a company like Microsoft was here to do some speeches and so on.

of it. No digital instrument can bring the same feeling as the acoustic one.

So I would say always a balance in between is good. It’s just like digital and physical books and how people would love to have both with them.

At MusikMesse, we have the world of Vintage guitars, something that we have implemented new. Bringing kids to music and music making, we have included education based content in the form of lectures, master classes & seminars.

What are some of the business trends you’ve noticed in the last one year? Have any specific sectors surprised you?

What’s your take on Digital world taking over businesses? Do you think it has an impact on the music industry as well?

Of course it does! You see a lot of hybrid instruments at the moment, like old traditional instruments with a digital tone on it. You could see how the whole industry is trying to work on the Digital market. For example, GEWA announced the world premiere of the new E-Drum and it totally looks like a normal drum and is perfect for every drummer.

On the other hand, we also have traditional instruments like the Violin.

People also love to have the wood, acoustic sound. I myself play the piano, I have the old acoustic piano even though I have the digital piano because I love the sound and feeling

I think once big surprise is that out of nowhere, five to six years ago came the DJ and the Production area. Djs are all over and everyone wants to be one. I remember at my time, everyone wanted to be a guitar hero and now DJ’ing is the trend.

What I think is fascinating to see how you can play a traditional instrument on your computer. This is a dramatic change for everyone.

How do you see the Indian market at the Frankfurt show? How important is it and what do you plan for them?

I think it is very important and could be more. There could be more involvement from India at the show.

We are happy for more people to visit the show and look around and see.

I think the market is very strong. If you want to see all the international exhibitors, you could most certainly come and interact and exchange ideas.

KARISHMA D’MELLO MALIK ARSHAQ

DOCUMENTING

INDIE IN INDIA:

Chapter 1: Indian Independence and Jazz You’ve had your history lesson on how we got to independent ruling, now it’s time to learn about the dawn of independent music! This episode goes into the origins of jazz during the early 60s, the influence of political agendas, British rock bands and hippie culture. It also features interviews with great musicians such as Louis Banks, narrating charming anecdotes about their experiences during that time.

Chapter 2: The Rise of Beat Music This one delves into rock during the early 70s, battles with mainstream media and the spawning of new publications.

It is about the sheer raw talent and passion that drove these musicians to continue performing through every struggle, be it - the lack of proper equipment, Indian societal pressures (Some things never change)and the growing dislike towards anything “Western”. Also - some back story to a few great bands and a great story involving Led Zeppelin!

Chapter 3: Building of Color This is about the heavy metal awakening in India; when the rock community began to grow and the metal bands of the north east entered India’s indie scene. Lou Majaw’s subliminal blend of passion and rebellion, the effects of the war, the disheartened yet inspired musicians of that time, the growing popularity of “Bangla Rock” and stories of some truly amazing bands!

Chapter 4: Rock N’ Roll Renegades The late 80s were defined by the emergence of bands like Euphoria, Indus Creed and “rock n’ roll renegades” – Rock Machine. Along with great musicians also came – MTV – which in turn gave rise to the otherwise alien concept of music videos. This episode also features Amit Saigal’s incredible influence on music in India by promoting and encouraging original music from bands who were largely “cover centric” at the time.

Chapter 5: And then, the Internet

Written and directed by music journalist and musician, Arjun S. Ravi and co-produced by OML and Red Bull, “Standing By” is a six part documentary series about the origin and evolution of Independent music in India. As described in every episode - “..this is not the story of popular music in India; it’s about those unpopular few, who rocked out in the face of adversity.” It tells the stories of a lesser known dimension of Indian music and the struggle and persistence of some incredibly badass and remarkably talented musicians.

Each episode documents a different time period covering genres like jazz, electronic, rock and heavy metal. However, if you don’t fancy going through each one of these (though I’d strongly recommend that you do), here are brief overviews on each episode to help you decide!

This episode is all about the 90s and popularization of the internet; the growth of rock communities, the influence of Gigpad and fun stories about accessing music before the internet. Bands like Zerotell their own charming tales about their bands and how they came to be. Electronic music during the late 90s, remixing, dance music, the growth of psychedelic trance are all covered in this one.

Chapter 6: The Call of Metal This one is for the metal heads. Rebellion, empowerment, angst and art, all of these contributed largely to India’s heavy metal scene. This episode goes over all the struggles of being an aspiring heavy metal band in India - from the budget constraints to run-ins with their parents and the church, to whom the entire concept of “Heavy Metal” was alien and way beyond their comprehension. It also goes over the emergence and growth of music festivals in India.

Available on: YouTube

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ADITI SARAWAGI

Indian music

USED INTERNATIONALLY There are no boundaries to music and globalization has made it so easy for music to transcend borders and pervade the whole world. If the art and talent is good, it will be appreciated all across the globe and Indian artists are infiltrating the big productions in good old Hollywood and taking the world music industry by storm.

Very recently the internet went into a flurry after Apple launched their new iPhone X advertisement-the background score was altogether way too familiarturns out it was a tune from our very own R.D. Burman’s repertoire- Meri Nazar Hai Tujh Pe from the 1980 hit film The Burning Train. The track in the advertisement was produced by Peter Cannon who acknowledged the song and ensured fans that the track had been legally licensed. This Indian connect won Apple a lot of followers and made Indians proud.

There is a special thrill in listening to an Indian number in a foreign placement-so often our composers are accused of being inspired by international artists so it is very refreshing to see original talent being appreciated by the best in the global film fraternity. Very recently Disney India acquired the rights of Bappi Lahiri’s song Jhoom Jhoom Jhoom Baba for their 2017 film Guardians of the Galaxy Vol. 2. The retro dance hit fit in seamlessly in the theme of the fun film and fans were in for a treat.

Music directors often use famous songs from artists across the world and use it as part of a movie’s background score. Even though it may not be an original score, these songs have a keyrole in the film’s musical journey for sure. In this way, a number of Indian tunes have been featured in some of the most popular Hollywood movies.

The 2002 film, The Guru also had the lead singing the Hindi song Chori chori hum gori se pyaar karenge from AnuMalik’s soundtrack of Mela. Anu Malik’s

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Chamma Chamma also found place in the 2001 film Moulin Rouge. One of the biggest Hollywood films Eternal Sunshine of the Spotless Mind featured two great Bollywood hits Vaada Na Tod and Dil Tujhko Diya-both songs playing a key role in displaying the poignancy of the protagonists’ emotions in the scene.

The Dictator’s trailer featured the popular Punjabi number Mundeya Tu Bach Ke Rahi by Jay-Z and Punjabi MC, which was originally a bhangra number

by Labh Janjua. JaanPehchaan was featured in Ghost World in 2001 and the actors were even imitating the dance moves from the 1965 song! One of the major hits Deadpool opened to Mera Joota Hai Japani and it was indeed a great moment for all Indians as it is such an iconic song here. Kishore Kumar’s Lehron Ki TarhaYaadein in Shaun Of the Dead was another feather in the growing collection of Indian music being appreciated internationally.

One of our best music directors A.R.Rahman has had his music featured in a number of international films. He alone can be credited with multiple scores rendered in Hollywood films. The 2008 Uma ThurmanColin Firth film, Accidental Husband featured two great hits from Rahman- Mujhe Rang De from Thakshak and Chhalka chhalka re from Saathiya.

It is heartening to see that the music we love is appreciated globally too. The Lord of War featured the Bombay Theme in 2005 and it truly befitted the mood of the film aptly. Another Rahman super hit Chaiya Chaiya was used in Inside Man’s background score in 2006. A.R. Rahman’s international success often leads directors to turn to his music to be part of their background score and they are never disappointed.

Music has no boundaries and each day we see more artist collaborations, more intermingling of different genres and cultures of music and if there is one thing which can unite this world it has to be music.

SOUVIK CHAKRABORT Y

WHAT DO YOU SEE WHEN YOU PLUG IN? So do you see strong colours of pink, or red when you listen to an Arijit Singh number?

Or do you feel like a canvas coming up to life when you listen to a playlist of your favourite songs? Well, if you can; it could be that you are in possession of a special talent called synesthesia?

also mean that a coloured number will or will not trigger a musical memory. There are more than 60 permutations of synesthesia, but the fun fact is that studies have suggested around 4% of us have it in some form.Synesthesia can also be heterogeneous as many people with these qualities tend to see different colours for similar music.

For the famous musician Duke Ellington, the note of D seemed dark blue while G was satin blue. When Pharrell Williams was a little boy Earth, he saw burgundy and blue, when he listened to Wind. Kanye West associated blue to pianos, and dark brown and purple to bass lines. Other famous artists that have synesthesia include the greats like Stevie Wonder, Billy Joel, Mary J. Blige, and Dev Hynes. So what happens in synesthesia? Unfortunately the legendary stalwarts like the great Van Gogh could not earn make much of his gifted talent as he was mostly down with the deviations of his piano teacher who thought that the act of associating colours and numbers to music is purely an act of insanity, in fact he categorically suspended him from his classes.

Thanks to the outright admission of this secret talent by Pharrel Williams,"medical condition".

There is a popular conjecture that, listening to music through headphones will trigger blood flow in the part of our brains that deals with sound.

When this part of the brain interacts with the part responsible for sight as well, it create the sensation called synesthesia.

Also, it has been formulated that synesthesia is a dominant trait and genetically carried down on the X chromosome. In synesthesia it is believed that the neurons and the synapses are responsible for the cross over from one sensory system to the other.

Synesthesia is a Greek word which means "joined perception". The cross-modal association of sensations and their relationship to musical perception leads to a kind of ability that makes you see colours in everything that you hear.Synesthesia is a passive non suppressible experience. It is not a pragmatic decision rather it is not a voluntary one also. Synesthesia can be both uni-directional and bi-directional which means that, while certain numbers or music will make the visual cortex of the brain trigger to see a number or a coloured number, it can

Synesthesia is experimented in a very niche community but it is experienced by many, who does not find an expression or an avenue to express themselves. It would be only fair that synesthesia is made aware of through different media in and across different verticals. Music videos have time and again resorted to the world of a synesthete or at least has tried to visualize what a music driven imagery can entice? The French electronic quartet NUIT has featured the theme of synesthesia in their latest music videos. The videos are called "Hold your horses" and "Looking for gold". Also famous game designers like Mizuguchi have integrated sound and vision into his iconic renditions called "Rez" and "Children of Eden". Softwares like IANNIX and UPIC had actually revamped the interaction between the reality and the augmented Universe created around it?

It would be fair that music is inclusive of therapy, composition and developmental perception. Perhaps, it is not long that we find music making the blind see a three hour long spectacle in a hall with live orchestra playing out loud!

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VIPUL VIJ

More Smart Speakers In India Is Good News For Music Streaming Services

Up until the launch of the Google Home in November 2016, Amazon ruled the roost with its line of Echo smart speakers. With the Google Assistant-powered Google Home smart speaker making its way to the market, the competition spiced up. Then, a year and a half later Apple entered the fore with HomePod. Three of the biggest tech companies now have their own smart speakers battling it out in different price ranges. While these smart speakers have been a huge hit in the western market, the Indian market is just getting started with the whole “smart devices in my house” phenomenon. Apart from companies launching their products late in India, another huge reason has been music streaming outlets.

Only recently have we seen so many music streaming services gaining popularity and that is mainly due to the internet now being cheaper and more accessible.

Abroad, the Google Home and Amazon Echo support streaming from services like Google Play Music, Amazon Prime Music, Spotify, Pandora etc. The Apple HomePod, which has not been launched in India yet, only supports streaming from Apple Music. Now, when I say streaming, I mean asking your speaker to play a certain song from a certain music streaming app, and not just picking up your phone and using the smart speaker as a regular Bluetooth speaker. The whole idea of spending those extra bucks on a smart speaker is to be a part of this futuristic setup where your voice is something’s command.

In India, apart from Google Play Music, Saavn and Gaana are two very popular music streaming services. Amazon has recently launched the Prime Music in India and with all its bells and whistles, it is missing a lot of indie titles.

The Amazon Echo line of speakers were launched in India back in October 2017 and Google has recently launched the Google Home Mini and Google Home at a price very similar to their Echo counterparts. Now, apart from playing music, these smart speakers do a lot of other things like control your smart appliances, smart lighting and tell you weather and whatnot. But, at the end of the day, the are speakers and need to be able to play the music a user likes.

The rise of smart speakers’ popularity in India means that users would want to listen to music by just asking their new assistant. In turn, users are likely to test out the streaming services supported by their smart speakers in order to find the one that suits them the most. With services like Saavn, Gaana offering free streaming services albeit, lots of advertisements, a lot of users would incline towards them in order to get the best out of their smart speakers. Google Play Music and Prime Music are paid services hence, they will only attract users who cannot stand ads and are ready to pay for their music. A majority of Indians, right now, are not ready to do that. However, with more smart speakers making their way into the Indian market and our homes, it is only going to get better for the music streaming services in India.

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PAVNEESH KAUR CHAWLA

CREATING BEST OUT OF THE BEST! There is something so mesmerizing about the Indian Classical Music that it creates a concoction that is beautiful as well as heart-warming. But these days, when most of us are more influenced by the western culture, even western music has somewhat become our preference over others while Indian Classical is not even able to graduate to our playlists. Though ignored by many, but not all have forgotten about the captivating beats of a Tabla or the soothing tunes of a Flute, one of them being Tushar Lall, the mastermind behind The Indian Jam Project.

With opinions like ‘Why can’t a Sarangi play Star Warstheme’, Tushar Lall came up with an amazing idea of combining together the appealing Indian Classical Music and the iconic foreign music tracks.

He picks up the scores or music from famous foreign TV shows or movies and recreates them into an Indian Classical piece. Lall gathers talented Indian Classical musicians, and then creates magic with those instruments. In the past 3-4 years, The Indian Jam Project has made around 15 music videos, performed across colleges and have gained millions of views on their YouTube channel.

Their first cover was an Indian tribute to the famous theme song from the HBO’s show Game of Thrones. Lall brought together a flautist, a Tabla player, played the piano himself, and recreated this iconic composition which became an overnight hit on Youtube. After that there was nothing that could stop them or their creative minds. The second video they released was an Indian version of BBC Sherlock Theme which was praised by awardwinning composer of the original theme, Michael Price himself. He appreciated their work in a tweet where he happened to confuse “indian jam” as the name of the arrangement and that’s how the name “Indian Jam Project” came into existence.

The musicians came more into limelight after the release of their cover of Pirates of the Caribbean theme song that released right after the Sherlock cover which included a flute-based piece written by him. This is when the world got to see the real face of his talent. From Harry Potter to Titanic, Sherlock to Inception, the group has now covered a number of soundtracks that have all been successful and have been graciously appreciated by the audience. Lall, when launched the first video, enjoyed the first mover advantage as such kind of Indo-western concept was fresh at the time.

His idea of knitting Indian Classical Tones into western music and composing a classic fusion became not only possible, but successful because of the super talented musicians he collaborated with, Prasad Rahane (Sitar Player), Samay Lalwani (Tabla Player), Sri Sandeep Mishra (Sarangi Player), Prathamesh Salunke (Flautist), Vivaan Kapoor (Percussionist), to name a few. Lall, himself being a talented musician, is a pianist and the composer of these magical Indo-western fusions.

He has won millions of hearts using his art of picking up the soundtracks which are very addictive and are famous amongst the mass then recreating them into an Indianized adaptation that has the pleasing depth of the Indian Classical music and vibrant colors of the western music. With never ending ambitions that keep escalading with every subsequent video, Lall keeps adding more creativity and appeal to his compositions. The Indian Jam Project, with their unique and alluring talents, have justified two of the most common statements that we hear often that “Music has no language and Creativity has no end.”

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SRIRAM RAVISHANKAR

Grooving Right?

Percussionists discuss if technological innovations are a threat to traditional artistry

It wasn’t until the 1960’s, that technological innovations boomed in such a big way that it altered the very grammar of how music was made until then. Today, with artificial intelligence just around the corner, it is primordial to check if all the innovations will serve our creative growth or not.

A group of percussionists across age groups discuss if technological innovations are a threat to traditional artistry at all.

“My father Ustad Allah Rakha Khan saab used to always say, “As a musician you must always evolve.

If you don’t evolve and embrace the change, more than you, your music will stagnate.” But you when you say percussion technology, it’s not just tech part that we are talking about, it’s also how percussions are made today. With better percussion, you can now device better techniques to play the instrument because it is more convenient! You can’t discount the convenience technology brings. But convenience shouldn’t be your starting point as a musician!” laughs legendary percussionist, Taufiq Qureshi who is the only artist to have developed a unique rhythmic language transposing his tablarepertoire onto the djembe.

Swarupa Ananth Sawkar, a student of Ustad Allah Rakha Khan and Ustad Zakir Hussain, is one of India’s leading female percussionists. Echoing the words of Qureshi she said, “For an acoustic instrumentalist like me, technology means nothing more than enhancing my performance in terms of texture, volume, or any parameter.

I believe our approach to technology is what determines its role in our lives.”

Saurav Ghosh, Associate dean at True School of Music, Mumbai and London Centre of Contemporary

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Musicgraduate in drums said, “I don’t particularly believe traditional artistry must even perceive technological innovations as a threat at all! Because, there are audiences for every genre of music. I think it’s got to do with a greater mentality issue! People are ready to pay for a big Bollywood concert but still expect don’t readily pay for a jazz concert!

Besides, this whole pursuit of making things simpler in music is only catering to a commercial audience.

True music lovers will always have an ear for real music with real instruments and people.”

Opposing a traditionalist’s approach to technology, son of ace drummer Sivamani and programmer to ARR, Kumaran Sivamani says, “For me technology is not just pushing buttons, it’s a whole new game. Back then, it was a pain to mic every instrument and still get terrible feedback. But now, you have a whole array of instruments at your fingertips as samples. Using technology is just as tough and tedious as traditional playing. It was probably a threat to live percussionists because most of them didn't know to operate those machines with its routings and endless options. Otherwise, it a boon for creative limitlessness that we’ve all been silently waiting for.”

Yash Pathak, a regular in AR’s line up and composerrightly sums up saying, “We must understand that technology is a derivative of acoustic playing and not vice versa. Just like how we have willingly accepted the changes in each percussion’s sound has changed over the years, I think its best we remain as sonic explorers and let the music guide us. The search for newer soundscapes that can best represent our age and time will never stop.”

Swarupa Ananth Sawkar

Saurav Ghosh

Yash Pathak

Taufiq Qureshi

Saz-E-Bahar

PRIYAANKAA MATHUR

An Insightful tale of rare instruments and their repertoire!

The eighth edition of Saz-e-Bahar organised by NCPA celebrated the instrumental music fervour showcasing some rare instruments, along with some interesting trivia on their origin and evolution, giving an edge to many other music festivals.

Dr.Swarnalata Rao,Director NCPA openned the festival with an elaborate talk on the instruments showcased in the two day festival.She gave descriptions about the instrumental techniques, the history and development of the instruments in terms of their repertoire and style.Her pictoral presentation also included classification of instruments as given by Bharata in Natyashastra (500 BCE) in 4 categories namely Tata (string), Avnaddha(membranous), Sushir( wind),Ghana(solid),based on the materials used to make the instrument.After 2000 years it was adopted in the west thereby calling them as Chordophones,Aerophones,Idiophones,Membranophones.

The festival began with a Vichitra Verna recital by Radhika Veena Sadhika who played Raga Charukeshi with absolute command on the ancient instrument,which is played with an oval shaped shivaling stone, gliding it over the fretless bridge, with 23 strings,that makes it more challenging to play.

Radhika said " Vichitra Veena is the most ancient string intruments.I leant playing various instruments like Sitar, Sarod, Surbahar,but at the age of 13, I felt a divine urge to play a Veena, that no woman had ever played, so my father and I started researching.Finally we came across the Vichitra Veena through various ancient scriptures and created the one I play now."

Esraj Maestro Shubhayu Sen Majumdar played a melodious rageshri followed by a Pahari Dhun.Shubhayu said"Esraj is a fantastic blend of a sarangi and Sitar which has 22 frets and 19 strings and is played with a bow.One can showcase both the 'gayaki ang' and the 'tantrakari' elements like taan,toda,jhala on the instrument.Esraj is a rarely played instrument and I am trying my best to bring it to the main stream classical music repertoire, so that people know it by its name."

Kamal Sabri enchanted the audiences with an elaborate yet intricately carved Shyam Kalyan followed by a thumri on the second day of the festival. Talking about Sarangi and it's evolution Kamal said "In 13th century scriptures Sangeet Ratnakar and Sangeet Parijat, we find references about the ‘Pinaki Veena' that was considered as a forefather intrument of sarangi,which had a bamboo with strings,that was played with a bow made

of a horse’s hair.The present form of sarangi was evolved by Ustad Haider Baksh in the 15th century, which kept evolving over time. The word Sarangi comes from the word ‘sau-rangi’ that means an intrument that produces 100 colours and can be played with any genre namely Dhrupad,Khyal,Thumri,Chaiti, ghazal but also classical fusion and Jazz. I want to make it sound more enjoyable both to the classical and traditional audiences."

Pt. Nayan Ghosh and 17-year-old son Ishaan Ghosh presented a scintillating Tabla duet (jugalbandi) recital. The fatherson duo showcased works of great mastersfrom the Dewlhi, Ajrada, Farukhabad, Lucknow and the Punjab schools of Tabla across last 300 years. They began with a grand Peshkaar of the Delhi style,Farukhabad Baaj, Lucknow Baaj followed by compositions of many stalwarts like Ustad Haji Sahab, Miya Bakshuji, Ustad Amir Hussain Khan, Ustad Ahmedjan Thirakwa, Gurudev Jnan Prakash Ghosh, Ustad Munir Khan, Ustad Nannhe Khan, Ustad Masit Khan, Pt. Nikhil Ghosh and of Pt. Nayan Ghosh himself. While the Relas were a treat, creating a drone effect creating an aesthetic delight for all.

Elaborating on the characteristic elements of each style Pt. Nayan Ghosh said “In the Tabla Art, every style is known as Baaj, and not Gharana. Each Baaj has its own Bandishes (compositions) and Bols that are distinct in style and execution, and are identifiable by the techniques used, unlike Bandishes in Khayal singing or instrumental music that can be sung in different Gharana styles, like the Delhi Baaj, the oldest Gharana of Tabla is also known as Kinaar-ka-Baaj or Do-Ungliyon-ka-Baaj. So the Bols like Tirakita or Titakita need to be played with the exact technique of Delhi and are not executed with the technique of Lucknow. " The Lucknow gharana is an offshoot of Delhi gharana as its two Ustads, Modu Khan & Bakshu Khan in the late 18th century, migrated to Lucknow due to invasion of Nadir Shah.

To match the power and volume with Pakhawaj and Kathak dance, the two art forms prevalent in the Lucknow Darbar, the brothers were compelled to innovate newer techniques and was known as Hatheli-ka-Baaj.Meanwhile, conservative Delhi Tabla players were critical about the dilution of Tabla. It was Ustad Haji Vilayat Ali Khan( Haji Sahab)disciple of Bakshu Khan,a great composer,whos compositions included finesse of the delicate Delhi style and the boldness of Lucknow, but devoid of the influence of Pakhawaj or Kathak language. Thus, I feel blessed to be a representative of the rich Farukhabad Baaj" The

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MEGHAN KHARSYNRAP

THE ART OF MAKING

Sounds

A loud crash bellows as a girl falls off her horse, the harness clashing together, her subtle thump on the soft sand. Her horse shakes violently its hooves create and erratic CLOP CLOP sound as it runs away. I'm watching her from within a local movie theatre.

It's late night outside but the movie is set in the afternoon - and I fully believe it is when coupled with the sounds of bird chirpings. I'm immersed into the movie. But take away the sounds from the film? Would I be feeling the same way?

Movies today are a lot more immersive than they have ever been, cleverly incorporating the use of all our senses to gratify our needs for entertainment.

It's not often one thinks about sounds in movies, and by sounds I don't mean just background music

or just the ambient noise. It is the sound of footsteps in a long marble hall; it's the whoosh of the sea breeze into the cove of your ear; it's bones breaking and flesh tearing apart; it's the sound of anklets on a woman dancing and it could be the sound of stabbing - it doesn't always sound pretty but it sounds realistic. The sounds I'm talking about are the incidental ones. The ones that make the movie seem natural or set in the real world.

It's HIGHLY unlikely there's any real bone breaking and flesh tearing happening on set. So who makes the sound? Hence, the introduction of the Foley artist. Foley and its processes is extremely developed and recognized

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in the West courtesy of the talents of Jack Foley, a sound engineer who worked in post production who pioneered the field in the 1920s and 30s. In India, Foley is a small sector in the Bollywood industry.

They're the ones who recreate sounds using an assortment of stuff: pots and pans, cloth and sand, coconut shells and brushes, wooden crates, fruits! How? A foley artist would simply tell you to snap a handful celery or carrot apart if you want something to sound like bones breaking.

Foley artists are geniuses in their own way, in their dimly lit, heavily stocked studios they create sounds for the craziest things, things that don’t exist in the natural world- like web slinging from spider man, or wizards and their spells. A Foley artists imagination is wild. It has to be if they can think up that the crackle of fire could be replicated by simply scrunching plastic.

They've figured out how to use empty coconut shells to make the sound of horse hooves galloping through the land. They just press the shells on a muddy surface rhythmically matching the visual in the film. They cut open raw coconut with fleshy insides to sound like chopping a head off.

Sounds don't just characterise scenes in the film it also gives you perspective or context. It's why in an adventure film if you hear the water rushing through before you can even see it you might assume its a stream. You'll unintentionally want to navigate the lost kids in the movie to the stream. Sounds can also create moods.

The sound of thunder and drizzling can make you feel gloomy, birds chirping could be associated with a bright morning, empty halls and resonating footsteps could give you a sense of being watched or a sense of loneliness and when coupled with matching visuals the movies and sounds create worlds altogether.

MIXING IN A HOME STUDIO I frequently get emails from my students about how they should go about the mixing process in a home studio set-up but in a more professional manner. Here are a few tips that might help you to avoid some common mistakes and achieve great results.

Tips for Beginners 1. Mixing is about getting a good balance and making the elements sit correctly in the audio spectrum. Every single instrument or track should be well heard and should not clash against each other.

2. Your ears are your primary reference monitors! Make sure you take good care of them.

3. It is a common misconception that we should have high-end reference monitors, AD/DA converters or an expensive sound proofed room to mix. First, you need to understand your sound and how your studio monitors translate to your ears in your room.

4. Most DAW’s come with tonnes of plugins to mix and master, you don't necessarily need to spend on purchasing third party plugins to get a good output.

5. Make sure that you are seated in the “sweet spot” of your Left and Right monitors, such that the monitors are facing you to form an equilateral triangle.

6. Mix your song in a low volume to get the best results.

Mixing at really high volumes might cause ear fatigue or headaches and could really mislead your judgement.

7. Do not spend long hours mixing one song, take frequent breaks and maybe step out to clear your mind.

8. Remember, the brain always teases your ears! Sometimes you might tweak a good-sounding track and end up messing up your original tone.

10. The golden rule is to keep it simple.

Getting a good mix 1. Listen to the song a couple of times in order to get an idea of the feel and the structure so tou can get what the artists are trying to convey.

2. Some people prefer to keep a reference track from a similar genre to get an idea of how your song should sound in your final mix.

3. Note down the levels of your reference mix, the panning positions and the effects and how they sound in the mix.

4. Always remember to balance your levels before jumping in to insert your plugins.

5. Make sure that while editing or applying effects and plugins, you’ll need to audition the tracks in the context of the mix and not while it’s in solo.

6. Make sure that you always record or track your song with good levels and not try to fix your mess while mixing. This is one of the worst mix practices and will definitely not produce a good end product.

7. Try to solve most of your balance issues by using the faders in your mix and by panning. Do not depend entirely on plugins to save your mix. In most cases, adding an unnecessary number of plugins in the wrong places only makes your mix worse.

8. Don't overdo things like EQ and compression, etc. Try to maintain the original sound and tone of your instruments and vocals.

ORGANIZING your MIX SESSIONS 1. Label your tracks neatly so that it's easy to navigate. Using color coding on your tracks also makes it more simpler to spot tracks and groups in large sessions.

2. Use a template-based approach with your EQ, dynamics and effects sends, auxes and import your tracks to work faster and save time.

3. Always send a pre-mix version to your client, get some feedback and find out what they really want in the song.

4. Plan your effects sends and returns and in a session with a large number of tracks, grouping helps quite a bit.

5. Listen to your mix from a bunch of different sources like your home music system, in your car and through your phones, so that you will know how your mix sounds on other devices and make the necessary changes in order to get it sounding great irrespective of the device.

6. Mixing in mono always helps you in making better mixing decisions as all your sound is narrowed down to the dead center, making your individual levels more apparent.

7. Mix in low volumes and always trusts your ears.

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 The

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KAUSTHUB RAVI & SIVANESH NATARAJAN

LATEST DEVELOPMENTS IN THE DIGITAL WORLD

Avid Pro Tools Ultimate

Audionamix Xtrax Stems

DAW Software

Software, Mac OS

Professional!

The world’s first fully-automatic stem creator!

With Logic Pro X putting out extremely loaded updates regularly, Avid is trying to keep up with a new update to Protools. It's called Protools Ultimate.

A software that can separate any song into 3 stems - Vocals, Music, and Drums. Sounds too good to be true?

Formerly known as Protools HD, Avid has done some rebranding to keep up with the times. Although the name suggests an extremely radical change, there is not that much that is new with it. Avid does claim to have addressed a huge majority of the bugs and issues with the previous versions and promises a much smoother experience, but overall the software still stays the same.

There are certain key features that have been adder. Most of these features could be written off as ones that other DAWs have had for a long time. The new ultimate version adds stuff like Track presets, which allows you to save effect chains etc, much like saving channel strips in logic. It adds a “Listen” mode that tracks the MIDI information, allowing the software to always be retroactively capturing even when not actively recording. They have added a new comping feature that allows you to build a target playlist in waveform view. Again much like logic, it also adds an EQ preview in the mixer window. The most significant feature maybe the moving on the license from the dongle to cloud. You don’t require an ilok anymore as the license can simply be saved on the cloud.

All things considered, it's the same old DAW, with some kinks ironed and some features added to make it look like a contemporary competitor.

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Audionamix is a company previously famous for a software called ADX Trax 3 that is widely used by DJs for creating vocal and instrument samples and now they have announced Xtrax stems. What the software claims to do can only be described as magic.

It is a stand-alone, Mac-only software that you can import any track into. The software then splits the track into 3 separate stems (vocals, music, and drums) that can be exported for use.

It uses one of 4 different algorithms. The software runs the algorithms on a cloud-based system so it cannot run without a reasonably quick internet connection. What you get postprocessing, are the three stems that you can change levels, pan, and export for use.

The software is still far from perfect separation. While testing it, in most cases, it does a fairly good job on drums. It does pick up some of the bass track, but for the most part, it does quite a good job. The music stem has quite a bit of the bass and the remaining instruments sans the vocals. There is a bit of vocal bleed here and there and if there are background vocals, it doesn’t do a great job.

Finally, there’s a very long way to go before the vocal separation gets as good as they claim it is. If the vocals are fairly dry, without much reverb or effects, it does a decent job. On effected vocals, it tends to sound too gated and just not very usable.

In conclusion, it could be a good tool for DJs to collect samples, especially if they are going to add effects and mask the inadequacies of the stems. It could also be a good tool for singers and drummers to do covers. As with any early software, it has a long way to go and is a glimpse into the future where something like this may be extremely seamless and effective.

Waves Scheps Omni Channel

Apple Logic Pro X 10.4

Plug-in

DAW Software

Good job, waves!

Worth it!

Channel strips always look like great deals. They seem to provide an all-in-one solution, especially for sources like drums and electric guitars. Usually modelled after some classic consoles like the widely popular SSL E and Neve strips, they come with presets that set everything from the gate and dynamics to the filter and EQ.

Apple has been putting out some seriously loaded updates to logic for a while now. The recent 10.4 adds some extremely exciting and interesting features.

Although this encourages a culture of preset mixing, if used right it can be really useful to set starting points on certain sources.

The Waves Scheps Omni channel looks to provide a very attractive all-in-one solution. One plugin that does most of the heavy lifting.

It is developed by Waves in partnership with Andrew Scheps, a Grammy-winning engineer with some very impressive credits including names like Adele and Metallica. It is quite rare to see a channel strip that is not an emulation, making this plugin a unique experience.

The diversity of this plugin is quite remarkable. There are 5 distinct modules. The Pre amp, the Compressor, the EQ, the De-Esser and the Gate. Each of these features have a range of different and extremely distinct modes. The Pre amp provides 3 different kinds of analog saturation, letting you add Odd/Even harmonics and even a “THUMP” button that adds some extra low end. The compressor features 3 kinds of compression- VCA, FET, and Opto. This adds so much control in terms of attack and release times and the amount of harmonic saturation added. The gate features some interesting options as well, including Mid/Side modes that is incidentally featured on all the other modules as well. The De-Esser module features 2 very versatile de-essers while the EQ module stays fairly straightforward with a classic 4 band split. The plugin also features an extremely interesting optionan extra insert which gives you the possibility of adding any waves plugin(including another OmniChannel!) anywhere in the chain. The plugin features something called “Focus Mode” which highlights the most significant controls of a particular preset. We wish more plugins had something similar, it really shows the amount of thought that was put into it.

The biggest new feature is definitely the most talked aboutSmart Tempo. It allows you to record a performance and have the software automatically detect and map out the tempo for the entire performance. This is an absolute game changer when it comes to recording live bands and even in the world of re-recording and post-production. The flex tempo editors have also become better, allowing you to do much more precise and easy edits to tempo and time.

Another plus of the Logic DAW is its built-in virtual instruments. The horn and string sounds have gotten a huge upgrade with Studio Horns and Studio Strings.

They have been coupled with a new articulation edit window for extremely delicate and precise orchestral programming. This articulation window also extends to other external software and instruments.

The next upgrade is in the area of plugins. They have now added a vintage EQ collection with plates and Neves.

They have also added some new effects to the existing array with Phat FX and Step FX (based on CamelPhat and CamelSpace from Camel Audio). They add some interesting new saturation and multi-effect possibilities.

Chroma verb is the new and long overdue reverb plugin. It is an addition to the old verbs, an algorithm-based reverb.

It’s packaged in an extremely beautiful new UI which visualises the verb in the space. ChromaVerb is based on the principle of a circular absorbent structure in which the sound is gradually absorbed, much like in a real room. The absorption characteristics are dependent on the chosen room type and reverb parameter settings. It features a range of parameter edits that make it sufficiently versatile.

These are the major features while a lot of minor tweaks have been made to almost every area.

These updates make logic pro one of the best value-formoney DAWs on the market. An excellent place to start for beginners and a great place to stay when they become pros.

The plugin sounds great on drum overheads, vocals, electric guitars and bass. The saturation from the preamp is a standout.Overall, it's a great plugin. But the question is, is it excessive or does it offer a quick one-stop solution for intense and heavy sessions?

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MALIK ARSHAQ

We are at a point in time where irrespective of whether you're a sound engineer, a producer or even a musician, it has become almost crucial to know your way around digital audio workstations. Today, DAWs come with various differences in terms of workflow, capabilities and functionality. So, choosing the right DAW based on your specific requirements is an important factor in deciding how efficient you might be with the software.

Let's have a quick look at a few DAWs and see what they have to offer.

Avid Pro-Tools

Logic Pro

Let's us begin with what is considered to be the industry standard when it comes to DAWs. Pro-Tools is the preferred platform in most commercial recording studios, having been around for around 27 years, it has consolidated its position in the market. As far as audio recording, editing and complex routing capabilities go, Pro-Tools is a force to be reckoned with. Avid has also worked towards creating a wide range of hardware including interfaces and mixing desks that are integrated with the software. If you're looking to be a commercial studio engineer, audio editor or mastering engineer then Pro-Tools is for you.

With a UI similar to that of GarageBand, Apple’s flagship DAW, Logic Pro is considered to be one of the top tier choices when it comes to professional audio production tools. Retaining the simple and clean aesthetic, Logic Pro combines it with extensive MIDI editing capabilities, high quality software instruments, synthesizers and effects. A marriage of detailed MIDI capabilities and professional recording and editing options, Logic Pro is a no-brainer for intermediate and expert level audio engineers and producers, especially if they're accustomed to working on Macs.

GarageBand This extremely user-friendly DAW rose to fame because of its simple interface and the ease with which users could pick it up to get some great results. GarageBand comes free with Macintosh computers which makes it extremely accessible. It has plenty to offer in terms of samples, software instruments and effect plugins. Even though its simplicity results in a few limitations when it comes to routing and complex programming, its simplicity and the quickness with which you can achieve results, makes it an ideal DAW for beginners who are looking to grasp the concept of recording and production.

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Ableton Live If you are a musician that intends to perform a live electronic set or perform with instruments and manipulate loops, look no further. Ableton’s unique Session view allows you to launch clips, loops and scenes, enabling the DAW to act as an instrument itself. You can also flip over to the linear Arrangement view to track live or MIDI instruments. Live has a wide variety of MIDI controllers and hardware that are seamlessly integrated to it, such as the grid-based Ableton Push. Enhancements such as Link allow you to sync two different devices, in order to be control the DAW from either device in real time. MaxforLive is a platform that provides a wide plethora of new and re-worked plugins in open source fashion. Even though it functions as a mixing/editing tool, it doesn't not compare to DAWs such as Pro-Tools in that aspect. Ableton Live is perfect for DJs, electronic musicians or artists that are oriented towards loop based performances.

MALIK ARSHAQ

Sound Effects, Foley and Field Recording A lot of times, people overlook the impact of the sound design and the aural intricacies that are employed in a movie. A large portion of the immersive experience that films provide is due to the sound design and the score.

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A lesser known aspect of the post-production process is Foley, named after sound-effects artist Jack Foley, it is the reproduction or imitation of sounds that are depicted by the actions taking place or caused by the environment on-screen. These sounds are added to the visuals in the post-production stage, after the shooting has finished.

Foley could range from recreating the sound of the breeze blowing to a creaking floorboard to the shattering of a glass bottle. The importance of adding these sounds will be truly realized only when you watch the video when it is not accompanied by the required sound effects. The dead silence often builds up a feeling of unrest and while this can be used to intentionally build up tension, in order to experience the ambience and the environment of the scenario on-screen, you will definitely need to have the corresponding sound effects. For example, a scene that is shot at a beach would feel incomplete if it isn't accompanied by the sound of waves crashing against the shore.

truly present at the scene, watching Antelope grazing through the Savannah is what it's all about. The quality of these recordings and sound effects can be measured by the impression that they leave on an audience.

The field recording process is a bit more challenging than recording a sound effect inside a convenient, sound-treated studio. Based on the purpose and source of the sound that you're trying to capture, your requirement in terms of equipment will also vary. One of the most important things that you need to keep in mind while field recording is that you need to hear exactly what you're capturing, and as a result, headphones are indispensable. If the intended source of sound is at a distance in a specific direction, then shotgun mics are the way to go. These mics cancel out audio from the sides and the back, which results in an extremely directional pick-up pattern. If the desired source is more ambient and not directional, a combination of cardioid mics for stereo imaging or a stereo microphone itself can be used. Handheld recording devices from companies such as Zoom are also a good option in an affordable price bracket. While recording outdoors, one of the most common challenges is wind. Companies such as Rycote have developed windscreens that do an amazing job of drastically reducing wind noise in your recordings.

In today's world, where we expect everything at the tips of our fingers, it would be foolish to not touch upon the convenience of pre-recorded sound effect packs. Available for cheap or in a lot of cases, for free, these packs have samples of most conventionally used sound effects such as creaking doors, breaking bottles or gunshots. You can also find more specific sounds if you spend enough time looking online. While these are easily available and ready to use, they often lack in quality, creativity and uniqueness, whereas the recordings made by Foley artists and field recordings are done to serve the purpose of providing a wholesome experience to the viewer/listener.

In the case of high-budget productions, professional Foley artists whose focus is recreating these sounds are put to the job. What is extremely fascinating is that a lot of times the sounds that accompany a certain visual are created using completely unpredictable and strange techniques. For example, the sound that accompanies the visual of person walking on thick snow is often produced by recording the sound made by footsteps on small pile of sand in a studio. These techniques are named after sound effect artist, Jack Foley who worked on a number of Hollywood films, developing unique methods for performing sound effects live and in sync with the visuals.

While a lot of these sounds are recreated by using a different set of materials to produce suitable effects in a studio, sometimes the producers or film-makers prefer to have actual field recordings of the environment. A perfect example for this kind of a scenario would be a wildlife documentary.

The ability to immerse a viewer, who might sitting in his apartment in Bangalore, to make him feel as though he is

Another important factor is giving these sound effects an aural depth of perception and directionality. Whether you're watching a film at a movie theatre, at your home audio system or on your headphones, stereo imaging plays a huge role in determining how your ears perceive the sounds and correlate it to the visuals. For example, a shot of someone running across a hall, from the left to the right, needs to be accompanied by footsteps with consequent panning. Effects like reverb and echo make a great deal of difference in defining the distance between the source of a sound and a listener as well as the environment in which the sound is produced in. A perfect example would be to pair a shot of someone walking towards the camera in large hall with the sound of faint footsteps drowned in a hall reverb. As the person get closer, the volume of the footsteps increase as the reverb decreases.

These techniques are not limited to films and videos but in a variety of other media such as video games and, obviously, music. In certain genres of music, portraying soundscapes plays a huge role. Electronic genres such as psychedelic trance heavily employ the use of field recordings and sound effects to establish trippy soundscapes. Instances such as Agalloch, a black metal band, tapping on a deer skull to create a beautiful and meditative percussive element on their track “The Lodge�, are proof of the results that can be achieved when these techniques are used with creativity.

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ENTERTAINMENT TECHNOLOGY CONVERGENCE AT PALM 2018 38

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Pro Audio, Audiovisual and Lighting will take center stage, as PALM expo – India’s largest gathering of the entertainment technology and music production industry heads towards its 18th consecutive edition. Here’s a prevue of what will be on show in the Mumbai expo.

Summer is already on a roll, and temperatures are set to soar even higher with the excitement and energy among the global pro sound and light industry on a high, as PALM Expo 2018 opens its doors to visitors in less than two months from now.

Hosted in Mumbai, the expo will take place from May 31st – June 2nd, 2018.

The mega event spread across 6 halls at the Bombay Exhibition Centre, Goregaon, Mumbai, will provide access to the expo floors and the many prominent features taking place concurrent to the trade show activities.

Growing in tandem with market growth

sound and light, cinema, and systems engineering & AV from USA, Europe, China and India.

This will be a great show for product buyers, with major pro audio brands displaying an endless slew of proaudio, lighting and AV products and turnkey solutions that include high-end professional speakers, line arrays, amplifiers, woofers & subs, mixers, consoles, patch panels, cables, connectors, mics, headphones, extended racks, stage lighting, lasers, smoke & fog machines and more.

The adjoining pie chart indicates product wise segmentation at the PALM expo 2018.

PALM Content and Demo Features: The Indian market continues to mature at a rapid pace.

The entertainment event industry has seen phenomenal growth in the last decade with music festivals becoming a youth culture. The demanding concert riders of these international artists, has made it obligatory for rental companies and suppliers in India to invest in state-of-theart equipment and has led to an improved industry setup.

The PALM Expo now in its 18th edition will propel this growth by encouraging connection between manufacturers, distributors, dealers and end users. The PALM expo which will impact Indian, as well as international markets and business in the coming year has grown by 10 % with 232 exhibitors, of which 81 are first time exhibitors at the expo and an exhibit area space increase of approx. 17 % from 2017. (All figures are at the time of going to print).

“PALM 2018 is delivering critical sourcing to industry in Live Sound, Pro Audio, Entertainment Lighting, and Audio Visual. It gives me the greatest pleasure in the participation of leading professionals in the PALM Conference and Soundscape. Motivating the market and Putting Technology in place has been the mantra for PALM Since inception. The gathering at PALM each year delivers business and investment. New brands establish each year. There is magic in the aisles. Be there or be square,” says Mr. Anil Chopra – PALM Director.

New Technology and Solutions at PALM The expo will showcase ground-breaking technology and powerful solutions for professional buyers looking to conceptualise and deliver content on any entertainment event and entertainment production platform. The expo will deliver industry professionals an invaluable and privileged opportunity to meet all major distributors and importers and equally important top sound & lighting engineers and designers and AV consultants and systems integrators.

The PALM Expo 2018 is all geared up to welcome 25,000 visitors over three days attending Exhibit Halls and features covering 27,000 sqm. The range of exhibits will showcase over 500 brands from over 200 exhibitors representing the best technology and products in

PALM has a very strong philosophy and belief in the assets it creates, their utility and purpose, contribution to evolving the industry to high professionalism, greater talent and better business. It is this sense of purpose that drives the 10 dynamic PALM features namely – PALM Conference & Seminar Programme, PALM Soundscape, PALM DJ Championship, PALM HARMAN Live Arena, PALM Lighting Design Showcase, PALM Indoor Compact Line Array Demo, PALM 3D Immersive Projection & Mapping, PALM Rigging & Trussing showcase Indian Recording Arts Academy Awards and PALM Sound & Light Awards.

The Dynamic features are truly Fantastic gatherings each year, proving beyond doubt that PALM expo, Mumbai is one of the most important platforms in Asia, and among the top three pro sound and light platforms in the world. The three days of the show will witness the top honchos and tech gurus in the event, entertainment venue and music production business.

New to PALM Expo this year is India’s first Indoor Line Array Demo, which will provide venue owners an opportunity to source sound systems after evaluating the sound quality in real-world conditions, with reputed Electro-Acoustic consultant Mr. Milindrao Rane at the helm as Consultant for this feature.

This novel feature will have national and international brands demoing top of the line SMALL to MEDIUM format line arrays and sound systems in realistic indoor conditions.

The prime objective of this feature is to assess the tonal quality, dispersion pattern, phase coherency and frequency response. In order to attain the right SPL, PALM has set a TARGET MAX SPL with tolerance band, both, on the SPL and the FRQ (Frequency Response).

The PALM Expo has always been a major “not to be missed event” marked on the calendars of the Indian pro audio, lighting, AV Install & integration and music recording industry. Each year the organizers have upped their game and this year too, the expo’s energy is all set to get more effusive with all the opportunities planned out at the venue to learn about and experience industry dynamics while sourcing the latest state-of-the-art equipment.

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ROLAND UNVEILS TM-6 PRO TRIGGER MODULE Powerful, Easy-to-Use Sound Module Brings Professional Hybrid Versatility to Any Acoustic Drum Set

Roland introduces the TM-6 PRO Trigger Module, a compact and powerful device for professional hybrid drumming.

The TM-6 PRO features 500 sampled sounds—including many newly recorded at world-famous studios—plus 268 expressive V-Drums sounds, 80 ready-to-use kits, and inputs for connecting up to 12 pads and/or drum triggers. Adding in user sample import, four assignable audio outputs, a click track, headphones monitoring, and more, the TM-6 PRO is the ultimate command center for bringing hybrid power and versatility to any acoustic drumming setup.

Today’s popular music commonly incorporates electronic percussion sounds created in the studio, and acoustic drums are often enhanced in the mix with layered samples for bigger impact and fatter tone. The TM-6 PRO makes it simple for any drummer to bring these

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electronic sounds and samples to their stage performances and control everything right from their kit.

From the TM-6 PRO’s panel, players can easily assign, mix, and modify sounds, apply built-in effects, monitor trigger status, and more. It’s also possible to play backing tracks directly from SD media, and use the TM-6 PRO as a USB audio interface and trigger-to-MIDI converter for a computer DAW. The TM-6 PRO features six dual-trigger inputs that can accommodate up to 12 total trigger devices when using Y cables. Available Roland devices include V-Pads, RT-series acoustic drum triggers, the BT-1 Bar Trigger Pad, and more.

There’s also a hi-hat control input for connecting an FD-8 hi-hat pedal.

To learn more about the TM-6 PRO Trigger Module, visit www.roland.co.in.

SENNHEISER TO LAUNCH THE MUCH AWAITED

EVOLUTION WIRELESS G4 AT THE PALM EXPO 2018

With 2018 marking the 20th anniversary of evolution, Sennheiser is proud to present a first look at the longawaited evolution wireless G4. Sennheiser is pleased to share this information with our trusted partners.

Launched in 1998, Sennheiser’s evolution line has become an industry standard all over the world, serving as its most successful microphone series to date. evolution Wireless has become a go-to solution for a wide variety of applications including live performances, ENG work, business communications and more.

With over 70 years of creating ground-breaking products, Sennheiser continues to lead the industry with its innovations and visions for the future of audio. evolution Wireless G4 demonstrates Sennheiser’s dedication to creating the ultimate audio experience through excellent sound quality and user-centric design. G4 also marks Sennheiser’s commitment to evolving with both its current customers and those of the coming generations.

About Sennheiser Sennheiser is shaping the future of audio – a vision built on more than 70 years of innovation culture, which is deeply rooted within the family-owned company. Founded in 1945, Sennheiser is one of the world’s leading manufacturers of headphones, microphones and wireless transmission systems. With 20 sales subsidiaries and long-established trading partners, the company is active in more than 50 countries and operates its own production facilities in Germany, Ireland and the USA. Sennheiser has around 2,800 employees around the world that share a passion for audio excellence. Since 2013, Sennheiser has been managed by Daniel Sennheiser and Dr. Andreas Sennheiser, the third generation of the family to run the company. In 2016, the Sennheiser Group had sales totaling €658.4 million. www.sennheiser.com

evolution wireless G4: Overview evolution Wireless G4 retains all of G3’s best features while simultaneously providing many system improvements. It comes with more power, more flexibility, more bandwidth, quicker setup, full integration and full mobility.

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Bose Professional fosters a divine audio experience at the Madre-deDeus Church in Vettukad, Kerala 42

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The parish of Vettukad, more popularly known as “Madre-de-Deus Church”, under the Latin Catholic Arch Diocese of Trivandrum, is a famous pilgrimage site that bears a history of more than five centuries. The church is dedicated to the Mother of God – Madre De Deus – which is combination of two foreign words; derived from Portuguese and Latin ‘Madre’ means Mother and De Deus means ‘of God’; and people from all parts of Kerala and outside, irrespective of caste and creed come to the church seeking the blessings of Christ the King.

maintaining the same tonal signature as the indoor system. And this is covered through multiple numbers of the LT 9702 WR weatherized loudspeakers speakers along with a few units of the LT MB24 WR subwoofers providing the low-frequency fidelity; all powered through the PowerMatch PM8500N and PM4500N amplifiers. This system is particularly crucial in conveying the audio from inside the church to almost 40 meters outside, where people gather on important celebratory processions like those on Easter and Christmas etc.

A landmark structure in the region since its inception, the church prides itself on its rich history and legacy.

And with the recent overhaul of its internal and external semblance; the church’s glorious heritage now embraces cutting-edge audio technology with the installation of a state-of-the-art PA system consisting from global pro audio leaders, Bose Professional – designed and integrated by the Bose Professional team in India in association with their Indian distribution partners Hi-Tech Audio, and regional partners M/S Nobel Audio who managed the installation and technical support during the execution.

Rev Fr. Dr. Nicholas T – head of the church committee at the Madre De Deus Church, shares “Our church stands on the pillars of rich history and legacy; and quality is something that we abide by very strictly. In light of the entire premise commissioning a long overdue renovation, we knew it was time to invest in an enhanced audio system. There were a lot of things driving a change in the sound system, from aesthetics to sound quality and just pure need for greater coverage.

After checking almost every available option in the market, we found the Bose system to meet all of those challenges.

We met with the team that finally commissioned the sound system here, and they proposed a meticulous design sketched through the Bose Modeler Presentation and Auditioner Demonstration. They went the extra mile in providing a live demonstration of the entire proposed solution which certified the modeled results, and that is when we were completely convinced about the positives of the system and it is an absolute value for money investment. The sense of presence is dramatically improved, and the sound is spectacular. Bose gave us everything we needed in a sound system.”

With the audio architecture divided into indoor and outdoor sections respectively, the system inside the church comprises multiple units of the Panaray MA12EX modular line-array loudspeakers integrated and aligned in clustered sets of two, with a few units of the RoomMatch Utility RMU 108 loudspeakers supplementing as frontfills. Additional units of the MA12EX cover the flanks of the church as sidefills. The entire system is powered by four Bose PowerMatch® PM8500N networked amplifiers, and complete speaker management is handled via a Bose ControlSpace® ESP-00 processor.

This indoor system replaces an older PA system that whose insufficient coverage lead to the need for multiple numbers of speakers to line the internal space, thereby compromising the aesthetical appeal of the heritage structure. The precise positioning of the loudspeakers of the new Bose system perfectly addresses the church’s unique architectural challenges and allows the sound to be projected unobtrusively everywhere within the church with greatly enhancing speech intelligibility.

The crystal clear sound is experienced in virtually every seat without significantly increasing the volume.

On the other hand, the outer areas required a complete weatherized solution that met the key requirement of

Mr. Vibhor Khanna – Country Manager – SAARC, Bose Professional asserted, “The Madre De Deus Church is an iconic religious institution, and it is an absolute honor and privilege for Bose Professional to be a part of such a rich legacy. We’d like to thank the entire church committee especially Rev. Fr. Dr. Nicholas and the construction committee convener, Mr. Aloysius for investing their faith in our brand; and a special vote of thanks to the entire audio commissioning team including our official regional representative Gautham ND, and the teams at Hi-Tech Audio and Nobel Audio respectively, for a job well done. We are proud to deliver the kind of world-class audio solution that an exemplary shrine like the Madre De Deus truly deserves.”

CASIO CTK 3500 REVIEW

Casio is a name that has become synonymous with digital keyed instruments like hybrid pianos, digital pianos and keyboards. Whether you're a professional keyboardist or someone who's just picking up the keys, you've definitely laid your hands on one of their products.

In this edition, we'll be taking a looking at a piano-style keyboard that comes with a variety of features while fitting snugly into a tight budget. The Casio CTK-3500 has 61 keys with touch response that have two levels of sensitivity. Pair that with the digital effects, such as reverb, to provide a good level of depth and playing dynamics. The 48 polyphony options and the 400 tones make this a versatile product to start your learning with. The built-in rhythms and tunes serve as backing tracks and are extremely fun to jam to. This keyboard has the standard jack output, a standard footswitch port and an usb connection port for MIDI compatibility.

A very interesting aspect of this product is its compatibility with the Chordana Play app. The app can be downloaded into your smartphone or tablet from Google Play store or the app store. The app helps beginners learn how to play their favourite songs by connecting the keyboard to the smart device by a commercial audio cable.

You can learn with either sheet music being displayed on the screen or with the midi information of the song being visualized in a Guitar Heroesque manner. While the compatibility of the CTK-3500 with Chordana Play is a feature that can mainly be utilized by beginners and users that are new to the instrument, it is an extremely fun option for well-versed keyboardists as well.

Overall, the CTK-3500 is one of the best options for beginners that have just picked up the instrument and are looking to get more fluent with the keys, while at the same time being a useful tool that enables smooth and versatile performances.

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Products launched at

Musikmesse & ProLight and Sound 2018 Every year at Frankfurt, Germany, the international Musikmesse trade fair brings together some of the most innovative and reputed names in the music, pro-sound and lights business to showcase wide variety of products and ideas. Having major retailers, musicians, professionals and enthusiasts from all over the world, Musikmesse serves as a grand platform to network as well as build businesses. Here are some of the most interesting and innovative products that were launched at Musikmesse 2018.

Metal Drum Power The only known drum kit whose drum shells are forged using stainless steel.

Since the vibration characteristics of the shells are of utmost importance, the microstructure of the rings is of a very high consistency. The manufacturing precision and the homogeneity of the drum ring material together with the hard coating of the outside of the ring give the drum a very particular vibration behaviour, which results in a unique sound character. A ceramic coating of approx¬imately 0.2mm thickness is applied over the shells to shorten the vibration time and eliminate unwanted extra oscillations. These meticulously crafted German drums are definitely one-of-a-kind and caught the eyes of a lot of music enthusiasts.

Steingraeber & Söhne transducer piano Steingraeber & Söhne has demonstrated that there are a multitude of professional applications that electronics can offer music. The transducer technology employed in this piano was born out of a collaboration between Robert HP Platz and IRCAM Paris, and optimised in SWR’s Experimental Studio in Freiburg. The rich grand piano sound is achieved using the physical modelling approach.

The various features of the transducer piano include the ability to play in all temperaments, perform quarter-tonal music as the sound of the piano’s own strings is mixed flawlessly with that of the transducer. The Transducer Grand Piano is controlled by both the pianist themselves and the sound engineer at the computer. The need for an external loudspeaker is eliminated as the transducer acts as a ‘booster‘ to the sound of a live piano, perfect for open-air concerts.

GEWA Drum Workstation G9 The GEWA Drum Workstation is nothing like your run-of-the-mill e-drum module. The multichip architecture separates the trigger processing, sound engine and the 10 inch direct-touch user interface, resulting in optimum performance and easy navigation. The 4GB flash memory allows to load multiple samples from your library without any loading latency. A massive number of samples can be downloaded from the GEWA Electronics cloud or accessed from the 128GB internal storage memory. This device has master XLR outputs, 8 individual outputs as well as a headphones jack. Using the open routing matrix, any of the signals can be assigned to the desired outputs. The GEWA Drum Workstation can also be used as an interface to track drums directly into your favourite DAW via a multi-track USB port. The cutting-edge technology paired with the DW drum shells, the multi effects processing and the exceptional build make the GEWA Drum Workstation G9 an absolute powerhouse.

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The 3Dvarius Violin 3Dvarius designs and produces electric violins with a very unique design approach which makes them truly stands out as new age masterpieces.Combining cutting technology with ancient violinmaking skills results in products that are as much a feast to the eyes as they are to the hands.

The 3Dvarius electric violin is a French hand-crafted instrument with an extremely refined, transparent design. Available in both 4 and 5 string variations, these violins have the weight and feel of a classical violin while they come armed with sound sensors under each string to ensure that sound and tonality of your instrument is translated accurately. In order to facilitate the transition of violinists from a classical violin to a 3Dvarius, you can personalize each 3Dvarius according to your requirements. This means that each 3Dvarius is a unique instrument with the bridge, tuning pegs and other specifications chosen by you to cater to your specific needs.

Alternate Mode Inc vibeKat The VibeKAT is mallet-based MIDI controller and instrument from Alternate Mode. Based off their legendary MalletKAT, the vibe contains all of the expression and dynamics with an entirely new simplified interface. The concept of the VibeKAT is that each of its 100 User Kits are completely preprogrammed. Features like dampening and layering no longer need to be assigned and programmed like they did with the MalletKAT. The user does not have to program any parameters in order to perform and as a result this is an ideal product for musicians who just want to call up a sound and play. The internal sound card from Kurzweil is accessed with 1/4" inch stereo line in/line out cables. The 100 Pre-programmed user kits are conveniently arranged into ten sound groups including vibes, marimba, timpani, xylophone, bells, percussion, drum kits as well as standard instruments like piano, bass, woodwinds, etc. The instrument is available as the 3 octave VibeKAT Pro and the 4 octave VibeKAT Grand. The solid white body comes with water resistant pads include a coated nylon top that protects the pads from scuffing and from fading in direct sunlight when played on the field. One of the most impressive features of the vibeKAT is that it performs as MIDI controller for the virtual instruments in your DAW as well as a stand alone instrument that can be used for live performances.

Exodus Digital Valkyrie Valkyrie is Exodus Digital’s new hardware synth from Exodus Digital. Using the latest in FieldProgrammable Gate Array (FPGA) technology, Exodus Digital aims outdo the DSP competition.

Valkyrie features 128 voices with 8 polytimbral Parts through four balanced stereo outputs at 32-bit/96kHz. The Valkyrie comes armed with 10 oscillators per voice which can be doubled to 20 by using two voices. Offering a wide variety of synthesis techniques such as ring modulation, FM, dual two and four pole ladder filters, hypersaw, hard sync and dual wavetable, the Valkyrie is an absolutely fierce instrument.

Valkyrie is designed to be used as an independent instrument without a computer with a high-resolution OLED display but also offers a full MIDI implementation via traditional 5-pin DIN and class-compliant USB 2.0.

Ningbo Alctron CM6 MKII The CM6 MKII is a cardioid large diaphragm condenser microphones from Ningbo Alctron. Its wide frequency response, smooth response curve, large dynamic range, and low distortion make it a very versatile tool that can used in studios and broadcast applications as well as in concert halls and live scenarios. The precision 1�Gold sputtered Diaphragm, high SPL limit, wide frequency range of 20Hz 20kHz and the discrete class A FET electronics featuring a transformer coupled balanced output make it the perfect choice from most sources.

Earasers Musician's Hi-Fi Earplugs A lot of musicians and regular concert goers are not aware about the long term effects of exposure to high noise levels. Since, it isn't possible to avoid high-noise scenarios as a musician, sound engineer or concert-goer, it is essential to look into hearing protection. But unlike your regular earbuds, Earasers don't plug up your ears and muffle the sound. Manufactured by a 50 year old hearing aid company, Earasers filter out loud noise while still allowing you to hear at a safe, comfortable level.

By utilizing a unique attenuation "V filter" that provides 19dB of protection in the right frequencies, Earasers was able to produce the world's first flat frequency response earplugs.

The Earasers soft silicone design, based on hearing aid designs, uses Smart Seal technology that conforms to the shape of your ear canal for a comfortable fit that you can wear all day. Earasers can be cleaned and reused, and the silicone tips can replaced when they're worn out.

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VOTED

BEST

DJ

SCHOOL

LONDON’S #1 SCHOOL NOW IN MUMBAI - ENROL FOR MAY WWW.POINTBLANKMUSICSCHOOL.COM For course enquiries call + 91 22 6624 3200 or email admissions @ pointblankmusicschool.com

THE SECOND TERM AT POINT BLANK’S MUMBAI ADDS EXPANSIONS TO THE COURSE The second term at Point Blank’s Mumbai school is well underway, with further expansions to the course now being added. From May, additional courses include one-day tasters, like Explore DJ, in addition to their three-month comprehensive programme, Complete DJ & Entrepreneur. What's more, they now cater for all ages with Kids- and Junior-specific classes. Students enrolling on any of the longer classes are also eligible for a free copy of Pioneer’s Rekordbox DJ performance software, plus Native Instruments Komplete 11 with Complete DJ & Entrepreneur, totalling `66,000!

In their first term, the budding DJs in Mumbai were given access to Point Blank’s expert instructors and curriculum, taught by 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.

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

By way of new courses, Point Blank are now offering a range catered to younger students aged 8 - 14. For those interested in testing the water to see if DJing could be their thing, they offer a single session with the Explore DJ course or the more intensive Pro DJ Workshop which are available for adults too, here and here respectively. With further weekend and evening classes available for adults too, there's a programme to suit anyone. Why get stuck in the rush hour traffic when you stay in town after work and learn how to DJ! Last but not least, Point Blank Mumbai have made some changes to their flagship course, which becomes the Complete DJ/Entrepreneur course as of the next term, beginning 11 July. This is for those that are really serious about learning all the skills you need to become an artist in your own right. Over three months, students are given detailed tuition in beatmatching, mixing with CD, Vinyl and MP3, scratching and more, finishing by playing in a top Mumbai club. They are also given an in depth insight into the music industry and tips to build their personal brand. Students have access to practise time outside of class using a range of incredible equipment including Pioneer DJ’s CDJ2000 Nexus, DJM2000 Nexus, EFX 1000, RMX 1000, and DDJ-SX DJ Controller. They have recently updated their photo tour too, so you can see the new array of gear.

Enrolment is open right now, so don’t delay! Check out the full range of Point Blank Mumbai courses here and get in touch by calling +91 22 6624 3200, or visit the contact page.

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

A student using Point Blank’s DJ studio at TSM in Mumbai

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MUKESH AMARAN

GIG CALENDAR MAY 2018

MUMBAI

DELHI

10th May

Levi's® Lounge X Nrtya Presents : Ape Echoes (Hybrid Set)

Levi's Lounge, Mumbai

10th May

Angad Katari

The Piano Man Jazz Club, New Delhi

12th May

All-Star Jazz Band

Experimental Theatre NCPA, Mumbai

11th May

James Zabiela (Balance Tour)

Raasta, Green Park, New Delhi

18th May

MH43 India LIVE

The Finch, Mumbai

17th May

Kamakshi Khanna Collective

Hard Rock Café, New Delhi

19th May

Boyzlife India Tour

Mumbai 18th May

Crooner's Collective

The Piano Man Jazz Club, New Delhi

23rd May

Khruangbin India Tour

Aurokitchen, Delhi

24th May

Khruangbin India Tour

Aurokitchen, Delhi

24th May

Leaftone & Porkjet

Hard Rock Café, New Delhi

27th May

UTR 17.0 Ft. K-os Theory x Turbanraga

Auro Kitchen, New Delhi

20th May

Boyzlife India Tour

Mumbai

20th May

Sunday Jazz Sundowner with Anurag, Andrew, Abhinav and Rynosax at The Quarter

The Quarter, Mumbai

23rd May

John Mayer Experience at The Quarter

The Quarter, Mumbai

23rd May

Khruangbin India Tour

Mumbai

24th May

Khruangbin India Tour

Mumbai

27th May

Sunday Jazz Sundowner with Christos, Sounak and Saurav at The Quarter

The Quarter, Mumbai

31st May

Sitar Rhapsody with Chirag and Friends

The Quarter, Mumbai

GURGAON 19th May

BENGALURU Komorebi & Your Chin

Hard Rock Café, Bangalore

13th May

Killing Fields - 2

Indigo XP, Bangalore

17th May

The Pulse Theory

Hard Rock Café, Bangalore

19th May

Boyzlife India Tour

Bengaluru

20th May

Boyzlife India Tour

Bengaluru

Euphoria-Thursday Live!

Hard Rock Café, Bangalore

48

The

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highonscore.com

Hard Rock Café, Gurgaon

PUNE

10th May

24th May

Thaikkudam Bridge

10th May

Agnee - Thursday Live

Hard Rock Café, Pune

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

Tag us on social media to get your gig featured. thescoremag

highonscore

KARISHMA D’MELLO

MUSIC THEMED CROSSWORD Across:

1) Crafters of string instruments, 17th– 18thcentury Italy 8) Instrument; national symbol of Ireland 11) Rush’s Geddy ___ 12) Series of eight notes 13) Consistent judge on American series – “The Voice” 14) Asia’s first independent music awards, abbrv.

16) Hip Hop artist 2___ 17) American indie-pop band 18) “Summertime sadness” hit maker, ___ Del Rey 21) Friedrich Schiller’s “___ to joy” sung in the final movement to Beethoven’s Ninth Symphony 22) Jonas brother 24) Nirvana song 26) Goo Goo Dolls’ soundtrack for “City of Angels” 28) Popular Music Channel 29) America’s African instrument 31) Higher in pitch by one semitone 33) “We all live in a ____ submarine” 35) Former drummer for Avenged Sevenfold “The __” 36) “____the world”, Imagine Dragons (2, 3, 2) 38) “I’m gonna fight em off, a seventh nation ___ couldn’t hold me back” 39) Popular English artist, Sheeran 41) Rock band Kings of ____ 42) Twisted Sister lead vocalist

Down: 1) Less commonly known as: Saul Hudson 2) Singer/Songwriter ___ Bruner 3) Colbie Cailat’s second hit single 4) Country musician, Parton 5) Italian composer Antonio Lucio who wrote “The Four Seasons”, 7) One hit wonder Vanilla ___ 8) Jewish folk song ___ Nagila 9) Swedish Musician Tim Bergling 10) Bill Berry, Peter Buck, Michael Stipe, Mile Mills, together 15) Kreator’s “___ run” 19) “The bad boys from Boston” 23) Yusuf Islam 24) Country artist who featured in “Pat Garet t and Billy the Kid ” 25) Black Sabbath’s vocalist during 27) Genre 30) “For he’s a ___ good fellow” 32) Pioneer of pop music in India, ___ Fernandes 34) Billy Joel’s “She’s always a ___ to me” 37) Michael Peter Balzary (alias) 40) Second note in a musical scale

MUKESH AMARAN

ALBUM ARTicle: ARKWERK

Instagram handle @arkwerk

Picture sitting in a room with your favourite band, musicians who you consider legends. Now imagine actually using your field of expertise to work side by side with the people you idolize. That’s exactly the feeling Arjun Rajkishore and Abijit Vivek of Arkwerk were experiencing while creating the now iconic album art of the ultra-talented Blackstratblues album The Last Analog Generation.

Having started out creating the T-shirt design for the 10th anniversary of the band’s first album, “Nights in Shining Karma”, Arjun got the opportunity to work on the artwork of the new album they were working on then. “I really wanted to attempt a photo route for this - it was something I've never done before, and we had only 1 day to actually do it, and it *definitely* wouldn't have been possible without my cousin Abijit Vivek who actually shot the album cover.”, say Arjun.

Having had just one day to create the album art, Arjun and Abijit had to come up with a DIY contraption to use as a tripod to attain the perfect height to shoot the rack at Warren Mendonsa’s home studio.

An artist always seems to throw in a bunch of nods and references while creating an artwork, and Arjun is no exception. He has riddled the album art with Easter eggs which adds more character to the album art and are references that would put a smile on the fans faces. “The 11:11 in the center is their daughter Nia's birthday. 004 next to the album title is because it's their 4th album. Crystal Echoes on the bottom panel was also a setting used in the album itself!”, says Arjun while getting excited himself.

A digital product designer and a graphic designer in the music industry, Arkwerk’s process of creation is a constantly evolving one. “I approach most of the work I do the same way I approach an app design or a web design project. I try and get into the mind of the artist as much as I possibly can, and then work with them constantly to put out a finished product.”

Favourite band – Rush Favourite track – Subdivisions by Rush Favourite Indian Artist – Skrat, Donn Bhat + Passenger Revelator, Pentagram and Blackstratblues among others.

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Ready to perform.

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