The Score Magazine January 2019 issue

ISSN 0974 – 9128

Vol 12 Issue 01 January 2019

thescoremag

highonscore

highonscore

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India's National Pan-Genre Music MagazinE

UP CLOSE AND PERSONAL WITH INDIE BAND

FUNKTUATION BAND OF THE MONTH

IN INDIA

FESTIVAL REVIEW

PRO AUDIO

RECORDING HOUSE OF ECHOES OORALI WATERS OF EARTH VOCALS AT HOME

inside

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ON THE COVER

FUNKTUATION

WHAT'S NEW AND LOCAL?

INDIE REVIEWS BAND OF THE MONTH

OORALI

QUIRKS AND QUERIES

HANITA BHAMBRI IN INDIA

HOUSE OF WATERS NOT TO MISS

5 TIPS FOR TRAVELING MUSICIANS FESTIVAL REVIEW ECHOES OF EARTH

PRO AUDIO

RECORDING KILLER VOCALS AT HOME

THE TEAM Director, Business Development Pragash VM Director, Marketing & Operations Sneha Ramesh Director Ajay Prabhakar Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Creative Designer Manasi Doshi Content Contributors Shreya Bose Mukesh Amaran Souvik Chakraborty Aditi Sarawagi Amogh Rao

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SHREYA BOSE & NAVYA C

Setting the Funky Groove- Conversations with Indie Band

Funk is one of those challenging genres which pushes the limits of popular music and gets into additional layers. In a musically diverse country like India, exceling in an international genre like Funk is an adventurous task.

The band Funktuation with the popular playback singer Benny Dayal on vocals, Joshua Satya on guitars, Carl Fernandes on the bass, Alok Merwin on the keys, David Joseph on drums, Allwyn Jeya Paul on percussions and Toby Joseph, their Sound Engineer could attain this task in great ease and swiftness. This mellifluous funk band has been making waves in the Indie music scene since its inception in the year 2011 and now all set to entertain the audience with a brand new EP Funk Katcheri.

The experimental album features a sublime single Oora Paaru which is a refreshing take on the hurried nature of today’s contemporary living. In this age of technological rush and materialistic living, it is so important

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for every one of us to make beautiful memories and take a moment away to realize the beauty of the present. With such exhausting living and stressful realms, following the heart has become a tough task. Oora Paaru is Funktuation’s honest attempt to make the listeners to take a breather, follow their heart and in short- being completely present in this moment.

Musically, the song also takes back the listeners to the golden era of 80s Funk with Electronic drums and language wise- the bridge between Latin and Tamil folk vocals is something unheard of till date. Oora Paaru has the best of both from the sultry streets of Chennai to the groovy streets of American downtown. The rest of the album is sure to catch all our fancies especially after the stupendous success of Oora Paaru.

This band has unique energy which started making waves ever since they came together. They have also collaborated with various other

artists for gigs and generated some fantastic numbers to the delight of their audiences. Their biggest asset band is their ability to adapt funk into regional languages such as Tamil, Hindi as well as English. They also love putting in a bit of R and B, Disco and Soul which effortlessly blend with the genre. Apart from their fantastic music presentation, they got more attention with incredible sound engineering by Toby Joseph.

job. But Funktuation stepped up to the challenge and have been creating great experiences for their listeners.

They bring out a soulful dimension to each number by adding additional layers of bass, percussions, and vocal magic. With Benny Dayal’s versatility in singing various genres ranging from Classical Music, Indian Folk to western pop- Funktuation is a band which cannot be missed!

Funktuation draws inspiration from artists such as Michael Jackson, Daft Punk, Planetshakers, and even pop sensation Justin Timberlake.

Their approach prioritizes balance between melodious sound and contemporary riffs. The band is incredibly high on energy but manage to tantalize listeners with soul-striking tones every time. They have had the privilege to travel extensively over the world and perform in prestigious venues such as Indian Tri Festival festival, Malaysia; MAD festival; Gaana Music Festival, San Francisco; Indian Turf Festival and so on.

India, where music primarily serves film music, making independent music and creating an impact is not an easy

We had the opportunity to strike a conversation with the band members and ask them about funk, life and creativity

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BENNY DAYAL- Vocalist What surprises you the most as an artist?

I personally like competing against myself always and when I outperform my former being, it surprises me the most! That also allows me to push my limits and sound different for every new song I perform.

How much effort do you put in Indie music? Does your approach change based on genres?

Well, it is all music by the end of the day. But I must admit that in Indie music we have more freedom as a band. Bollywood on the other hand gets involvement of the production team and we do our job within our limit. So, at any given day, Indie music has more freedom and experimental approach towards composing, presentation and also allows us to try out new things.

Do you feel that compartmental approach towards working on music helps?

I don’t think such an approach would work. Music should be seen as a bigger entity than a smaller aspect. When you start looking at music as a divided entity, creativity goes off the roof. This applies not just for music but any art form.

How did the year 2018 treat your band?

For me, it has been a new beginning as a band. We have created something quite beautiful and we are grateful for what happened. We look forward to keeping the ball rolling in the coming year! Funktuation aims to be novel and creative in every song we cover or compose.

What according to you is the most optimistic aspect of Indian Indie music?

There is more independent music coming around with new artists and that brings us bright hope. We are sure

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that a strong music industry lies ahead at par with the film industry. That would be a biggest breakthrough for the music scene in India and would encourage more artists to surpass their creative limits.

JOSHUA SATYA- Guitarist What was the first song that made you want to become a guitarist?

There is no particular song as such. I was heavily inspired by the Beatles Tribute concert played by my Dad once. Ever since, my Dad became my musical hero!

Did you observe any significant change in the music industry ever since you started playing?

Music is evolving with time and plenty of positive changes are happening in Indie music and even in film music. The audience also is more open towards fresher musical approaches. They are not being close minded for new experiments and that’s what encourages us to be more novel in our songs.

What do you think is the greatest advantage of being both in film music as well as Indie music?

Whether you are on stage on in studio, the music remains the same. But the direct aspect of interacting with audience can be seen only in live performances. So, I love doing both!

CARL FERNANDES- Bassist Why did your band choose Funk as the genre?

It’s all about the groove and the rhythm which captivates us. We all love funk’s rhythm and melody and that drove us.

A bass guitarist would never say no to that! Funk is about being free spirited and being true to the music itself.

What should the listeners know more about your band?

The listeners should listen to artists like Alok and a band called Oxygen where I played more of Carnatic fusion. That kind of brings out a different shade of me as an artist.

take a break and come around. I think most creative people work the same way and it is no different for me.

Having a much needed break from a chain of thoughts always gives a new perspective about artistic work.

ALOK MERWIN- Keys

ALLWYN JEYA PAUL- Percussionist

Can you describe your band’s ideal day out?

Will there be a state where the world is overloaded with music?

Going to Kerala, have an appam with stew, puttu with jaggery powder! Then follow up with a long drive to stop for mutton biriyani and in short, it should revolve around wholesome food. We would never say no to a good day with delicious food and that itself is a huge inspiration to create fresh music.

What is the most striking aspect of your band? What binds you together?

Funktuation as a band has certain characteristics and has builds its own persona around its music.

We are unique as individual people, and the same time we become united for the band’s purpose. Such bonding is a must for great music to come out.

DAVID JOSEPH -The Drummer: What is the most ridiculous musical risk you have ever taken?

This happened a few years ago with Funktuation. For one song, my drum stick fell down and nobody was there to help me get it back. So, I had to play the song with just one stick in hand! At that moment I only thought that I have to keep going, rather than giving up and freaking out about what just happened! It was a great life lesson for me as well.

How does a drummer come out of a creative block? How different is it compared to other instrument players?

The world is never short for good music! So, impossible! To be clearer, the world becomes a better place with more music.

What is your greatest fear as an artist?

The biggest fear I have is to miss my family during my creative pursuits.

How would you introduce your band to a new person?

I’d first ask them to listen to our live show, and then check out our previous work.

TOBY JOSEPH- Sound Engineer Describe your beginning of the work with Funktuation.

It was like a surprise when I came back from Goa where the gig was suddenly announced. But right from then, I never got a chance to look back from this fantastic team.

How do you talk about Funk and your band to someone who does not understand it?

I try to explain the same as a chef instead like a musician. By involving exotic flavors and stylish ingredients, I would say that the song would be like a delicious dish. Like any other art, music is not something which can be explained in words.

Funk is something which is extremely fun when experienced.

I tend to get creative blocks while playing but my hands and legs do not co-ordinate. I just stop at that moment,

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GET on a roll

NEW

/ DTX 402 SERIES

Launched & Available at Yamaha Authorised Dealer’s

LEARN WHILE HAVING FUN Specially designed for drummers at any skill level, the DTX402 Touch has 10 Training Modes designed to make you a better player, faster. The exercises are a fun way to learn to read drum music notation, play with dynamics and develop your sense of timing. "Rhythm Gate" improves your timing accuracy by only allowing you to play rhythms in time with the metronome. “Song Part Gate" teaches you to play each part of the song with correct timing while the "Recorder" function lets you record a drum solo or play along with a song to self-assess your performance. You can also use "Fast Blast" to count the number of drum stokes made within a set period of time. This helps to increase your speed and build stamina.

Make Customized Drum Kits Personalize each of the 10 drum kits with over 280 drum and percussion sounds. Simply touch the drum pads on your screen to change or select a sound, and edit them with tuning, volume, panning, mute and reverb to create your own sound quickly and easily.

Simple and Intuitive Control With a simple swipe, you can select and customize kits, song numbers, set up metronome and adjust the trigging parameters for your playing style. You can view this information while playing in Training Mode and learn how to

play preset songs with instructional videos featuring industry professionals.

DTX402 TOUCH APP (Application) The free DTX402 TOUCH app allows any user to easily customize drum kits and take advantage of the training functions. The new challenges make practicing fun and help you quickly develop drumming skills with various genres of music. The DTX402 series also works with the Rec'n'Share app so you can practice and perform with your favorite music and quickly share on social.

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SHREYA BOSE

inward. The songs are either intensely relatable, or a cause for question. You can nod and say “This guy gets me” or simply tilt your head and go “Huh?”

INDIE reviews The Only Find (Sri): Songs written

by Srijit Bhowmick are best sung to oneself sitting by rainblasted windows. These decidedly introspective compositions are matched by a voice cronning in tones of invocation. Imagine the dishevelled prophets spitting out revelation beside dusty backroads and menacing neon city glows of Beat poetry, and you will hear an echo of the same in Sri. The EP pivots on lyrical compulsion. Srijit veers between obscure and obvious, making liberal use of personal metaphor and pointed symbol.

Unfairly, you tickled my bones Better than I can have and You better rule my heaven Can’t seem to find The beat, and I unfairly Isolation is impossible to miss; the lyrics depicting an almost crippling alienation. Take the following: Well, I’m having fun Sitting all by myself You know, it’s getting tough To keep on, but I’ll instead This tragedy, I’m trading Of living but for today Would it kill, would it heal Would it give away fun Srijit broods throughout, modulating his impressive vocal range to create curious effect. Vocally, he projects to the skies, but the words he wields are strictly focused

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The music is interesting, especially when you invest in the words and pick at them until they surrender meaning. They are just as easy to dissociate from meaning; consider the EP one man’s confession. Either way, it generates a desire to wonder, dissect and resign - depending on who you are.

Antahkarana (Nkshtra): A shorn, elegantly crinkled bassline can carry a track on it's own weight, and Divyesh Gholap AKA Nkshtra is distinctly aware of this.

Antahkarana provides the perfect soundtrack to subterfuge, thanks to underwhelming but addictive strings, keys and a percussive element so light that it practically resembles an actual breeze.

Though mellow, the track generates substantial intrigue.

Despite no breathtaking sonic gymnastics, it certainly would add to a low-key gathering of curious minds and slightly drunk eyes. Gholap labels it folk electronica, even though the Indian classical influence primarily props up some fascination in what is basically chillhop.

Instead of inducing torrid analysis, Antahkhana invites the listener to lounge, and if so inclined, gr.

Summer Skin (Parekh & Singh):

Immersive as ever, the dreamweaving duo stay true to their otherworldly ethos with their new release, which serves as a glimpse into their upcoming sophomore album. The song is redolent of their characteristic innocence, often borne from the folksy dissociative power of those wind-chime instrumentals. However, the innocence starts to show edges of erosion, being touched by lyrics that betray the early emotional resignation of adolescence.

“There’s no Beatle song that can change my mind” is the kind of thing you say when you face the sweet bitterness of first defeats. “I ponder the momentariness of life” and “There’s no Woody Allen film that can slow down time” are the incantations of youthful frustration, and coat their intrinsic angst with borderline schoolboy charm.

Musically and visually, this duo inhabits a liminal artistic space. They create spaces with their sounds; wistful, ineffable, sentimentally-skewed, surreptitiously painful spaces. It takes some deep diving to ferret out the underlying desolation in a Parekh & Singh song - a most worthy quest. Melancholy takes a more forward role in this track, and echoes of a fallacious humanity become visible.

Lush, verbose and utterly undemanding, Summer Skin is a messenger of joy. Like all Parekh & Singh songs, it becomes an intimate friend, revealing intimate secrets and promising to keep them at the same time. I promise, that you will feel those fairy-world synths reach out in both sorrow and solidarity.

SHREYA BOSE

5 best covers of Covers are an interesting business. Superficially, they are a tribute to an artist and their work. The performer expresses open adoration, but no cover is worth the exertion if the performer does not leave their artistic fingerprint.

A great cover combines both recreation and vision. The best become independently acclaimed pieces in their own right. You don’t love The Iron Maidens because they are copying Dickinson and Harris. You love them because they are adding to beloved favourites.

2018 saw some pretty incredible covers bloom. From reorienting Tool to a brass band to adapting the year’s biggest Korean pop hit to highly respectable heavy metal standards, covers spanned the sonic spectrum in reckless and unexpected ways.

Stay (Rihanna cover) - Cat Power:

I always preferred the Thirty Seconds to Mars cover to the original, but Jared Leto and his lot have nothing on Power’s unassuming resonance.

While the original is upfront about it's passive-aggressive and dysfunctional distress, the cover understates the need and builds compulsion. Seduction lies in the fact that Power sings it as a curious exploration of her own need.

She sings for no one as ardently as she does for herself.

Right in two (Tool cover) - Beard of Harmony ft. Yann Phayphet:

Two guitars and an upright bass ferment one of Tool’s most powerfully crafted pieces into a pared down, sparse, almost minimal avatar.

Historically, Tool is known for excessive soundcrafting that never fails to bewilder a listener. To transplant that sensibility into a few strings and a set of brooding vocals is a feat of artistic engineering worthy of repeated applause.

Fake Lover (BTS cover) - Lies Behind Your Eyes:

The biggest boyband on the planet released one of the biggest songs on the planet in 2018. And it was so good that a Korean pop group managed to get prime spots on Ellen, Jimmy Fallon, America’s Got Talent even the American Music Awards (first K-pop band to appear on any of those shows). BTS leaves in their wake millions of screaming fans, intense visual appeal and pop-rap that never fails to go full earworm.

All that deconstructed and regrafted with a few choice shreds, a sinewed drumline and competent vocal accompaniments - and you behold a result immune to criticism. Additionally, the thought that K-pop can go metal gives us faith for all kinds of harmonious unity, even that of pineapple and pizza.

Heart Shaped Box (Nirvana cover) - Ramin Djawadi:

The eerie psychographics of Westworld emerge from depictions of questionable humanity. Most often, that which appears human is the opposite, and yet all too familiar. The human perpetrates immense brutality, and then claim superiority on the virtue of their ostensible “humanity”. That which is least human is most oppressed, and most deserving of the humanity it is denied.

An orchestral rendition of Nirvana’s gashing classic reflects this predilection towards the uncanny. Composer Djawadi sandpapers the growl of grunge, and translates the minor third riff into voiceless exhilaration. Cobain’s characteristic frenzy is not lost, and the whole things builds as quickly as it falls, terminating with the quiet beauty of lifeless peace.

The Pot (Tool cover) - Brass Against: A collective of artists

intending to question and disrupt political and social complacency, Brass Against initially became noteworthy for their Rage Against The Machine covers. With good reason too, since very little on the internet matches their percussion game.

Taking trumpets, saxophones and stormbringer drums to the prog-psychedelic abundance of Tool turned out exactly as vision-shifting as it sounds. Sophia Urista’s voice is the clarion call to revolution, and she could rouse entire parades and rallies to protest hypocrisy and deception with Maynard James Keenan’s gut-wrenching, bone-clawing lyricism. The track is a wonder, compelling adrenaline-laced spasms driven by righteous rage.

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BAND OF THE MONTH

What was the idea behind your band?

The band was crated initially to score the background for a theatre production called Odichodichu- a bus drama. It was staged on a bus re-engineered into a performing space.It was an attempt made never before in Indian theatre, to stage a play in a bus with the bus as a character. It was a novel attempt to take art to the people and there were a lot of social realities portrayed in the script and the song. The production could only carry on for 5 performances but the songs became popular and the band, Oorali progressed along performing. Then the band changed it texture many a time since 2013 and right now, after 5 years and more than 500 odd performances across India Oorali we are a 7 member ensemble including musicians actors and visual artistes.

You are known to make music based on social satires. How has your music been received so far and what were the challenges you initially faced to get your music across to people?

As any journey it was not an easy beginning. But we never intended to be a band as I said earlier. We just kept going along experimenting with how we sounded, how we looked on stage, added songs along the way and were inspired by the relevance and acceptance of our music. Life is a never ending struggle and art is our way of coping with it and belonging in this universe. There are issues we come across

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every day as human beings and our songs reflect them.

It’s a machine that has stories to tell and it has to be seen to be believed.

Making music on social issues, were you criticised or been under any sort of pressure initially?

Tell us about your upcoming projects

There has always been criticism and will be.But there are so many fans out there who are energized and inspired by the material we churn out. We always take the feedback accept what we feel is true, work on it and keep on practicing.There is always pressure whether we are doing the right thing.But we stick to our research and work with the facts to make things better.

We are working with Kochin Muziris Biennale 2018 and continuing the post flood journey that we began after the devastating floods that hit Kerala this year. WE began by creating community art across experience in affected areas and now we are extending with the support of Bienalle to the coastal Kerala and the fisher folk who did a major chunk of the rescue operations and saved innumerable lives.

Tell us about your bus performances

Your message to upcoming artists in your space.

Oorali regularly performs in the bus and always travels in it. It is called express.

Express was a bus before, but not anymore.

It doesn’t ferry people across destinations now. It now doesn’t keep the regular time but abides by Oorali time. Ooralis had found express just in time, just before it was about to be sent for scrapping after 12 years of running as a public transport vehicle.

The truth will set you free.

Re engineered into a performing space by the effort of multiple artists, now it’s a fully functional performing and exhibition space. An art bus that can take experiences to people has seen many ups and downs, been with us through thick and thin and is an integral part of all Oorali undertakings.

RAPID FIRE 1. Best performance till date - The last one.

2. Artist you would love to collaborate with - Many, Radiohead is now in my mind.

3. If not music, what would you guys be doing? - Art, definitely.

4. Describe your work in one word - Share

QUIRKS & QUERIES

Hanita Bhambri Tell us what brings our the best music from you.

Though it's hard to be objective, but the best songs come from a place of complete honesty as hard. Literally like putting your heart on a petridish for display

Describe your song writing process.

My creative process is all jumbled up, it's very hard for me to not write. Writing helps me heal. The cluster of thoughts in my head find a way to the words on the paper in front of me and music flows into those words naturally

Who or what are you inspired by the most while writing music?

Inspiration comes from any place. Sometimes personal experiences, some built from the art, movies and literature that have moved me. Damien rice and Ben Howard have played a huge part in the way that I write. I convey my intent with my lyrics and the music is to support the lyrical story.

You recently won the Project Aloft Star Asia 2018. How was your experience and what were your biggest learning?

It's been a Rollercoaster ride. People were so supportive, it's crazy. I loved meeting musicians from all these different countries. Especially the aussies, especially I got to rave about my obsession with masterchef haha. I loved travelling to Korea and exploring the city however little I could. It was such a unique thing - performing in front of an audience who doesn't understand the language and still connecting to them. I learnt to believe more in myself

If you had the chance to collaborate with a musician, who would it be and why?

I love a lot of indie musicians but if I had to pick, I would love to collaborate with Prateek Kuhad. I love his music and his songwriting really moves me. His songs are simple and powerful, and that's right up my arena. So it'd be interesting to see what we can create

Tell us about your upcoming projects I'm hustling and experimenting, I'm doing what I can to grow my audience. I released my second single on 7th Dec and begin shoot a music video for my next single with Universal in January. So can't wait to share that!

What is the motto or advice you live by?

RAPID FIRE Favorite song of all time - Elephant by Damien rice A song that plays continuously on your playlist You should see me in a crown by Billie Eilish An artist you would love to learn from or get music advice from - Damien Rice, he's my childhood hero A place you love to sit at to write your music - The comfort of my bed Best gig yet - Sofar Bangalore, July. It was an unplugged show, I had a high fever and had hoarse voice so I let my heart do the singing. By the end of it everyone was in tears. It's the most connected I've felt to my audience

Be kind to yourself. You'll figure it out.

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YOHAAN/ AMOGH RAO

IN INDIA HOUSE OF WATERS We had the privilege of interviewing the New York based Jazz band House of Waters ahead of their gig at The Quarter, Mumbai.

Touring with the dulcimer. I'm sure that our audiences will be interested how you tour with the dulcimer around the world. What are the precautions taken for these delicate looking strings and wooden parts?

Oh yes, it is always a nightmare to travel with the instrument. I bring the dulcimer on board and it fits in the overhead in almost every flight. Sometimes I will run in to resistance at the ticketing desk, but generally I've been able to get through any conflict.

How has your India tour been? What did you like the most about Indian audiences?

The tour has been incredible. We were brought here by the US mission to India, the Jazz India Circuit, Teamwork Arts, and our agency The Kurland Agency. Together they put together a beautiful tour around the country. Bangalore, Goa, Hyderabad, Delhi, Pune, and now Mumbai. The audiences everywhere have been incredible. So kind, receptive, and an absolute pleasure to play for.

You've been a part of the Ground Up Festival last year, with other diverse bands from different parts of the world. What would you say about your experience?

We did not play at this last GUM festival; we played in its inaugural year 2017. Playing at GUM Fest was amazing, and we're thrilled to be back in Miami for GUM Fest 2019. The community involved with GroundUP is something rare in the business these days, and we are very happy to have the association.

Since you guys have come from different cultural and musical backgrounds. How do you go about adding these influences in your compositions?

Combing the different influences has been very natural. We just play what is within us. The styles themselves are just details or logistics...;the only real constant is the honest window we put into our

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performances and our compositions. As long as that is there, the details of the music fall in to place very easily.

Have you explored the indian instrument Santoor, since it's so similar to the Dulcimer?

Yes! I have been studying with the great maestro Pandit Shivkumar Sharmaji for almost 10 years. I first came to India in 2009, thanks to a grant by the American Institute of Indian Studies, and was fortunate enough to start my studies of Indian Classical Music under his direction.

What kind of Indian musicians have you been influenced by?

Guruji is the obvious and most influential of musicians in my life in many ways, but there are so many people to look to outside of his philosophical and musical influence.

Ustad Zakir Hussain, Hariji, Amir Khan Saheb, are some of my favorite musicians in Indian Classical Music, but there are tons of other musicians that have fused styles that we also deeply enjoy. From RD Burman, to Karsh Kale, to Shakti, to Anoushka Shankar, India has a wealth of information to study.

As individuals, you are really skilled at your own instruments. So how does the writing process take place? Do you just jam or is there some pre-decided composition or arrangement created?

There is no one way that we have written our songs. Sometimes one of us will come to the team with a fully finished piece. Other times, just an idea, and we develop it as a group. Additionally, the music always changes. We tour so much that there's only so many times you can play the same music in the same way without losing your mind.

We try and keep our compositions fluid to allow for these necessary changes.

ARITRO ARITROGHOSH GHOSH

M

Well, it’s on a similar road as the latter but not exactly that. Music works the same way that a storybook would. If you read Looking for Alaska, you’ll notice whether it’s a breezy winter night, or a fair, summer morning, you will feel the cold importance in terms of emotion that the book embodies.

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usic! The backbone of happy times, and the solemn serenade behind our sudden sad times. However, with it as we all know, there is a clear reflection of various psychological atmospheres.

The misdemeanor in most cases is that all of it is based on the listener himself. Now while that makes perfect sense on the surface, it is also an evident fact that if you play a soulful Nusrat Fateh Ali song while you’re on a borderline cliff, you’ll feel the strength of love again. So what is it then? Does listening to a nice, party song bring you up again only if you’re that type? Or does listening to an Arijit Singh make you hopelessly emotional no matter what was going on?

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s y p c h y o l p lo im

Each genre in music is a brisk embodiment of it’s tune. Julie Andrew’s and Western Classical’s 7 commandments: Do re mi fa So la Ti, or our Eastern Classical’s Sa Re Ga Ma Pa Dha Ni Sa; both command the same passion in you, just from their simple tune.

Of course, not going by just mere commandments, let’s look at core specifics.

CLASSICAL MUSIC Classical music, in one word is “raw”. Musicians like the great Ravi Shankar, and vocalists from Pandit Jasraj, Jagjit Singh, and so on have revolutionized what Indian Classical is today with their ghazals and surila geets. However while each geet echoes melody that’s divine, the divinity is made up of a cultural coalition that always seems fresh no matter when the song is from, or what primary story it tells us. That is the foundation that the singer creates. The traditional, lyricless ghazals enchant with minds of their own, swooping the heart within your own intelligence with great power. Songs by masters like Jagjit Singh teach stability whether it’s about love, or about our country. This music genre usually displays emotion in reticence, much like a human being himself does in an open environment.

ROCK Rock, in all it’s flaming and earthly glory, has over the years taught each of us about solitude and salvation, in different ways with its mighty fury. There is slower and more musical, classic rock, which hopes to tell us to bend the expectations of the world and fill it with fun and dreams of hope. Then there is hard rock, which mindfully has decided to bend the world itself and signify the stories of malice, miscreancy, and matadorous mayhem.

The psychology that rock displays in its every beat ranges from the basic personality that a person may hide, to the worst possible side that he may show when he’s lost it.

Rock tries to channel out the warm and the cold feelings of a rebel in his/her truest skin. You could call the West as the godfather, but many Indian rock bands have managed to follow; whether it’s with their covers or with their own songs.

BOLLYWOOD Finally we have our favorite—Bollywood music. Bollywood music defines everything that is special about the contemporary music culture of our country, in just two words. However it’s the openness and “ready to grow and experiment” attitude that makes it what it is, along with all the groovy moves that we display utter playful nature. Bollywood music is all about inspiring and molding into something or someone fresh. You’ll notice that to be whether it’s a sad love song, or a catchy, party song.

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A

s Integrated Systems Europe continues to expand its coverage of vertical markets served by the AV industry, the broadest ever range of thought leaders and subject experts will be speaking at ISE 2019 in Amsterdam.

ISE 2019 hosts world - renowned thought leaders and experts

ISE is committed to delivering an extensive breadth of expert opinion, analysis and debate across all the market sectors that the show addresses. At ISE 2019, all educational and professional development content is being presented under the umbrella title ‘Learn, Discover, Be Inspired’.

This full programme has been developed through close cooperation with AV industry bodies – particularly the show’s co-owners AVIXA and CEDIA – media partners and other independent associations.

Most recently announced is the Closing Keynote on Friday 8 February. This will be delivered

by Tupac Martir, creative director of multidisciplinary art, design and creative production group Satore Studio, and co-founder of the studio’s sister venture Satore Tech. He has been described by Vogue as “the visual artist and creative director behind some of the most important events in the world”. Satore clients include BMW, Dior, the Saatchi Gallery, Elton John and Beyoncé.

The ISE 2019 conference programme has drawn an impressive array of experts from a wide range of sectors and disciplines. There are no fewer than ten conferences taking place during ISE 2019, five of which are being held at the Hotel Okura, a short distance from the RAI Amsterdam.

Tupac Martir is latest addition to stellar speaker line-up 24

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At the Smart Building Conference, opening keynoters include awardwinning architect Aryanour Djalali, CEO of world-famous DNA Barcelona Architects. Flying in from New York to talk about the relationship between smart spaces and experience will be Michael L Schneider, Creative Technology Director – Hardware for Gensler, the collaborative design giant ranked number 1

by Building Design in the 2018 World Architecture Top 100.

Amelia Kallman will chair the XR Summit ISE. A futurist, communicator and consultant, Kallman specialises in the impact of new technologies on business and on our day-to-day lives. She has recently written a report on the emerging risks of virtual, augmented and mixed reality for Lloyd’s of London.

Jose Avalos, General Manager of Visual Retail and VP of the IoT Group at Intel, leads the chipmaker’s digital signage programme. He will present a keynote at Digital Signage Summit ISE. Among the array of international speakers at Digital Cinema Summit ISE will be renowned cinema industry consultant Michael Karagosian. He was part of the team that launched Dolby Surround Sound, and was also Technology Advisor for the National Association of Theatre Owners for the decade of the transition to digital cinema.

The opening keynote at DCS ISE will be presented by Jan Runge, European head of the International Cinema Technology Association. Previously CEO of trade body UNIC, the International Union of Cinemas, he is also an independent analyst and advisor to the cinema industry worldwide.

Dr Gill Ferrell will be moderating the AVIXA-hosted conference What’s Next… Higher Education Experiences. A consultant with extensive management experience in higher education, she has led and advised on many implementations of IT within teaching, research and administration functions. She is currently the leader of the EUNIS (European University Information Systems) e-Learning Task Force.

Taking part in the other AVIXA conference, What’s Next…

Enterprise AV Integrated Experiences, will be experience designer and communication strategist Lisa Perrine, CEO of Cibola Systems. Her company has completed over 1,000 consulting projects for clients including Sony Music, United Talent Agency and The Annenberg Foundation.

Dubbed ‘the father of home theatre’, Theo Kalomirakis of TK Theaters has designed private cinemas for world leaders, sporting legends and film stars. He is one of three experts giving CEDIA’s new full-day Home Cinema Design Masterclass. The association is also offering an extensive 36-course education programme; an All Access Training Pass gives unlimited entry to CEDIA courses of up to half a day’s duration.

Chris Lange, Creative Director and head of the in-house creative and design department at Europe's second biggest theme park, Europa-Park, will be presenting at attractionsTECH by blooloop. LaTnge’s international work includes India’s first theme park project, as well as attractions in Singapore and South Korea.

Hospitality Technology Next Generation, a trade association dedicated to driving best practice in the hotel industry through the adoption of technology, is presenting Hospitality Tech Summit by HTNG at ISE 2019. Its COO, David Sjolander, has worked on both sides of the industry: as a hotel IT executive he was responsible for technology at over 1,000 properties in 70 countries, and he has also worked in a product management role on a system connecting 90,000 hotels worldwide to over 1,000 online distribution channels.

Emmy Award-winning sound designer Scott Willsallen will be giving a keynote at the AGORA conference on sports venue technology.

A director of the Sydney-based consultancy Auditoria, Willsallen has worked on multiple Olympic and Commonwealth Games Ceremonies.

Donato Masci is an acoustic designer and consultant, working for Florencebased company Studio Sound Service.

He will be presenting at AudioForum @ ISE, which for its 2019 edition will discuss sound environments, the listening experience and psychological factors. The event is designed to appeal to those who manage spaces that feature audio systems, as well as to audio professionals.

In addition, the Main Stage, located in the centre of Hall 8, will present a full programme of thought leadership sessions across the four days of the show, produced by ISE, show coowners AVIXA and CEDIA, and AV Magazine. Speakers here will include:

• Joseph Aamidor, a consultant specialising in the smart building market, who will discuss the application of blockchain to smart building; • Alex Sanfilippo, Director of Engineering at integrator Kraftwerk Living Technologies, who, in an AVIXA-hosted session, will describe how the company built its awardwinning 007 ELEMENTS experience; • Ahmed Refai, Regional Commercial Director of Archimedia, who will reveal the secrets of a CEDIA Award-winning fully immersive home cinema project in a luxury new-build development in Dubai.

Additionally, both AVIXA and CEDIA will be offering ‘bite-sized’ training on the show floor, with no need for advance booking. AVIXA’s FlashTracks are 20-minute education sessions held on the association’s stand (13-N110), covering topics within User Experience, AV/IT, Design and Emerging Trends. They are free to attend for AVIXA members.

CEDIA Talks will be taking place on the CEDIA stand (1-E20), addressing ten different subjects across the four days of the show. Free to attend, these 20-minute sessions are designed to introduce attendees to new disruptive technologies – such as Web 3.0, Wi-Fi 6 and 5G – and challenge established ways of thinking.

Mike Blackman, Integrated Systems Europe Managing Director, commented: “This is a compelling lineup for ISE 2019. With top-level speakers throughout the show, our biggest ever conference programme and a full roster of thought leadership sessions on the Main Stage, we’re delivering on our commitment to provide content tailored to our ever-broadening attendee base. I’m very grateful to AVIXA, CEDIA, our media partners and all the other content partners who are working with us to deliver this strong programme, which provides numerous opportunities for attendees to ‘Learn, Discover, Be Inspired’.”

Full details of ISE 2019’s professional development programme can be found on the ISE website at www. iseurope.org, and also in RISE, the official magazine of ISE 2019.

This is now available in a digital edition at http://bit.ly/RISE-2019.

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ADITI SARAWAGI

MULTILINGUAL MUSICIANS IN INDIA W

ith music

pervading every nook and cranny of the country, there are artists in every lane of every city. If one’s work is good, they will inevitably reach a global audience. Having no language barrier is one of the most beautiful aspects of music and there are some artists who create beautiful music in multiple languages such is the depth of their talents. Here’s listing some artists who have made us fall in love with music which we may or may not understand.

When it comes to Indian music directors, the first name which comes to mind has to be that of A.R.Rahman. In any genre, he is the best our country has seen, reaching out to a global audience. When it comes to multiple languages, once again he has redefined contemporary Indian music and has composed music for Tamil, Malayalam, Hindi as well as English musicals. Be it Bombay and Roja in Tamil, Dil Se and Rockstar in Hindi or the Oscar winning Slumdog Millionaire in English, Rahman was one of the first ones to perform equally well in all languages, the true musical genius that he is.

One of Bollywood’s most successful music directors Himesh Reshammiya is also one such artist who has composed for over a hundred films including those in Hindi, Gujarati, Punjabi, Tamil, Malayalam, Telugu, Bhojpuri, Marathi and even English. Critically acclaimed musical trio Shankar-Ehsaan-Loy are also known for their contributions in multiple languages including Kamal Hassan’s Vishwaroopam and Aalavandhan in Tamil.

One musical pair which has to be mentioned when it comes to making beautiful music in whichever language they touch is Ajay-Atul. Starting out in the Marathi industry with hits like Jatra and Restaurant, they even dabbled in Tamil movies and have a strong presence in the Hindi music industry with blockbuster albums in Agneepath, Singham

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and Zero. Their Sairat in Marathi and Agneepath in Hindi has won them several awards as well. The whole fraternity is aware of the brilliant work by Vishal-Shekhar in the Hindi film industry but not many know that they have also dappled in Telegu and Marathi films as well.

Bengal has a rich cultural heritage and how can a Bengali artist stay behind when it comes to any artistic list.

Anupam Roy has worked as a music director in Bengali films like Autograph and Hemlock Society with melodious soundtracks but what sealed his deal in the Hindi film industry has to be the soundtrack of the film Piku whose songs are still a favourite. Shantanu Moitra is another Bengali artist well known for his work in award winning films like Parineeta, Lage Raho Munnabhai and Pink. One can also not forget the brilliant Bappi Lahiri who is behind several successful Hindi soundtracks like Namak Halal, Himmatwala amongst several others and has also produced tracks for Bengali films like Amar Sangi and Pronomi Tomay. He also has a few Tamil films under his belt.

Young musicians know that the reach of the internet is such that people from all over the country will listen to their music if its good. One such artist is everyone’s favourite Amit Trivedi. He has not only composed hugely popular soundtracks from WakeUp Sid, Aisha, English Vinglish, Lootera, and Queen amongst others; he has also composed tracks for Malayalam, Telegu, Tamil, Kannada and Marathi films as well.

He is a true multilinguistic for sure!

Anirudh Ravichander is another young artist who has created waves in the South Indian music industry but also has a Bollywood presence with composing the soundtrack for the Dhanush starrer 3. He is the man behind the viral song Why This Kolaveri Di and is also behind few singles in Hindi.

KARISHMA D'MELLO

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s a genre, metal in all of its extreme variations, has been baffling and inducing “non-fans” into a state of moral panic for decades. Notorious for its associations with the “darker” side of things, it has been mercilessly critiqued for its unabashed embracing of extreme imagery and lyrical content. It should come as no surprise that, what is often referred to as the “devil’s music” (albeit rather unfairly), values

artistic image almost as much as it does the music itself.

The image of an artist obviously plays a massive role in almost every genre, whether its hip-hop, punk rock or pop, but metal calls for a very different and darker front altogether. This is more apparent in heavy metal’s more sinister cousin, “death metal”. You know a band means business when they’re titled Agoraphobic nosebleed.

It’s fascinating to watch someone react to their first encounter with death metal.

Metal has been pushing its own very extreme boundaries for ages. But death metal as a genre truly comes alive at concerts (pun intended), with its symbolism and sometimes questionable on stage theatrics.

From goat beheadings and self-mutilation it makes the age old

adage of “sex, drugs and rock ‘n roll” seem like child’s play in comparison.

When you have artists like Society 1, with their front man hanging from metal hooks, pierced through his bare back as he serenades the audience, you know you’re dealing with something else entirely. Even heavy metal bands like the German Rammestein often set themselves and the stage on fire for the benefit of the audience. Eventually these symbols and theatrics become so entwined with the band itself that it is impossible to imagine them without them. When you think of Slayer, you picture a pentagram, when you think of Slipknot, you picture men in their masks. But in comparison to Satanism, these little gimmicks are caricatures at best.

Bands have been accused for inspiring suicides, violent behavior and vandalism for a very long time. Now, while most of these are nothing more than bare allegations, it would be ridiculous for even the most hardcore of metal fans to dispute the prevalence of unjustifiable violence in some extreme metal acts. Church burnings and sacrificial mutilations are carried out as an almost cult like practice in some countries. For black metal artists it is a matter of pride to be associated with Satanism and anti-religious acts.

Nothing sums up the pressure on artists to be more “badass” than the last, than Alice Cooper’s interview featured in “Metal, A Headbanger’s Journey”, a documentary on metal and its roots. During the interview with Canadian anthropologist Sam Dunn, he mentions his love for browsing through black metal magazines in countries like Denmark and Norway, spotting bands attempting to be more wicked and evil than the other. “And when you meet them at the mall, they’re all – hello, Mr. Cooper, how are you, nice to meet you”, he laughs.

The black metal culture, largely celebrated in the Scandinavian countries, owes its roots to early Viking clashes with Christianity. In the early years, having had Christianity drilled into them, non-believers were brutally punished, leaving behind a host of vengeful individuals who vowed that they would someday be avenged.

Now how much of what we see is the result of an age old vendetta and how much is for the benefit of “artistic image” is hard to say.

Contrary to popular belief, most fans do not get more violent while listening to metal. In fact, most of us tend to find it cathartic and energizing. To the people who don’t feel it, it’s just noise or “angry music”, but to those who can, there’s nothing like that surge of excitement you get while listening to a good, metal album. So despite all the moral policing that comes its way, it still stands tall and on its own, like the indestructible force it is.

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MEGHAN KHARSYNRAP disco. There’s significant influence from the 60s, 70s and 80s America as well. The eastern and western styles merging is what makes kpop unique.

This Korean wave is called, Hallyu. The word was created in the late 1990s by Chinese media to define the influence of Korean popular culture in China. There are two phases of Hallyu. The first wave, in the late 1990s was characterised by an onslaught of media in forms of film, shows, dramas and popular songs. In July 1997, the Asian Financial Crisis created many losses in the manufacturing sector.

The government started to create suitable environments for prompting a handful of businesses to move to the entertainment sector. From here on, through successful promotion, Korean pop music and especially dance music began to gain popularity. Chinese teenagers were particularly hooked after it was introduced in 1997 by a radio program called Seoul Music Room that was broadcast from Beijing.

In India, in the 2000s, separatists had banned Bollywood entertainment in Manipur, consumers took to Korean entertainment to fill the gap. Culture was smuggled through

HALLYU

THE KOREAN WAVE

I

f you’re wondering why KPOP has been getting so popular, you’re not alone. When at one time western media used to dominate youtube, radio and television, all at once, everything is becoming Korean in the culture industry.

Ariana Grande is on twitter battling it out with an ex Kpop star who used to be part of the boy band EXO. The music videos in western media and concepts are getting brighter.

They’re following similar styles like that of Kpop, at least that’s what the conspirators on the internet are saying.

In India as well, Korean Culture has been a big influence, especially in the late 1990’s and is recently gaining traction as of the 2016s.

Kpop for non veterans, is an acronym for the word ‘Korean Pop’. It is much like your typical pop music with both types having catchy tunes and patterns, but the similarities end there. Unlike typical popular music, Kpop has more variation in tunes and structure. Melodies in Korean pop go through several transitions within the song, with interesting use of harmonies. In fact, unlike the easy listening of typical Billboard Top 100s the music tends to be more subtle. You don’t realise it’s catchy until it’s stuck in your head. Although this is not true for all music. Kpop definitely has western influence, especially from the areas of electronic, dance and

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Burma and ended up in the Markets of Manipur and then spread across the Northeast.

The second wave of Hallyu is defined by Psy’s song Gangnam Style. Initially, when this brand of music and entertainment was pitched to American Producers and Record Labels by Mnet Media, they reacted coldly. Only a few years later, Psy’s Gangnam style went viral and became the first video to reach a Billion views on youtube. It topped several charts in the UK, US and other places. Other musical acts made their way out of Korea with EXO, BTS, Bigbang and Girls Generation securing positions across the world.

It is said that the boy group of 3 members ‘Seo Taiji & Boys’ in 1992 started the wave. Their experimentative music won over fans around the world selling around 1.6 million albums, the highest then. But the real amber started the wave in the mid 2000s: Youtube. Entertainment companies took to youtube in 2009. The second wave of Hallyu ( Hallyu 2.0) took off in 2010.

These entertainment companies like SM, YG entertainment and JYP entertainment helped create interest in the Korean culture. Today, user generated content is ammasing million of views. Fan reactions, dance, video and music covers of kpop and kdrama entertainment have built an interactive and loyal community, something musicians outside of Kpop have never seen and can only dream of.

CASIO launches the brilliant AP-470 in India

T

he Casio AP-470 is a significant step forward from the previous AP-460, with improvements to the feel of the keys, the quality of sound and the cabinet design. If what you are after is a quality digital piano at a fantastic value for money, then the Casio AP-470 is the answer.

The AP-470 features two stunning grand piano sounds, using Casio's AiR Sound Source to deliver incredible piano realism and highlight the complex harmonic relationships within the instrument.

natural than ever before and enjoyable to play. The 88 ebony and ivory-feel keys provide both authentic feel and superior dynamic expression. The physical top lid on these digital pianos can be opened and closed, allowing users to adjust the acoustics of the piano and enjoy a more expansive sound while playing. The AP-470 also has the "half-damper" feature allowing for a variable amount of pedal sustain depending upon how far down you press the damper-sustain pedal like similar to the way real pianos do it.

POWERHOUSE!

PRACTICE AND PERFORMANCE

Available are 22 tones including electric pianos, organs, and other essential instruments. It has a key transpose function, touch response control for hard, normal, of soft, octave shift for instrument sounds, brilliance control to apply brighter or mellower tone to the piano sounds, a digital metronome with tempo & time signature control, layer & splitting any two sounds, chorus effect to add to electric piano sounds to give them more body and presence, relative volume control between layers or splits. The speaker system in the AP-470 is housed in an elegant cabinet, and is designed to complement any space.

The AP-470 also has a 2-track MIDI recorder allowing for independent recording of left and right hand for practicing songs and then playing them back one hand at a time. With Duet Mode and dual headphone jacks, you can take lessons or practice at any time, and the built-in two-track MIDI and USB audio recorders are ready to capture your inspiration whenever it may arise. The best feature for me though was USB Audio recording, which means you can record your performance straight to USB memory stick as digital audio, ready to share with friends and family. This also enables you to connect to the free Chordana Play for Piano app to control every function of the piano and interact with your favorite MIDI files.

IT’S A NATURAL! The AP-470 is a pleasure to play and has full 256-note (maximum) polyphony piano processing power so notes don't drop out when playing many notes at one time. With a fast action, 3-sensor responsive hammer weighted & graded key action, overall the Casio key action in the AP-470 is more

If you’re looking for a very satisfying piano experience from beginner level all the way up to advanced playing levels the AP-470 is definitely worth the price of admission.

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SOUVIK CHAKRABORT Y

Forgotten Music Of India O

ur musical tastes have evolved over the years from the spiritual to the personal and intimate space. It is fitting that our music has now been punctuated with a bigger arc of infusions and amalgamations of various cultures and sounds. Though, it is needless to say that we must not ever forget the rich history that we boast of as a nation old strong roots.

Thumri is a semi classical genre which finds its origins from the sensuality and cadence of the evocative love poetry and folk songs of Uttar Pradesh. Besides, thumri is in turn a reflection of the dancing steps that let the dancer's ankle bells tinkle as she sways around gracefully. Thumri evolved in the court of the nawaab, Wajid Ali Shah and saw its impeccable transformations throughout the 19th century. Unfortunately, despite the various gharanas and variations in the thumri style. It is now reduced to an appendage which is sung only at the end of khayal concerts as a concluding piece.

Lori music in India surfaced in the mainstream music scene through an overdose of lullaby music in the 80s and the 70s. The loris of India disappeared altogether later on in Bollywood. Except for some irregular spurts from the likes of AR Rahman and certain other musicians, loris could not ever be resuscitated back to life. It is sad that the modern gadgets have totally replaced the chance for a mother to pacify her kid with a lullaby.

Vrindavani Raag music which was literally the pulp of the Northern classical music has gradually withered away from the mainstream music.

This is owing to the fact that Bollywood has shifted its attention from movies with devotional subjects. The Vrindavani raag had the essence of an afternoon breeze gently steaming with the incense of the devotee at the altar of his lord.

Such pure music hardly materializes again on a popular platter in India anymore because this kind of music has been sidelined to the effect that it is almost forgotten to the present generation.

It is perhaps natural that the prakruti of the raag is neither deep nor playful. There are various bandishes written describing lord krishna's beauty and composed with vrindavani sarang.

Folk music of India in the movies of pre independence era has been represented better than the movies in an era where where regionalism has been difficult to infuse on a larger than life canvas. The fusion that was propagated from

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the dawn of the milennium still persists but sadly at a marginal level. There seems to be no affinity towards bringing mainstream content near the remotest sounds of the regions, rather the intention is to bring foreign intervention in everything regional and infuse the hybridity to gather eyeballs with all the glams and the gitz.

Indian music has missed out on introspection so the influences of western music mainly jazz, hip hop or anything that was alien to its culture has crumbled down to an independent music genre where rappers and hipsters are throwing diss numbers against each other in a bait to be relevant against an industry which has hardly acknowledged the fact that the indie music artistes matter and exist to be counted as an appendage to be taken further into the making of the wholesome music of the country.

The mainstream movies music boasts largely with the rehash of the hit numbers from yesteryear classics. This does not result in an amalgamation of a cross nation good quality music rather it dissipates an energy of rebellion in musicians for setting up their own name in submerged stones in a mucky old water riddled with sharks.

NAVYA C

Musical Expression in Classical Dance

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multitude of emotions can be expressed in the best way through performing any art and dance is one of those dynamic ways of doing it. It is dynamic because the body, mind and soul come in a union while showcasing a feeling. When music adds to this dimension, the expression gets even better and fulfilling. Indian Ciassical Dance has been an ancient art which aims to bring forth not just mythological stories to life, but also the ones which strike a chord with contemporary issues.

Indian Classical Dance adapted much of Carnatic and Hindustani classical music depending on the region of which it originated from. When it comes to South Indian dance forms such as Kuchipudi and Bharatanatyam, raagas like Ananda Bhairavi, Kambhoji, Abheri became more suitable for catching the attention of viewers and keep them interested. In fact, Saint Thyagaraja has dedicated the raaga Ananda Bhairavi to Classical dancers in honor of their brilliant work. The beautiful composition Madhuranagarilo in this raaga has become an age old traditional lesson taught for Kuchipudi dance students as well.

Bharatanatyam adapted varnas with literature (called pada varnams) which are highly adept in the rhythmic complexity to suit the likings of dancer’s abhinayam. Chalamela in raaga Naatakuranji is widely admired for the lyrical subtleness along with great usage of swara display. In fact, the Carnatic composition gets a new dimension when rendered for the purpose of dance performance. There are also rare compositions like the Pada Varnam “Aa Sariga” in raaga Mohana which were exclusively composed for dance recitals and give them amazing scope to showcase feelings of love, devotion, anger, and also peace. It is said that this varnam was exclusively composed for the sake of a classical dancer’s entry into the Karvetinagaram king’s court. The place still exists 50 kilometers away from the temple town Tirupathi.

Hindustani dance forms like Kathak and Odissi heavily relied on taans and rhythmic beauty to bring about

emotions ranging from subtlety and essence of expressivity as well. However, there are dance forms such as Manipuri which adapted music from folklore and thereby becoming more free spirited.

Many Kuchipudi and Bharatanatyam dancers are adapting challenging works like Nouka Charitam of Saint Thyagaraja to enact a dramatic display of dance and also throw light on forgotten mythological heroes like Karna in the form of dance. It is indeed interesting to see many modern musicians taking up rare ragas like Dharmavati, Sarasangi to add a new color to their dance performances in breathtaking fashion.

Isn’t this a wonderful observation to say that dance and music are entwined in a soulful manner?

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SHASHWAT KARKARE

5 Tips for

traveling musicians

1) Practice, practice, practice Life on the road is very different from doing individual shows in a single city. There is no time to rehearse. Neither is there any peace of mind to write new material. Always go prepared.

Write and rehearse before the travel begins so that doing shows on the bounce is a breeze. This requires considerable practice and planning to be prepared for any duration of sets.

Practice makes the whole band confident of every song. Keep rehearsing till the whole set feels like a tight unit- planned and cohesive.

2) Keep your equipment safe Keeping your instruments safe is vital for any instrumentalist. Every instrument used is a vital cog in a larger machinery and hence, damaging an instrument while traveling is akin to damaging the integrity of the set as a whole. This is where one must take the time to find solutions to keeping instruments safe so that even if someone else does not take care of it like you do, it will still be intact. Invest in cases, locks, and chains even to be assured of everything being in order. You can never be too careful after all.

3) Keep your health in check It goes without saying that traveling vast distances and performing regularly in a short span of time can take a physical toll on your body. Take care of yourself. Be alert and aware of your weaknesses and work on them. Do your research on the places you will be traveling to and find solutions to troubles. Also try staying levelheaded in times of emergencies to think on your feet and find fast medical solutions. Often places will test you physically with changes in weather and diet. Late night performances will cause lack of sleep. These are unavoidable circumstances. So one

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should remember to stay hydrated, eat right and avoid risky situations and/or people.

4) Pack smart for travel The need to pack smart usually goes unnoticed, but it is something worth stressing. To become a touring musician, being good at weight distribution is key. Whether you are traveling by plane, train or road, it is an important factor.

What does traveling smart mean, exactly? Traveling smart means packing effectively and efficiently, but also practically.

For instance, it is impractical to travel with just one bag if it means filling a bag to its limit. Here, packing smart would mean dividing the weight efficiently and effectively into two bags or more. Perhaps even scrutinizing to judge if something heavy is really needed.

Packing smart also means researching on the luggage and weight restrictions of flights and trains. Crossing the weight limit can be a huge expense, but an avoidable one. Granted, you are aware and alert.

5) Keep backups for everything On the road, it is never easy to buy something that is broken or misplaced. There could be issues on finding the perfect substitute, availability of the same, or actually having a substitute for what is lost. Under duress, many end up settling for a compromise solution. This is not ideal. It is always safer and more sensible to keep a backup. One can argue that just keeping things safe can avoid such a situation. But many times, it may not be your fault, but you will be at a disadvantage. Hence, always remember to keep a backup.

Touring with your band is an immensely fulfilling experience. Logistical problems will always occur. But being alert, practical and prepared will make it a smooth ride for everyone involved. Happy travels!

GAJENDRA PURI GOSWAMI

Battle Over Bars Raftaar, Emiway & Hip-Hop’s Most Notorious Rap Beefs

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ith the onset of winter, the country is witnessing a steep drop in the temperature. But, things inside the desi hip-hop scene are getting a little heated. Over the past few weeks, India’s two most prolific rappers - Raftaar and Emiway Bantai- caused immense uproar in the hearts of hip-hop fans as they indulged in a heated exchange of fervent diss tracks.

It all began with an interview by Raftaar with RJ Raaj Jones where he alluded to Emiway while answering a question on how to achieve commercial success through music. Raftaar said that the music ecosystem in India isn’t congenial enough for musicians to achieve financial stability. Emiway got outraged by the statement and vilified the Delhi rapper on a new track - Samajh Me Aaya Kya - on his Youtube channel a few days later. Following this, the two rappers, who had a good rapport with each other prior to the interview, engaged each other in a series of vitriolic tracks. Finally, Raftaar rested the feud saying

V/S

that the battle had spilled beyond logical reasoning.

The beef was an unprecedented event in India’s hip hop movement and naturally, it created great fervour in the public domain. Fans from both sides were quick to takes sides. Even other rappers, including MC Stan, Muhfaad, and Emcee Hasnain gave their two cents on the battle on their respective Youtube and social media accounts.

The short-lasting battle, with no clear winner, gave fans an insight into rap’s edgy competitiveness, but more importantly the beef became a testament of the capability of homegrown rappers to deliver subliminal tracks with good videos over a short span of time. The feud was a great example of how hip-hop beefs not only raise the bar of the game, but also gives rappers a chance to flaunt their hard-earned skills. Both rappers received a ton of new viewers by the feud wrapped up. But, it gave us a chance to open the manuscript and reminisce the some notorious beefs registered in the annals of hip-hop history.

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V/S

Ja Rule Vs 50 Cent

Jay Z Vs Nas

Drake and Pusha T

It is alleged that Hip-Hop’s most popular beef started at a concert in New York prior to the release of 50 Cent’s debut album – Get Rich Or Die Tryin’. At the time, Ja Rule was the biggest name in Hip-Hop, outselling every other artist in the game but Eminem. When the beef ended, Ja’s career was virtually destroyed and 50 Cent had emerged as the new crown prince of gangsta rap. The beef still continues and 50 Cent continues to ridicule Ja over his social media pages.

Recently he bought 200 tickets to a Ja Rule concert only so that they can remain empty. Damn, that’s gangsta.

This was the internet era’s first rap beef and it included everything from subliminal raps to personal jibes.

But, at the time, the two new-york giants had left the whole hip-hop world divided into two factions.

It was the ultimate battle of rap supremacy, but didn’t end fatally like Pac and Biggie as the two titans later squashed the beef and joined hands to keep rap safe and alive.

Drake and Pusha T’s battle isn’t a standalone beef of the two rappers.

Instead, it is a battle of two record labels that included heated exchange between many participants from Drake’s OVO Sound and Kanye West’s GOOD Music Company. But, funnily enough the beef started over a street fashion brand named Bape and contentions about who wore it first.

And the irony of it all, Drake was a big Pusha T fan while growing up.

So much so, that he bought a Pusha T signed mic over ebay for $200.

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ulaFest, the country’s most gorgeously situated, eagerly awaited Gourmet World Music Festival, is back with a two-day extravaganza of heady world music, gourmet food, wine and spirits from across the globe and much, much more at the picturesque Sula Vineyards in Nashik.

In a bid to provide the guests with a larger than life experience every year, SulaFest brings in the best of the best talent from around the world to entertain and give the fest-goers a weekend to remember and make even grander reminiscences. Get ready to witness a fun-filled fest offering a mega mix of great music, wine, drinks, food, fashion, and shopping in the idyllic environs of the vineyards’ beautiful open-air amphitheater.

SulaFest 2019 will be presenting a mix of more than 100 nationwide and internationally celebrated artists including some names who will be coming to India for the very first time. JUNGLE, an English modern soul musical collective based in London will be making their Indian debut as the international headliner of SulaFest’ 19. Shankar Mahadevan is the Indian headliner of the festival who will bring a touch of Folk, Fusion and Bollywood with his charttopping and award winning hits. Vivian aka Divine, an award winning rapper and hip-hop artist from the streets of Mumbai who has given hit singles like Jungli Sher and Farak, will also be at the fest to give his power packed performance.

Also on the artist roster is Lucille Crew an international groove collective from Israel fusing elements of Hip Hop, Funk and Soul, Hallouminati who have been scurrying round the UK's party scene since 2010. Joining these notable artists are FORELOCK & ARAWAK who have performed at the largest Italian and European reggae events and

joined international tours of Jamaican reggae stars like Luciano, Johnny Osbourne, Assassin AKA Agent Sasco and Randy Valentine. Watch out for Spencer Maybe from London and Mother’s Cake from Austria whose stellar electro-funk singles have created a big stir in the Austrian music scene. Other exceptional Indian artists – Paraphoniks (Live electronica), MALFNKTION (Hiphop), Nothing Anonymous (Live electronic) – will be bringing life to the fest with some phenomenal performances.

Back again this year is also the Atmasphere stage where super cool DJs will be spinning some implausible (Genre of music). Our Atmasphere artists include Juliet Fox (Germany) , Oona Dahl (USA), Nikhil Chinapa (India), Ankytrixx (India), Sashanti (Russia) Apart from wines from the vineyards of Sula, fest-goers can also enjoy a wide selection of wines and spirits from around the world. Enjoy world music and delicious drinks along with nibbles, you can also look forward to exciting activities like the Bazaar, Camping, grape stomping to name a few!

If you’re the kind of person who enjoys basking under the Sula sun with some good music, food and fine wines, head to Sula Vineyards on 2nd and 3rdFebruary to witness a one-of-a-kind weekend getaway with SulaFest 2019!

Are you ready? Let’s do this.

Date: 2nd & 3rd February, 2019 Venue: Sula Vineyards, Nashik Address: Gat 36/2, Govardhan Village, Off, GangapurSavargaon Rd, Nashik, Maharashtra 422222

2019

is back with its 12th Edition and an incredible line-up #RiseAndVine with SulaFest . Block your dates – 2nd and 3rd February, 2019.

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ARNAV SHETH

Sid Sriram, the voice of contemporary fusion music in India

FESTIVAL REVIEW Music Festivals in India are usually earmarked with profuse amounts of intoxicants, music and hedonistic pursuit, are typically an individualistic – almost inconsiderate activity that has little regard for anything adjacent to the weekend it occupies. Least of all, festivals have never been known for their commitment to the environment – neither the social environment and the people who live in the venue's vicinity nor the physical environment – the natural resources that surround the festival.

The food stalls offered a host of eateries serving a range of cuisines and flavours.

There were healthy options as well, which served as a break from the typical pizza and French fries that festival goers are so accustomed to.

Perhaps the performance of the evening – Stavroz – brought their full-blown live set to the Mandala Stage. The essence of their magnificence was that all the instrumentation was carried out live, including the breakdowns that had high levels of distortion and fuzz, gnawing at the audience's urges to move around.

Picture Credit: Arnav Sheth

Grouch in Dub closing Day 1 on the Anglerfish Stage Walking between stages felt surreal – surrounded by foliage and friends Echoes of Earth was a departure from the aforementioned insensitivity directed at the environment yet held at its core the entire festival experience. All parts of the festival were produced incredibly, however, what was more impressive is that it was not invasive in any way.

Speaking of impressive, all artists were put up at the Marriott Hebbal, the newest Marriot property in Bangalore, which explains why they all seemed to look comfortable and energised on stage.

On Day 1, Azadi Records put together one of their iconic showcases which presented SIRI, Tienas and Seedhe Maut, accompanied by the evergreen DJ Uri. The Showcase verified that Azadi Records are the torchbearers of hip-hop in its truest form – empowering, honest and ruthless.

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SIRI and Tienas, mid-flow On the Mandala stage, Sid Sriram exemplified fusion in its contemporary form. His multitude of vocal appendages were complimented perfectly by percussion, guitars and other sonic vehicles that filled up spaces effortlessly, nestling a warm, nurturing feeling through the set.

Through the two days, the Anglerfish Stage was packed to the brim with a dedicated set of techno-enthusiasts.

Secluded in a slightly more forested part of the venue, the Anglerfish Stage created an atmosphere conducive to the music it was hosting. Closed off and cramped, the stage created an industriallike setting in the middle of a forest.

The Anglerfish stage, always packed to the brim Belgian psychedelic pioneers Stavroz Closing Day 1 was Grouch in Dub, the live act of Oscar Allison's solo project Grouch – an aural experience unlike any other. A combination of reggae-style guitars, ambient strings and breakbeatesque grooves, the set was an incredible coalescence of genres.

Day 2 opened with Apragamata, which was a melange of unconventional instruments which was the perfect way to start the day.

He also played a set at the Big Tree, a solar-powered stage situated in the shadow of a mammoth-sized tree whose roots were adorned with mattresses and pillows.

the Big Tree – solar power with powerful performances Echoes of Earth's proclivity toward organic extended not just to their music, but also to the stalls it hosted.

Shirts made by hemp, organic sunscreen and ethically sourced jewellery comprised just a few of the items available.

Bare Necessities at Echoes of Earth – sustainable everything!

There was an air of love and security that ran through the festival, be it at the food court where a child was begging his mother to buy him an icecream or between stages, where a fullblown cricket match was taking place.

AC shredding over Aditi Ramesh’s exquisite vocals Ankur Tewari brought his soulstirring compositions live with the help of an exquisite band. As he has been doing for time immemorial with Zero, Sid Coutto's harmonies provided Tewari with the perfect platform to let his voice take centre stage, filling up all sonic space and adding a much-needed layer.

Soul-stirring and heart-warming, Ankur Tewari When Chai Met Toast – the quintessential festival band brought their sing-alongable, happy go lucky tunes to the Mandala stage.

The happiness and comradery seen on stage was contagious and resonated both with the music and with the crowd.

the man himself, Dualist Inquiry, playing a classic riff Co-headlining the festival was Awesome Tapes from Africa, who closed the Mandala stage with, well, awesome tapes from Africa.

Filled with beats that had chants in indigenous African languages, the set transported the audience half the world away.

Awesome Tapes from Africa, a man who exemplifies Echoes of Earth as a festival All excitement and chatter at the festival, however, was directed at three letters: FKJ. The French multiinstrumentalist who pioneered live looping brought his vast live setup to India for the second time in as many years, which had the audience abuzz with unfathomable excitement. His set was the fitting end to what had been an incredible festival and a reminder that Echoes of Earth is, and always will be, about the earth and its elements.the set transported the audience half the world away.

“I’ll tell mom if you push me off!” – Echoes of Earth was fun for the whole family!

Next on the Mandala Stage was Aditi Ramesh, who has had a meteoric year and a half. The introduction of ‘AC' on guitars and a flautist added a vibrant element to the set that can be condensed to a single word – tight.

This resulted in a well-disciplined performance, but also one that saw the artists enjoying themselves on stage, with their infectious energy resonating with the crowd.

No festival is complete without When Chai Met Toast’s life-affirming tunes!

All attention then moved back to the Lionfish stage where the mighty Dualist Inquiry debuted his band avatar in Bangalore. Sahej took his one-man guitar-synth-mixer set to a much larger scale, incorporating a violin, drums and keys into his performance.

FKJ live and looping!

All in all, Echoes of Earth pushed the envelope on forward thinking music festivals in India. They were true to their cause in an unprecedented manner. While festivals nowadays claim to be environmentally friendly, it seems gimmicky and superficial, however, Echoes of Earth was free from any pretence and their commitment to the surroundings and to the music was top-notch.

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MUSKAN GOSWAMI

5 Fabulous Folk Singers Who Have Brought the Unique Flavour of Regional Music to Bollywood

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ime and again, Bollywood infuses a touch of folk music and tunes to its songs. But, the essence of the folk music lies in its folk singers. The raw and magical voices of the folk singers seem to be embedded with folk music. Some Bollywood movies realized the charm of folk singers well and thus, decided to spell the charm of their voices over Bollywood.

1.Nooran Sisters The Nooran Sisters, Jyoti Nooran and Sultana Nooran, have come together for many Bollywood songs. Trained by their father, Ustad Gulshan Mir, the sisters have specialized in Sufi folk music.

The first Bollywood song that the duo sang was Patakha Guddi from Highway. From then onwards, the sisters have delivered many hit songs for movies like Sultan, Dangal and Dum Laga Ke Haisha.

3. The Wadali Brothers The famous brother duo, Puranchand Wadali, and late Pyarelal Wadali are known for their soulful Sufi music.

When their soothing voices blended in Bollywood music, mesmerizing folk music came out. The Wadali Brothers had sung songs for movies like Pinjar and Tanu Weds Manu.

2.Papon Papon started as an Indian folk-fusion singer and was born to an Assamese folk singer couple. In Bollywood, Papon has given innumerable hit songs from movies like Dum Laga Ke Haisha, Befikre, and Dum Maro Dum.

4. Mame Khan Mame Khan is an incredible singer from Jaisalmer. He is a master in Jangra music, a fold of Rajasthani folk which offers celebratory songs. Mame Khan has sung for many movies including No One Killed Jessica, Luck By Chance and Mirzya, among others.

5.Ila Arun Ila Arun is probably one of the most famous folk singers in Bollywood. This Rajasthani folk singer has given many chartbusters in Bollywood music. She has sung for movies like Slumdog Millionaire, Karan Arjun, and Khalnayak.

These folk singers and many others have received appreciation and love from people all across India. Here’s hoping that Bollywood brings more such talented folk singers under the spotlight.

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SHAPE 50 Shape 50 is the versatile monitoring loudspeaker par excellence. This monitor can be used from 30" away (80cm), and it has very extended low end frequency response (50Hz) considering its compact design. Thanks to this design and to the numerous settings, this monitor is ideal for rooms measuring less than 130ft2 (12m 2 ).

5" double passive radiator

MDF cabinet with natural walnut veneer

XLR and RCA inputs

1" “M”-shaped aluminum/magnesium inverted dome tweeter

Releasable high-pass filter

5" Flax sandwich cone woofer

Adjustable crossover at 160Hz TMD surround Adjustable bass and treble

N. I. C. magnetic circuit

Two Class AB amplifiers

Key points • Low directivity tweeter for a flexible listening position • Designed without a port allowing it to be placed near a wall • Numerous settings for optimal integration • Accurate control, even in the very high end • Flax sandwich cone: controlled and articulated bass, natural and detailed lower mid-range and upper mid-range registers • Threads for ceilling and wall mounts (fastening accessories not supplied) System

SHAPE 50

• Frequency response (+/-3dB)

50Hz - 35kHz

• Maximum SPL (musical signal)

106dB SPL (peak @ 1m)

Electronic section Type • Inputs/ Impedance

Connectors

RCA: unbalanced 10kOhms with sensitivity compensation

• High frequency amplifier

25W, class AB

• Electrical supply

• Settings

After approximately 30 minutes with no signal Signal detection > 3 mV

Voltages

220-240V (T800mAL / 250V fuse) or 100-120V (T1.6AL / 250V fuse)

Connection

IEC plug and detachable power cord

High pass filter

< 0.5W

• Standby consumption • Displays and controls

60W, class AB

Standby on

Adjustable, +/-3dB

standby

XLR: balanced 10kOhms

• Midrange and low frequency amplifier

• Automatic standby

High (4.5 - 35kHz) • Settings

Adjustable Full range 45/60/90Hz

Bass (0 - 250Hz)

Adjustable, +/-6dB

Midrange/bass (160Hz, Q=1)

Adjustable, +/-3dB

Transducers • Woofer

5" (13cm) Flax Cone

• Tweeter

1" (25mm) 'M' profile Aluminum-Magnesium

Cabinet 0.6" (15mm) MDF

• Construction

Vinyl, real walnut and black painting

• Finish • Dimensions with four rubber feet (HxWxD)

12.3 x 7.5 x 9.5" (312 x 191 x 242mm) 20.7lb (6.5kg)

• Weight

For a listening, please contact us on: 9884 631886 - vivin@promusicals.com 9884 304425 - sudhin@promusicals.com The

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KAUSTHUB RAVI & SIVANESH NATARAJAN

MAKING PROGRESS FabFilter Pro - Q3 | EQ Plug-in TIME TO UPGRADE!

O

ne of the most popular and versatile EQs has a new version and this one is absolutely armed to the teeth. It's hard for an engineer to pick up and get used to a new EQ plugin as its one of those staples that people get picky about. The pro Q3 seems to make quite a convincing case for people looking to update or move on. For starters, the amount of features on this EQ is insane.

The biggest addition is easily the dynamic EQ feature. Rather than looking like a multiband compressor with an eq on top like most dynamic EQs, the Pro Q3 adds it into the interface subtly. It fits snugly around the gain knob. It's extremely easy to use with the auto feature that automatically moves the threshold. While I've had some trouble getting this to work exactly as i want, the manual mode opens up a small threshold slider that works remarkably well. Workflow is extremely quick and intuitive. The other super innovative feature is the â&#x20AC;&#x153;show collisionsâ&#x20AC;? feature. It allows you to throw multiple instances on different tracks and monitor the spectrums on different tracks by overlaying them on top of each other to look for colliding frequencies. For example, you can have a kick drum and bass track and have the plugin overlay each of the spectrums on top of each other to show where they overlap. While any good engineer will most likely not use it, its great for amateurs and I must admit it does save some time in some cases. The tilt function was

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also something that we found super useful.

It quite transparent and smooth. One of the lesser mentioned features but one that I really appreciated was the brick wall filter in the HP and LP. It worked really well and in linear phase mode, was extremely convenient for mastering. The list of features on this thing is extremely exhaustive and will take quite a few pages to get to. But to be honest, I have not found a use for a lot of them, some of them just seem like interesting gimmicks that no-one will probably use.

For example, the spectrum grab freezes the spectrum and highlights peaks when you hover over the graph. While this may sound great, it sometimes encourages lazy eq moves that you probably wouldn't have done.

In conclusion, this is an absolute great plugin with tons of features. Whether most of them will end up being used in the real world scenario by most people is something that we shall find out with time. But it's nice to know that they are there.

And the features fit nicely into the corners of the GUI so as to maintain the slick and simple overlook so that its just a simple functioning EQ when you need it to be. As someone who was really not a big fan of the GUI and node based bands, the Q3 has made it into my list of goto tools thanks to the dynamic eq, brick wall filter, tilt function and linear phase.

KAUSTHUB RAVI & SIVANESH NATARAJAN

FROM RUSSIA, WITH LOVE. SOYUZ MICROPHONES Microphone

SU-011

SU-013

SU-017

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ew entries to the premium microphone category are fairly common these days. With each microphone looking to claim the position held by the classic U47s and U87s. The newest contender comes from quite an unlikely place, Russia! Named after the very successful Soviet spacecraft, Soyuz microphones hints at a level of precision or perfection. Every piece is hand built in their tiny facility in Russia.

Let's talk about the LDCs. The SU-017 is the tube variant and comes with a detachable 34mm diameter capsule with a cardioid pattern. The company is planning to offer different capsules with a selection of polar patterns soon. The capsule head, internal from and top and bottom sections of the body are all machined from brass on lathes built in the Kalashnikov factory. Their attention to detail and nod to history bleeds into every aspect of the design.

The SU-019 is the flagship. It is a FET condenser and looks very similar to the SU-017. It features a hand-wound proprietary toroidal transformer. The 019 also featured a stacked disk construction (similar to the 017) commonly used in the design of missiles and rockets. It claims to give the mic a very stable internal structure.

The SU-023 or bomblet as it is rightfully called is their attempt at making a more affordable microphone for the masses. It is a large diaphragm, phantom powered, externally polarised solid state capacitor microphone. It follows the same outer body shape as the others but uses polished steel rather than the fancy painted finish of the other two.

The smaller pencil condensers look quite beautiful as well.

The SU 011 and the SU 013 both have a similar finish and colour profile to the LDCs. The SU 011 is a tube variant which is quite uncommon in this category of microphones.

SU-019

SU-023

It features a changeable capsule (cardioid/hypercardioid/ Omnidirectional).

Now that weâ&#x20AC;&#x2122;ve gone past admiring the design and aesthetic of the mics, we can move on to how they sound.

COME AS YOU ARE! They sound exceptional and premium, justifying the high price tags. The SU-019 sounds extremely accurate and pristine. Vocals sound really natural and open with high levels of detail while remaining soft on the sibilants. This quality also serves acoustic guitars and snare drums really well. In our personal experience though, we liked the SU017 more. It maintained the clarity of the 019 while adding the subtle gooey quality of the tubes. On vocals, it sounds like nothing else, with a sound that most describe as fluid and smooth. The detail and dynamics seem so much more pronounced and its got the right balance of warmth and clarity. The tubes don't take long to warm up and once warm, they saturate beautifully. The bomblet is marketed by Soyuz mostly to be thrown on kick drums thanks to the micâ&#x20AC;&#x2122;s ability to handle high SPLs. No doubt though, they sound fantastic on percussive instruments including Indian instruments like tables, tapes and tavils. The pencil condensers deserve more love than they get. The 013 sounds great but the 011 is truly special. Having tube character on a small diaphragm allows for some pretty diverse applications. They sounded fantastic on acoustic guitars, sounding warm, rich and accurate. They also performed really well on guitar amps, drum rooms and overheads. But it definitely works best to buy these in pairs. It gets quite expensive but they are the only pencil condensers you will need.

All in all, these are absolutely fantastic microphones that justify the high price tags. If you are a gear-head, these beautiful handmade microphones are a must have.

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RECORDING KILLER VOCAL AT HOME Vocal recordings are always a challenge in any studio. Many of us think it’s a very complex thing to do because the brain tends to focus too much on the Vocal as the main subject. But remember, there are other tracks in your session to give importance in the mix! Here are quite a few tips I follow my own recording sessions for producing great vocal recordings.

Setting the Atmosphere Creating good ambience is the key secret to any recording session. It’s not about your mic or Preamp to look at first.

This does not mean you should record with a bad preamp or microphone! The room has to be clean in the first place and if there are any cables cluttering up then please do clear it up and lay them very neatly so that it looks comfortable from the artist point of view. Keep a good reading stand for the vocalist to hold their lyrics, and provide adequate light, don’t keep it too dark! Place the microphone and pop filter so that it does not cover the Lyrics for the artiste.

Setting your Gains Ask your artist to first sing free like a live stage show for you to adjust the levels on your preamp. This will give us a good reference level and also their throat will get warmed up. Now just play the music track and find the loudest level of the vocal part and adjust the gain according to that. Usually, I set a gain level of -15db when the sing loud. This will give you a lot of headroom for your post processing using your plugins. It doesn’t matter if they sing the soft part at low level. Since its digital audio, our golden rule is not to clip the audio.

Setting the Headphone mix or Cue Mix Give a good headphone mix for the artiste, this is very important for vocalist. Ask them until they are satisfied with the levels. I usually set and High Pass filter HPF of around

80-100Hz to remove any low end rumble and also insert a good Vocal Plate reverb to give the artiste a good feel of ambience.

Then if they agree i insert a delay plug-in with a Medium delay with a quarter not delay 1/4th using the D-Verb which is my stock plug-in or H-Delay by Waves. This will surely give a good vibe to the artistes.

Setting your Compressor After you have recorded your vocal sessions, it’s time to add some compressor to make it sound even on your whole mix. First, solo the vocal track and then insert your stock compressor which comes with your DAW. Set the Threshold about -15db or -20 db depending on your source! I am just giving you a general idea, but there is no rule in audio as you know you can be creative and have your best setting. Next, set the ratio to 2:1 or 3:1 for a good reduction to control on the peaks of the vocal tracks. Now adjust the attack to medium so that it does not sound harsh on your ears. Finally set the release to medium for keeping it natural. But it’s up to you how you want it to sound in context with your mix.

These small tips would help you produce great vocals at your home recording studio. Please feel free to try out different settings which suit your artist’s needs and do not hesitate to tweak your setting in your plugins. Once you find the best setting, save them as pre-sets in your plugins. So that the recall would be faster for your upcoming vocal sessions.

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

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Sennheiser Evolution 600 series

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or some, music is a passion - for others, it's also a profession. The evolution series has the right microphone for everyone. Each series sees itself as the accompanist to a development. And since demands can grow quickly, the evolution wired mics simply evolve along any sound.

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

They sound like more than so-called standards: the evolution wired 600 series microphones for instruments are the entry level for the Sennheiser class. Just plug them in and sound better - the evolution wired 600 series is ruggedly designed and easy to use.

One of the main microphone in evolution 600 series is the e 602-II which is a cardioid instrument microphone especially suitable for use with bass drums, bass guitar cabs and tubas. It is solid, lightweight, and easy to position.

Punching and vibrating, the e 602-II follows bass instruments down to the low frequencies that shake things up. The punch of the kick drum keeps its forceful volume at the bottom of the sound image; the attack remains precise throughout the micâ&#x20AC;&#x2122;s entire frequency response.

The e 602-II hears bass guitars and tubas with the same attention to detail: warm, dynamic, and always with substance. It sounds as solid as it looks and, thanks to its lightweight aluminum body, is easy to position especially in studios, clubs, rehearsal rooms, at smaller gigs or for home recording.

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An avant-garde audio architecture from Bose Professional tickles the aural senses at Pikkle, New Delhi

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erving an eclectic mix of Asian and Indian cuisine, Pikkle has brought together under one roof, experts from different culinary experiences to curate and serve dishes that exemplify intent, passion, and love.

Blending creativity with authentic flavors to taste top in town, the venue’s dishes are a perfect blend of spices, thought, presentation and a tad bit of fun, all mixed in with a luxurious and warm dining experience.

The FnB presentation is undoubtedly a treat to one’s aesthetic appeal, whereas the ambience, on the other hand, rejuvenates like a novel experience does. The entrance to the venue sports an archway covered in faux leaves that leads to the upper floor where the dining area is. There are merchandise shelves with varieties of pickles, and a walk down further leads into a plush space where the seating is a mixture of upholstery in jewel tones and vintage floral patterns, with the walls covered in emerald green dragon scales. The venue also sports an outdoor seating area which invites patrons to soak in the fresh air as they enjoy their meal and drink. The frolic however, is all indoors.

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With a comfortable stage area to host live gigs that spin the world of music genres ranging from rock to retro to classical and everything in between, Pikkle offers patrons the choicest music experience. This is evident even through the programmed music that is played through the day, in the absence of live performances. And patrons love every bit of it.

Jasneet Sahni & Suneet Sahni, the brain behind the Pikkle, exudes his their views about the sound experience at the venue, exclaiming, “The music we play at Pikkle is as diverse as our menu, and the music experience is as novel as the robot panda that greets you at the venue’s entrance. We must say that the performance of our new Bose Professional sound system has far surpassed all our expectations of what an ideal sound system should be. Be it live performances or prerecorded music playback - the venue always sounds fantastic.

The design and installation teams for the audio setup have done a wonderful job. We really couldn’t be more pleased!”

The avant-garde pro audio infrastructure from industry leaders Bose Professional that reinforces the mesmerizing music experience at Pikkle has been designed and integrated by the Bose’s in-house technical engineering team in

units of the highly acclaimed PM8500 power amplifiers from Bose Professional’s PowerMatch series of amps, while a single unit of the multi-faceted Bose Professional ESP-4120 Engineered Sound Processor capably sorts the loudspeaker management and processing responsibilities.

Manik Gupta of Hi-Tech Audio System explains how Bose proved to be the perfect match for Pikkle as he quotes, “The management at Pikkle expressed their plans to offer a wide range of music at the venue, and therefore, desired a system that would not only be as dextrous enough to capably reinforce all kinds of music, but also powerful and efficient in use. Considering the dynamics of the space, we chose the LT9403 knowing that it would give us the advantage of covering a wider area at FOH, that too with uniform SPL and great tonal balance. For the areas that were out of reach of the LT9403, we chose to deploy the RMU208 keeping in mind the need to maintain tonal consistency and ability to drive the speakers louder whenever needed. Working with these products from Bose Professional allowed us to meet every expectation the client put forth – be it sound quality, performance or aesthetics – and we are extremely pleased to know that members of the management at Pikkle, as well as their patrons, absolutely love the quality of sound there.”

Vibhor Khanna, Country Manager-SAARC, Bose Professional, shares his thoughts saying, “Pikkle has made a name for itself for delivering only the finest quality experience – be it the food and beverage, comfort or any other aspect of their service; and the management’s decision to choose Vibhor Khanna, Bose Professional as the preferred sound Country Manager solution for their venue exemplifies their -SAARC knowledge and awareness of how great quality sound enhances the dining experience, while consolidating their commitment to offering nothing less than the best to their patrons. It has been an honour and a privilege for us to be a part of this project and kudos to the entire installation team, especially our partners at Hi-Tech Audio Systems, for a job well done in ensuring Pikkle enjoys the kind of bespoke world-class sound experience that it so truly and richly deserves.” conjunction with Hi-Tech Audio Systems, who are the brand’s official distribution partners in India.

Following a detailed analysis of the venue in terms of its structural and acoustical nuances, the integration team meticulously devised a precise loudspeaker scheme which involved an amalgam of Bose Professional’s finest range of install specific products. The principal FOH system at the main dining/performance area comprises a pair of the Bose Professional LT9403 loudspeaker that features medium-format waveguide, 90° x 40° coverage pattern and Bose’s V2 midrange manifold, all of which allows it to provide amazing coverage and superlative intelligibility with a smoother and more natural vocal range. Multiple units of the Bose Professional SMS 118 subwoofers provide impactful low frequency fidelity that is enjoyed and appreciated by everyone across the venue; while multiple units of the ever efficient RMU208 from Bose Professional’s Room Match Utility series of install specific loudspeakers have been deployed at strategic locations to ensure even distribution of sound across the venue’s perimeter, walkways and outdoor seating area.

The entire loudspeaker system is powered through three The

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MUKESH AMARAN

ALBUM ARTicle:

MANEK D'SILVA

O

ur Artist of the month is Manek D’Silva who has an interesting past with a cartoon fueled childhood that has shaped him into a fine artist with a loving sense of humour. “As for music, my parents made sure the house was always full of Rock Pop and Country. I sang in a classical choir, played guitar and made albums with Progressive Rock band Slain, and write lyrics for folks who need them. And while I’m taking a break from making or playing music for now, I adore listening to new sounds!”, he says keeping to the trend of incredible music shaping some incredible talent.

In 2010, when the band Slain was releasing a full-length album and when Manek was still in art college, he wanted lend his skill. “I made it my responsibility to paint the best album cover ever. Not sure if I reached that goal, but it turned out good enough that over the years other bands also wanted me to work with them; I had a ball making album art for acts like the Raghu Dixit Project, Lagori & Perfect Strangers, and pushing my skills in the process. Alongside I also developed a deep fascination for letters and hand-made typography, so I started making wild custom logos for bands like Bryden-Parth, Best Kept Secret & Brotha V.”, he says. That’s quite an impressive set of artists who have used his skillset.

Collaboration with a band like Funktuation is only the most natural thing that could’ve happened, given the fun and the quirks that the two sides are equally guilty of boasting. “I think pretty early on in the discussion with Funktuation we established how much I love the group’s musical vibe and performance attitude, and they love my funny designs and

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wild colours, we just had to put those things together. I had drawn a couple different sketches and directions I thought we could work with, so soon as they reached Bangalore for a concert we gathered everyone in a hotel room and talked about design possibilities till like 2AM. Their music merges Tamil folk and Bollywood sounds with punchy electronic funk, so the idea to have a Tamil dancer holding a boombox seemed too good to pass up. Then after a few weeks of spamming our Whatsapp group with pictures of jewellery, we had a finished album cover that blended Tamil traditions, retrofuturistic tech, funky letters and a badass attitude. The whole process was very collaborative, with everyone in the band throwing in fun ideas, but also just letting me run wild with the humour and styles that I enjoy.” The whole process that they have gone through, although hectic, has yielded one of the best artworks in recent times that carefully but accurately represents what the album is going to be about.

Manek has also picked an interesting field that employs his skill set. As a comic creator, Manek writes his own web comic series today titled “Bonabyl”. “I finally launched my own web comic series Bonabyl (www.bonabyl.com), that satisfied my urge to draw terrifying monsters and cool fights and weepy emotional scenes. Classic Manek stuff. The journey’s been great so far, I’ve become a much better artist and writer from making Bonabyl, and I’m elated that the first volume is being printed and will be available as a book soon!”

We wish to see more of Manek D’Silve and we sure know that we will be.

BOSS ANNOUNCES VERSION 3 UPDATE FOR THE KATANA GUITAR AMPLIFIER SERIES Free Update Adds New Effects Types, User-Customizable Parameter Controls, and Stereo Recording Via USB

B

OSS announces a free Version 3 update that further enhances the stage-class models in the popular Katana guitar amplifier series. This feature-rich update adds three new effect types that are perfectly matched for the Katana’s Brown amp character, bringing the onboard effects total to 61. Other improvements include the ability to assign favorite parameters to the front-panel effects knobs and connected expression pedals, as well as the option to record with stereo effects when tracking in a DAW via USB. All Katana stage-class amps include integrated access to a wide selection of BOSS effects, which are customizable using the free BOSS Tone Studio editor software. With Version 3, the legendary Roland DC-30 Analog Chorus-Echo, iconic BOSS GE-10 Graphic Equalizer, and expressive 95E pedal wah effects have been added to the mix. These classics work great with any of the Katana five amp characters, but offer special tonal magic when used in combination with the Brown character’s harmonically rich voice.

The Version 3 update also provides the ability to assign favorite parameters to the front-panel effects knobs, giving users greater flexibility for shaping their own unique

effects tones on the fly. Additionally, it’s now possible to control specific effects parameters from up to three expression pedals connected via the rear panel and an optional GA-FC foot controller. (The GA-FC is compatible with all Katana stage-class amps except the Katana-50.)

Stage-class Katana amps are equipped with analog and USB direct outputs with mic’d cabinet emulation, allowing players to send mix-ready amp tones to a PA system, computer DAW, or headphones. The Version 3 update further enhances the USB capabilities, offering true stereo sound with many of the Katana’s modulation, EQ, delay, and reverb effects, including the newly added DC-30 Analog Chorus-Echo.

The Version 3 update is available as a free download and can be installed by connecting a compatible Katana amp to a computer via USB. Supported Katana amp models include the Katana-Artist, Katana-50, Katana-100, Katana-100/212, and Katana-Head.

To learn more about the Katana Version 3 guitar amplifiers, visit www.boss.info.

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Gig Calendar JANUARY 2019

MUMBAI

DELHI

Jan 10th

Sounds of New Orleans with the Bianca Love Quartet

The Quarter, Mumbai

Jan 10th

Atul Ahuja - Thursday Live!

Hard Rock Café, Andheri

Jan 13th

SK Official Performing LIVE

Flyp Café, Mumbai

Jan 13th

Sunday Jazz Sundowner with the Pritesh Walia Quartet

The Quarter, Mumbai

Jan 17th

Nine Lives - Thursday Live

Hard Rock Café, Andheri

Jan 10th

Tarq Bowen

The Pianoman Jazz Club, New Delhi

Jan 11th

Friday Night live ft. The F16s

Hard Rock Café, New Delhi

Jan 11th

Kitty Su Delhi presents Petar Dundov

Kitty Su, New Delhi

Jan 19th

Tribute to the Divas by Top Storey

The Quarter, Mumbai

Jan 12th

The Revisit Project

The Pianoman Jazz Club, New Delhi

Jan 20th

Jazz Messengers Night

The Quarter, Mumbai

Jan 16th

The Shonai Collective

The Pianoman Jazz Club, New Delhi

Jan 25th

David Tappeser Trio

The Quarter, Mumbai

Jan 17th

The Obvious Cats - Thursday Live!

Hard Rock Café, New Delhi

Jan 19th

Submarine in Space

The Pianoman Jazz Club, New Delhi

Jan 24th

Chasing Laika - Thursday Live!

Hard Rock Café, New Delhit

Jan 25th

Bhavya Raj Experience

The Pianoman Jazz Club, New Delhi

BENGALURU Jan 10th

Reck. in association with Fandom present Sabu & Unohu

Fandom, Bangalore

Jan 13th

Unscene, Progworks Edition: The Ocean Tour of India - Bangalore

Fandom, Bangalore

Jan 17th

Peepal Tree - Thursday Live!

Hard Rock Café, Bangalore

Jan 17th

Toto Night of the Nominee at Fandom | BLR

Fandom, Bangalore

Jan 24th

Fandom presents Skrat

Fandom, Bangalore

Jan 27th

Killing fields Vol - 2 | Fandom, BLR

Fandom, Bangalore

GURUGRAM Jan 12th

Coldplay Tribute Night with Chizai

Saints N Sinners, Gurugram

Jan 16th

Celebrating Midlife with Rigmona

Saints N Sinners, Gurugram

Jan 19th

Super Saturdays with Copy Cats

Saints N Sinners, Gurugram

Jan 20th

Sunday Brunch with Dhruv Sharma

Saints N Sinners, Gurugram

Jan 31st

Acoustic Night with Vinayak live

Saints N Sinners, Gurugram

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.

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