ISSN 0974 – 9128
Vol 12 Issue 06 June 2019
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India's National Pan-Genre Music MagazinE
STUDIO TOUR: GLASSONION STUDIOS MUMBAI, IN CONVERSATION WITH DJ SHADOW AND MORE
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ON THE COVER
HARSHDEEP KAUR
QUIRKS AND QUERIES
ISHEETA CHAKRAVARTY ARTIST OF THE MONTH
RHYS SEBASTIAN
READ ON
BORROWED ELEMENTS: ROCK ENSEMBLE READ ON
MUSIC IN STAGE DRAMAS
READ ON
INDEPENDENT MUSIC LABELS FOR INDIE ARTISTS READ ON
VISUAL HOOKS WITH THE NAUTILUS SHELL
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 Amogh Rao Kausthub Ravi Gajendra Puri Goswami Aditi Sarawagi Souvik Chakraborty
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SNEHA RAMESH
Harshdeep Kaur In conversation with Harshdeep Kaur, a playback singer from India better known for her Sufi renditions and Blockbuster film tracks in Punjabi and Hindi. She has lent her voice for leading composers in the country including A R Rahman, Pritam, Vishal-Sekhar, SalimSulaiman, Shankar Ehsaan Loy, Amit Trivedi to name a few. She is one of the very few Indian singers to have sung for a Hollywood movie. Her track R.I.P. composed by AR Rahman was a part of Oscar winner director Danny Boyle’s film 127 Hours. We had the chance to chat with her about her musical learnings, how she came into the industry, challenges faced by her, her experience as a mentor at the reality show “The Voice” and upcoming projects. 12
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When did you first realize that music was your calling and how did you start as a musician? My father was always inclined towards music and he was the one who spotted my talent. He encouraged me to learn music and so my training in Indian Classical music started at the age of six. I started performing in my school functions and I used to get a lot of appreciation from teachers & fellow students. It was then that I decided that I want to become a singer.
What were the challenges you had faced as a musician when you started? Shifting base from Delhi to Mumbai was the biggest & toughest step for me and my family. We came to Mumbai with a lot of hope & aspirations. I remember my mom used to call up music directors and ask for their time so that they could hear me out. My dad used to accompany me to studios where I met many music directors. Luckily most of them were very encouraging and geadually I started getting recordings. I also went to college during the same time and completed my graduation. My family has played a very important part in my struggle period.
Tell us about your music learning experiences and your teachers. My first guru is definitely my dad as he taught me the basics of music. I trained under Shri Tejpal Singh ji. He taught me for many years and he always used to tell me that I must move to Mumbai and sing for films. I also learnt classical music from Shubha Mudgal ji for sometime. Besides singing I also went for piano lessons at the Delhi School of Music. After shifting to Mumbai I felt I should also train in western classical music as it would help me become a versatile singer. That’s when I started learning from Alfred D’Souza.
You have sung a lot of blockbuster hits in Bollywood. How did you score most of your popular songs? I have been really blessed to have sung some of the biggest hits of Bollywood music. Songs like Heer, Kabira, Kateya Karoon, Dilbaro, Zaalima, Jugni, Nachde ne saare, etc have become a part of people’s lives. I would give the credit to the music composers of these song who felt that I would do complete justice to their compositions.
You are better known for your Sufi renditions. How did that interest you? When I was a kid my mother taught me many shabads (sikh hymns).That was my first introduction to spiritual music. Later when I was growing up I started listening to Ustad Nusrat Fateh Ali Khan Saab, Abida Parveen,Jagjit Singh ji, Reshma ji.. and their songs really suited my voice. And then when in 2008 I took part in Junoon (a reality show where I had to sing only sufi songs) , I met Ustaad Rahat Fateh Ali Khan Saab and was mentored by him. I won that show and somehow it showed me a path. I feel Sufiyana music has the power to connect you to the Almighty.
How would you describe your tone and voice to someone who has never heard you? I would say my voice is not the regular high pitched female voice, it’s very unique & more deep & mellow. A lot of people describe my voice as rustic & honey
dipped. The best compliment I got for my voice was from Sanjay Leela Bhansali ji when he said that “I can listen to her voice the entire day!”
You are a coach on "The Voice". Tell us about the experience Being on “The Voice” has been a really enriching experience for me. I have been a contestant many times in the initial years of my career but sitting on the big chair as a Coach/Judge was very humbling. It’s a role full of responsibilities. What you do & what you say to the contestants really matters a lot. I got to meet so many new talented people and sharing my knowledge & life experiences with them was what I really enjoyed the most.
What is your view on the current and upcoming musicians and their talent? Music is a huge canvas and there’s so much that can be done with it. The new generation is very smart and uses their talent & technology to create newer sounds. But somewhere I feel that a lot of upcoming artists don’t give much importance to ‘Training’ especially in classical music as that requires a lot of time and dedication.
What were your biggest learnings through being a coach on this show? It is very important to connect with the contestant and empathise with what he or she is feeling. Singing in front of judges and lakhs of people watching you on TV is not easy. As a coach I have realised that Encouragement is the key. Young artists look upto us and we should do our every bit to inspire them.
You have sung for some leading music composers in the country. Which song has been most special to you and why? For me every song of mine is like a baby to me. Every song has it’s own story and journey. But the track that has connected me to a million hearts is ‘Ik Onkar’ from Rang De Basanti. It is a prayer that’s beyond language, religion, culture, or genre. I still get a lot of messages for this prayer from people telling me about how much peace it has brought to them.
You are also into live performances. How do you differentiate between live and playback singing and what do you enjoy more? I love performing for a live audience. It’s a very satisfying emotion. Singing on stage gives you a lot of confidence. You get to know where you actually stand as there are no retakes in live singing. You have to give your best. Live performances also give you an opportunity to connect and interact with your audience. On the other hand I love Playback singing & recording in the studio. You become a character and have to act while you’re singing. You can experiment with your voice, expressions, style, throw, etc. to suit the requirement of the song. Its a very enriching experience.
In the digital era, how are you leveraging platforms to reach out to your fans/ audiences? I love doing independent music and I feel YouTube is a great platform to showcase that. Social media has also become
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very important as it helps the artist connect with his/her fans. I keep posting my new music, behind the scenes videos of my concerts, shoots & recordings, etc and fans really like that. It makes them feel that they are also a part of my musical journey.
In a country with a lot of talent, how do you keep abreast with the competition and ensure you always have something new to give? It’s necessary for an artist to keep updating himself according to the changing trends in the music scene. Being versatile is the key. I feel my training in both Indian and western
classical music has helped me a lot. I love singing new styles and I happily try new genres of music.
Tell us about your upcoming projects to look forward to A lot of Bollywood releases are on the way and apart from that I’m concentrating on releasing a lot of original music on my YouTube channel.
Your message to budding Sufi artists Music is a way to connect to God.. Treat it like worship. Learn music and always sing from your heart
Rapid Fire Most favourite song of yours - Rehna Tu from Delhi 6 A song that is played on loop always on your phone Pashmina by AmitTrivedi Best live performance to date - My UK tour, March 2018 The composer you would love to work with - Ilayaraja Give one word to describe Harshdeep Kaur -100% Genuine If not music, what would you have been doing? Veterinary doctor You favourite singers (Male & Female) right now - Arijit Singh/ Kaushiki Chakroborty
Trivia She has a wicked sense of humor, she's a dog lover and she is a big Bollywood buff :)
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Popular songs Happy Bhag Jayegi - Happy Phirr Bhag Jayegi Dilbaro - Raazi Twist Kamariya - Bareilly Ki Barfi Zaalima - Raees Khulke Dulke - Befikre Sachi Muchi - Sultan Jalte Diye - Prem Ratan Dhan Payo Uff - Bang Bang! Saanu te aisa Maahi - Dil Vil Pyaar Vyaar Nenje Nenje - Ennathan Pesuvatho Kabira (Encore) - Yeh Jawaani Hai Deewani Tu Hoor Pari - Khiladi 786 Heer - Jab Tak Hai Jaan Katiya Karoon - Rockstar Jhak Maar Ke - Desi Boyz Baari Barsi - Band Baaja Baaraat Chand Ki Katori - Guzaarish Ik Onkar - Rang De Basanti
Awards • Winner of Best Playback Singer Star Screen Awards 2018 • Zee Cine Awards 2019 • Fever 104 Award • Reel Movie Awards 2019
• Best Playback Singer Female at Mirchi Music Awards, 2015 for the song Lori, Punjab 1984 • Best Playback singer- Female at PTC Film Awards for the song Lori Punjab 1984. The
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Tell us your songwriting process
QUIRKS & QUERIES
ISHEETA CHAKRVARTY
I am drawn to melodies so my songwriting process dominates that. My training in Hindustani music also helps me to draw from the all the tools that that form offers me with in terms of scales and notes if one were to look at it from a very technical perspective. For me choosing the 'right' harmony for that melody comes after the melody, because for me the harmony has to sit in with the essence of that melody. Even if I am working on a re-harmonisation or re-interpretation of an existing traditional melody, that melodic content takes centre-stage for me. And then of course there's the rest of the body and form and arrangement that slowly and steadily build the whole song. Working with two forms like classical music and Jazz and trying to bridge them both can be a tricky one so the melody and its essence is where I begin. Then after a point you just get out of the way and let the song takes it own shape. I feel that at one point you have to surrender to the process itself and see where that takes you. Sometimes a song takes fifteen minutes and then sometimes days and months. Having said all this however, I don't believe that there are specific hard and fast rules to song writing. Different people have different approaches. No matter what the approach or the state of being is, at the end of the day it needs to make sense to you and only then can it translate to an audience and of course it sounds good.
How do you manage to sing both classical and jazz music? Tell us how you got trained to be good at both?
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I have been training in Hindustani classical music since I was four years old and that has been a constant since. Jazz happened to me in college. I did not receive any particular training in Jazz but I did have a mentor in Carlton Kitto back in Kolkata, who was one of the last surviving Bebop guitar players in the country back then. I began singing with him and
his band directly by just starting to learn some standards and since then it has been a constant process of learning on the job. I sing Jazz purely out of instinct and the love for the music. I have had musicians along the way help me out whenever I needed help in understanding something. I continue to train in Hindustani classical music, visiting my Guru, whenever I get a chance. The two may seem to have completely different approaches and ways of singing but at some point, emotionally and psychologically, the lines blur and then it’s just two or possibly more ways of expressing oneself. Loving both deeply and constant practice is where its at I guess.
Who did you get formally trained from? I have been trained for many years in Hindustani classical music under Pandit Ajoy Chakraborty and Kaushiki Chakraborty and later under Arati Ankalikar Tikekar. For Jazz, Carlton Kitto had been my earliest mentor. Since I moved to Bombay, Louiz Banks has been like mentor figure for me constantly challenging me with his music. When I was in Kolkata, I was mentored under producer and composer Mayookh Bhaumik for a number of years who taught me the basics of musicianship and how to be a musician, lessons that have held me in good stead since. I recently started taking lessons in Konnakol from Viveick Rajagopalan so I am excited to see where that takes me.
How would you describe the jazz music scene in India? How has it evolved? I think the jazz scene in India is thriving. The sound is definitely evolving. A lot of us are breaking out of the traditional forms and are experimenting with Jazz in our own ways. A lot of independent artists are taking up Jazz across the country. There are so many venues that are supporting Jazz. I’d like to mention Gatecrash here because they have been consistently trying to promote Jazz throughout the country programming at different venues so the future looks good.
ARTIST OF THE MONTH
Rhys Sebastian You come from a family with renowned musicians. What were your learnings in your initial stages when you started out? Looking back, I can say that I’m glad I had an ear for music, which was always picking up on what my mother and father were playing at rehearsals. With the encouragement from my parents, I would be introduced to other well renowned musicians and sit in on rehearsals, occasionally performing with them. So I was quite blessed to be surrounded by a wealth of talent, professionalism and experience at an early age.
John Dias, used to play the upright bass and other stringed instruments as well as the clarinet. They would have to keep me focused on using my time right as I just entered the teens and gradually got me to start something new. I learned the clarinet while my interest at the piano waned slightly but it was enough to get a glimpse into what professional musicians do, as the institutional Jazzy Joe took me under his wing. By the time I turned 16, he moved me onto the saxophone and that’s the one that stuck through. I still do have an inquisitiveness for the piano and now, the bass guitar.
When did you first know you wanted to be a professional jazz musician?
Who did you learn from and what were your major learnings?
I think I’m evolving as a musician unconfined to genres at this moment in time although, my journey did start with heavy dose of Jazz and I’m very happy about it! I think this just sort of happened when I was 17 years old. The late Jazzy Joe, was my first clarinet and saxophone teacher and he’d take me with all the other senior musicians and his students to perform at Not Just Jazz By The Bay. He’d also request me to substitute him at the Sea Lounge, Taj Mahal Gateway where I truly learned while I earned, as my father would cheekily say. And since I was still young, I let the waters just flow naturally and allowed myself to play with people from different educations. Jazz though has been and is still a great influencer for me and I attribute that to one of my best people around me, Tala Faral.
My parents, taught me so much then about life really and what it is to be a full-time musician while supporting a family. They tell me less now but still keep a keen eye on me. I suppose I could say, for me at least, I’m grateful for my parents and that they are always around for me. Sound’s cliched, but I’m still learning new things from my peers and friends, and feel great about that.
Are there any musicians you would specifically like to work with? Jacob Collier is a bit of a stretch and several leagues and worlds out of my reach but I still dream.
Upcoming project I’m looking forward to what 2019 has in store. While I’m
What made you choose the sax as an instrument to play? primarily a session’s musician featuring on other artist’s I didn’t! I started the piano at a young age but it was clear that football was dominating my studies and music while in school. My parents had to act quick. Mum mother’s father,
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work, I would like to present some of my own music this year. I am hopeful that I give myself the chance to do more public shows and am working on original content for that purpose.
MEGHAN KHARSYNRAP
Film Music The Blood of Indian Cinema Hindi cinema is considered synonymous to song and dance. Even in the earliest days of Indian cinema, music has been a key characteristic for film. Back then, films were generally written for and around music unlike how music is created and centred around films today. It’s the one characteristic of Indian cinema that has been preserved for decades, even as cinema drastically changed in production, technique and form. In fact, song and dance is a character of Indian culture that has lasted for thousands of years and has merely re-emerged in a new form of art. Storytelling through song and dance was crucial to traditional theatre in ancient India. The practice has endured centuries and is prominent in regional languages across India. Even UNESCO labels this oral culture of storytelling a “Masterpiece of the Oral and Intangible Heritage of Humanity.” What’s ironic is this very feature of Indian film is often used by critics today to devalue a film, calling it naive or crass. Critics like Satyajit Ray also made note of this quality of film and considered music and dance that was made for film striking, brash and vibrant.Today, Bollywood music has come to be a genre of its own. Although it is categorized as “popular music”, it sounds nothing like it’s pop-music contemporaries. Today, It’s a mix of ancient styles that have bred and developed for 2000 years, mixed with western and ‘now’ global qualities. Music has been so prominent in Indian film that even the first Indian talking-feature film Alam Ara-- made in 1931 by Ardeshir.M.Irani--has a dozen songs. Other films from the era like Indrasabha has 59 songs and Shirin Farhad has 42 songs. Movies of regional languages like Tamil and Bengali also didn’t shy from the melodies and choreography, matching the vigor of Hindi cinema in terms of music and dance. Advertisements from that time were accompanied by taglines stating “It (the feature) was an all talking, all singing and all dancing feature.” Even advertisements didn’t shy away from creating the music-drama brand for Indian film. Film was made to be enjoyable, understandable and pleasurable to watch. Bollywood music has definitely changed. The catchy tunes, use of instruments and arrangement is still pleasurable for the masses. But today, soundtracks account for nearly 80% of a movie’s revenue. What’s interesting is in many parts of the world, licensing and placement of music in films, soundtracks, ads and video games is still considered a fairly new side of the business; unlike in India, where even the opening week
of a film is dependent on good pre-released music that tempt audiences into watching the films. It’s hard for International companies to penetrate into this bustling and huge market that Bollywood has dominated for so many decades. Localised companies or branches who exclusively deal with Bollywood media capture a greater market share, for example Zee Music and T-series. The extent of Indian-film-music influence has ‘struck a chord’ across the globe. There are plenty of fans of Bollywood films around the world and therefore of Bollywood music. Fourteen Songs, a popular British musical was based off Hum Aapke Hain Koun. Moulin Rouge was also influenced by Hindi cinema. Recently there has been a lot of infusion of Hindi songs in foreign movies, even in popular franchises like Deadpool. Hindi film music has also been integrated with local styles to form Chutney Music and others. Music in India isn’t based on artists or independently. Most people see songs in a film as a by-product of the film, rather than an independent piece of art. This is why artists and musicians in India find it hard to be recognized. Unless an artists is making a consistent number of hits at a quick pace, the artist is forgotten. The
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SHREYA BOSE
Indie Reviews
Poorna Swaraj (RollsRoy’s): All good hip-hop is incendiary. No matter how good the “beat” is, hip-hop that leaves a legacy embodies rage, despair and rebellion. It’s hard to remember which rapper sports how much bling when Biggie and Kendrick Lamar come on.
If you prefer to stay unperturbed by a rapidly fracturing world, then this one is best given a miss. This seven membered ensemble sputter a scathing indictment of a malice-driven political system and a state of humanity that is most politely described as troublesome. However, this lot tosses politeness to the rear and take on every societal and political ill that seems to plague our present. What comes to the fore is the concept of poorna swaraj : complete freedom. In common parlance, democracy conjures the image of complete freedom, especially pertaining to speech and opinion. Disruptions in such freedom usually translate to disruptions in democracy, which is the song’s central question. A fiery anthem to the act of questioning everything, Poorna Swaraj is bound to get you riled up and ruminate about most things that you might take for granted or even avoid. Get angry, get curious, at the very least, get yourself to start questioning. This track isn’t one to be played in the background. It demands unadulterated attention, it deserves to be chewed upon, and is entitled to a visceral reaction (the nature of which is, obviously, entirely your prerogative). It's the kind of song that forces you to take sides, or, at the very least, abandon conformity for a few glorious moments. It needs to be heard. Nothing For Our Own (Hanita Bhambri): You know how Prateek Kuhaad’s music feels like he has listened in on your most decidedly unspoken thoughts, and then wrote about them? Hanita Bhambri might have a knack for the same uncanny clairvoyance. Her debut EP is the very picture of adolescent vulnerability, but she manages to transcend the attachments and obsessions of her age to reach wider resonance with her music. Let Me Go is both plea and power. While she reveals personal conflict, there is an inherent conviction in her ability to transcend it. She stays with her emotions, and is obviously exorcising them through her art. I Tried is the same, in which she lays bare the devastation of heartbreak, but instead of using common metaphors to denote sadness, she actually owns up to the many slip and blunders that occur in their throes of agony. Nothing For Our Own and Be Patient are more introspective, with Bhambri turning internal conversations into whimsical melody. They are best sung to no one in particular, because the songs sound like skillful commentaries on the self. None of what Bhambri sings about is new, but she takes the oldest ideas in the world and adds the unique signature of personal involvement - something that is impossible to replicate. The EP is her story, and what makes it striking is that it becomes all our stories without any effort on her part or ours.
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Frostcraft (In The Red): For a debut track, In The Red is exceedingly adequate. The band describes itself as playing hardcore/ alternative rock, but the semantics of defining genre has become quite useless when it comes to identifying qualifying music. What they play is interesting, their music emphasizing ragged riffs on a foundation of clean, unvarnished bass. Singing about a cruel world collapsing onto you can be depressingly predictable, but Frostcraft does enough to hold your attention. There is little that hasn’t been heard before, but you listen to it with the quiet satisfaction of treading all-too-known roads. There is no ominosity in describing a broken mind, but you can hear them giggle at the absurdity of it all. A nihilist viewer/listener might appreciate that. The video also wades into the waters of predictability. Black and white imagery of an unconvincing woman trying to act out tired representations of terror, despair and ennui. The energetic gyrations of the band is much more pleasing to watch, because they actually seem to care about acting out the point they want to make visually. A first listen is recommended because Frostcraft seems authentic, and do their utmost to express ideas that they seem to take seriously. You will be entertained and might be rendered curious about their upcoming album, of which this track is a sample.
Polar Drift (Eashwar Subramanian): The beauty of certain things cannot be contested. You need no analysis, no pensive rumination or jubilant investigation to conclude that it has aesthetic, artistic and sentimental value. It just does, and it's the most obvious thing in the world. Subramanian’s album explores silence as adequately as it plays with sound. Every track is skewed towards fermenting a meditative mindset, though the emotions being hinted at are not always in the “peace and equanimity” family. The two halves are neatly shelved into serene and ominous. The first three songs Verdant Nature, Silent Brook and Gentle Chimes careen about with whisperings of reassurance. They paint worlds with the elusive ethos of still water, impossibly alluring in their quiet temperance. Pause upon these and you might just be drawn into an unfamiliar, heart-based wellness. You feel good, because they are good feelings made into sound. The soundscape then takes a gentle yet noticeable turn towards melancholia, edging but not touching despair. Lost Notes, Barren Soul and Broken Mirrors present facets of everyday human tragedy. Instead of resonating as thunderous revelations of agony, they choose to resemble the hidden sighs that escape you when the world hangs heavy upon you and no one notices the cracks in your voice. Polar Drift has very little to break down. It is uncomplicated, and offers refuge for feeling you have not had the time or occasion to express, perhaps in a while. To hear oneself being echoed in realms of incandescent sound is, on most days, a gift we cannot afford to overlook.
Dil Mera (TAPAS): One in a while, it is worthwhile to step into simplicity. Nothing as simple as a love ballad which follows all the rules of the mainstream, but manages to be pleasant nonetheless. Take your time with this one, suspend your analytical mind and inhale the unreal metaphors that frequently go with declarations of that ever-maddening sentiment. Musically, the song covers all signatures of a rock ballad, and while there is nothing new on offer, there is enough for momentary enchantment. Do not bother with Dil Mera if you are looking for visionary music, but come to it when you need to expel cynicism and delude yourself with old platitudes of “Love is all you need”. The
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KARISHMA D'MELLO
BO +RR +OW ED ELEM ENTS:
THE ROCK ENSEMBLE 24
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Music is nothing if not a collective set of inspired sounds. Genres tend to build off from each other to create new variations of the other. Incorporating varying elements, themes and sounds, they leave each other in a constant state of change. They evolve into unrecognizable versions of themselves giving rise to whole new niches and genres of music. These changes that influence the subtle, but certain evolution of music make for a fascinating study. Every slight variation, experiment or a drastic deviation from what is regarded as convention within a given genre makes for a new sub-genre. You can start off with rock ‘n roll, and build your way to heavy metal. Metal then creates its own subsets and subgenres giving rise to glam, thrash and extreme metal, to name…three. We’ve journeyed enough to no longer have genre monopolized instruments. Challenging the traditional rock band formation of bassist, drummer, lead guitarist and vocalist, artists have taken to experimenting with their ensembles. While Vedic metal and psychedelic rock witnessed the use of sitars, tablas and other elements of Indian classical, rock in general has evolved to become incredibly diverse in its use of instruments. Linkin Park and Incubus are perhaps one of the better known alternative rock bands who chose to include a turntablist (DJ) in their ensemble. Slipknot’s, three percussionists aren’t as surprising as their own turntablist, Sid Wilson, aka #0. Yet another example is melodic death metal, that infuse symphonic layers into their music, their roots running deep within Western classical influence. Musicians largely influenced by folk and mythology like America’s Celtic rock group Dropkick Murphys and Australia’s “The Rumjacks” use flutes and mandolins in addition to a host of other instruments to create a hard rock meets Scottish folk crossover.
India’s own set of fused elements within the genres of rock and metal can be observed with bands like Thaikkudam Bridge. This Kerala based 15 member band incorporate a plethora of oriental, folk, metal and classical elements to create subliminal symphonic undertones within their music. With three sound engineers, a violinist and a percussionist alongside six vocalists creates the potential for incredible versatility that shines through their music. Moheener Ghoraguli, (literally Moheener horses), is another indie rock band, from Bengal. Co-founder, Gautam Chattophadyay, adds to the jazz sound with his saxophone, creating what they like to call “Baul Jazz.” Drawing sounds from western, jazz, rock and Bengali folk they add a seemingly psychedelic/ folk tone to their music. Mrigya, traverse genres like blues, jazz, rock and funk, which given their band formation, is something one might anticipate. Without sticking to anything specific, they manage to maintain a subtle distinctiveness to their music. Gyan Singh adds an interesting percussive element to the band with the tabla while Sukriti Sen’s classical vocals create an intriguing blend with the somewhat western instruments of the rest of the band. A highlight for all of the mentioned bands is the necessity of these elements involved in their music. The only way to make it work is by creating a definite sense of necessity. Using or borrowing elements in their capacity as a gimmick or whose sole purpose is to stand out without adding anything to the collective sound would be an absolute disaster. A perceptive audience sees right through fads, gimmicks and rebel musicians without a cause. If each element does not add value to the music it creates, there is no point to it. This of course implies that the true value of an element can only be measured in one way. Ie. Is the song worse off without the a single of its collective sounds?
ADITI SARAWAGI
Music Podcasts in India Audiences today are seeking varied, intuitive, and engaging content which can be easily consumed on the go or while doing other tasks. Podcasts serve exactly that purpose and therefore have huge growth potential as increased smart phone penetration, internet accessibility and listeners craving diversity has made conventional content redundant. By 2020, the global podcast industry is projected to reach $20 billion. The US is the most advanced podcast market but podcasts are becoming increasingly popular in India as well.
Maed in India by Mae Thomas Considered to be India’s first music podcast, Maed In India is hosted by Mae Thomas, a journalist and former RJ. It is an indie music podcast focusing on independent artists and the indie music scene. Along with discussions and conversations with the artists, listeners are entertained with live music on the podcast as well. This podcast promotes the indie music culture and introduces you to new music from a variety of genres like hip hop, blues, folk, and even rock. This podcast is not only making waves in India but internationally as well.
Horns Up This one is for heavy metal lovers. Hosted by Mumbai based heavy metal fans-Peter Kotikalapudi and Animesh Das, this podcast had its origins in social media and it is a treat for heavy metal fans. This podcast reviews heavy metal albums and hosts discussions on the developments in this genre. Conversations move on Indian as well as international artists so heavy metal is explored in its totality. The hosts are passionate and their love for the genre resonates with every episode.
Saregama Weekend Classic Retro Music With everyone going digital, India’s favourite old school recording company has also adapted itself to the Z generation’s wants and has come up with its very own podcast-Saregama Weekend Classic Retro Music. It is a digital radio show which plays old Bollywood numbers from as far back as the 60’s. It also talks about old stories and anecdotes on yesteryear movies,
songs, directors, singers and stars. It talks about the legendary journeys of artists like Lata Mangeshkar, Mohd. Rafi, R.D.Burman, Kishore Kumar and many more.
Bhangra and Beyond A music show hosted by DJ Rekha, Bhangra and Beyond is exactly what its title suggests-a podcast on Bhangra and its variations. DJ Rekha is well known as being one of the first DJ’s to merge Bhangra sounds with EDM and for making it more adhering to the contemporary audience. This Punjabi folk music appeals to all age groups and is popular worldwide. Interesting anecdotes regarding the genre add to the show’s appeal as well.
Curry Smugglers Curry Smugglers is a podcast which plays upbeat Bollywood and Desi music. It showcases the work of the best DJ’s from around the world and plays non-stop music handpicked and selected for a chilled-out evening with friends and family.
Maximum India: An Exploration of Indian Music This podcast is on Indian instruments and their various soundscapes. There are discussions on the myriad sounds of India, the roots of these sounds, how they are influential and how they resonate with audiences even today. Maximum India, hosted by Hari Sreenivasan explores instruments, their various types, and their unique sounds. It also talks about the diversity of the instruments which vary in different states as well.
Podcasts are the newest entry to the infotainment sector and are here to stay as one of the fastest growing digital innovations today. Music has connected the country together and these podcasts are just a part of the ever growing podcast list in India.
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Your biggest learnings when you started out as a musician?
IN CONVERSATION WITH
Vinod Krishnan CREATIVE DIRECTOR OF THE PRESTIGIOUS FORMATION CALLED INDIAN RAGA
The most important one is that we humans have very grand ideas about ourselves that often comes in the way of progress. This statement was paraphrased by one of my role models AR Rahman in a recent interview where he said artists should stop complaining about the lack of opportunities or blaming situations for their failures. He goes on to add "What have you done worthwhile, to demand people's respect and attention?� This sentiment has always kept me grounded right from childhood and also sets how I pick my collaborators. Interestingly enough, it also explains a lot of people I've met and worked with. Today, with YouTube, for musicians at least, this is so true. You can create opportunities for yourself without having to wait for a big label or person to promote your work. Other lessons that came my way have a lot to do with audience preferences, attention spans, popular content, being a global artist, how to pick collaborators, and so many more.
Who did you learn from and what was the best part? I've had the privilege of learning Carnatic music from such stalwarts like Madurai TN Seshagopalan, Neyveli R Santhanagopalan and now from Madurai R Sundar. The best part was learning music during school and college days. I had, on average 16 hours of just classes each week, apart from practice. Seeing their effortlessness in performances, their charm, their patience and willingness to teach, the life lessons they taught by living as examples. That discovery is slow and matures over time. It's not about them - it's about how you perceive them, and how you choose to use them as a doorway to a much higher possibility in life - the music itself.
Please share your experience of working on the Bharathiyar project?
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The Bharathiyar project that I created and produced
presents a love poem "Ninnaye Rathi Endru (You are the Rathi)", written by Mahakavi Subramania Bharathi, an Indian freedom fighter from Tamil Nadu. In this poem, Bharathi's words describe the goddess he worships. Other interpretations also suggest he wrote this to his wife in admiration. So one could see layers of meanings and to whom it is addressed. To highlight this, I've shown a dance sequence by Sophia Salingaros performing bharathanatyam to depict Bharathi's words, with direct abhinaya, and ballet to reflect the abstract subject - the goddess. Musically also, the main melody is more classical in nature, but the arrangement has harmonies and contemporary scores to give this contrast.
Upcoming projects I am producing my first Tamizh independent single that I've composed and sung, titled "Kaalai Pozhudhil". This is a reward based crowdfunded project individual backers contribute to the project in return for some perks or rewards. The campaign is live on Indiegogo. This is also my first scripted narrative video with a storyline featuring Abishek Joseph George and Amrutha Srinivasan, up and coming popular faces from the Tamizh film industry Kollywood. This is a breezy romantic Tamil song that anyone in love will definitely appreciate and relate to. It's a slice of life - a portrayal of the desire we all have of living with that one person who will be our best friend, a partner and equal in all ways. A true partnership is one that is built on trust, support for each other's dreams, cheering through the tough parts and celebrating victories together. This is just a depiction of that joy, while it also gently addresses subtle gender stereotypes. Also, the Bharathiyar project "Ninnaye Rathi Endru" will re-release on the popular Tamizh YouTube channel Behindwoods to reach wider audiences. In the second half of the year, I am performing with an awesome Carnatic ensemble led by the famous Ghatam Karthik on a 2-month US tour.
NAVYA C
Music in Indian Stage Dramas Stage Drama is one of those inherent art forms which originated in India and has its unique fabric. Though dramatics is present even in the west, the aspect of art direction, music, projection of expressions is quite exquisite and mystical in Indian stage dramas. Not just the rich colored costumes and jewelry, the music and instruments used for stage dramas clearly makes it distinctly beautiful. It wouldn’t be surprising to quote that the influence of Indian Classical Music is heavily present in the stage dramas and used quite in precision to express emotions, elevate a scene and also bring about aesthetic beauty. Interestingly, the stage dramas in India had traditionally available musical instrument usage such as Veena, Mridangam were used because of most of the dramas were based on mythological themes, based on epic stories like Mahabharata and Ramayana. Though many of the branching out fables were taken which had folk counterparts, the music used in stage dramas in Indian scenario was essentially classical based. Ragas like Bhimpalasi (Abheri in Carnatic Music), Bilaaval (Shankarabharanam in Carnatic Music) were widely used in poems recited by the lead actors of such mythological themes. Most of the protagonists were either Gods namely Lord Rama, Lord Krishna and so on. But when bhakti movement, foreign invasions, and advent of different cultural fabrics, even the music in stage dramas of India underwent a change. The attempt to bring folk flavors to stage drama was quite evident as well, with the intention of bringing fine arts to larger audiences who can appreciate simpler forms of it. Locally available instruments such as ektara,jaltarang, single stringed violin were also used based on the
themes used in stage dramas now. The themes were not entirely mythological but started becoming more social, contemporary which even spoke about current issues of that era. Naturally for such scenarios, completely traditional music would not work out. Hence, the makers of such stage dramas introduced new musical instruments, treated Classical Ragas with a simpler aspects to make it easier for the audience to appreciate. Even the lyrics used for these stage songs struck a chord with the common folk rather than highly polished vocabulary. Folk ragas like Harikambhoji were used in simpler and foot tapping vibe to give a chant worthy experience for the audience. In fact, music shouldn’t become distant to the audience. With the advent of British rule in India, western influences of music and contemporary themes were also showcased on Indian stage dramas. Usage of symphony for Thyagaraja Kritis, meeting of musical worlds, and Sanskrit slokas having western harmonies has become the trend. The Indian stage drama music is now more global with increased number of woven layers, which keeps the root intact. After all the unique feature of any genre of music is the inner core. The
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MUSKAN GOSWAMI
7 Young Music Producers That You Should Be Really Listening To Music producers can effortlessly make you groove and feel the vibes. These artists infuse an air of awe and enjoyment in a breathtaking manner. For sure, they need to be given utmost acknowledgment for their tremendous pieces of art. In India, the scene of music producers is seeing a rise. Unlike a few years ago, music producers are now being recognized with much more appreciation in the country. There are various young artists who have turned into amazing music producers in a short span of time. Few of these producers have been mentioned below:
1. MALFNKTION MALFNKTION is the brain-child of Aditya Alamuru, a Mumbai based music producer. He began this electronic project in the United States in 2012. While living there, he used to attend three to four open mics a week. This is where he collaborated with other artists and began learning the basics of music production. Soon, he returned to Mumbai and began his journey of creating original sounds which captured the essence of Indian culture. His debut EP ‘Hindustani
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Rascal’ was released in September 2015. This was featured on Apple Music, Buzzfeed, Reddit and Festival Sherpa. Later in December 2016, he released his second EP ‘Vote for Worms’.
sounds of modern electronica. This music producer is known for creating a newfangled sound which is contemporary and has a beautiful blend with bass music. Midland Sparks is part of the indie dance outfit Jinn Chatter. Maitreya is also the co-founder of The Shelter, one of India’s premier gig nights.
2. Fuzzy Logic The mind behind Fuzzy Logic is Arfaaz Kagalwala, who began his musical adventure at the tender age of three. This music producer has been working professionally for the more than ten years now. Over the years, he has played for many rock/ funk and electronica bands like Slow Down Clown, Galeej Gurus, Zebediah Plush, and Tempo Tantric. Currently, Arfaaz creates electronic music by the name; Fuzzy Logic. He is known for creating an interesting mix of house and base along with rich vocals.
5. _RHL Rahul Giri is the face behind the abstract electronic sounds of _RHL. This Bangaloru based producer is known for straddling hip-hop, electronica, footwork drum, and bass among others. He is also a part of the delectronica act ‘Sulk Station’.
6. Sandunes
3. Big City Harmonics This is a solo electronic project by Rohan Hastak, a former guitarist. He formed this project in 2013 and ever since then, he has been successfully creating a synergy of sampled elements and original compositions. Big City Harmonics is known for including hidden sounds and sweeping melodies in its music. This debut EP ‘FORWARD’ was much appreciated by the masses. This music producer is based out of Pune.
This electronic project is Sanaya Ardeshir’s brain-child, a former keyboardist. Her music is mid-tempo electronica which is often a crossover with glitch, IDM and downtempo. Sanaya played her first in Mumbai 2012 after completing a course in music production at Point Blank Music College in London. In 2012, she released her debut EP titled ‘Temper Tonic’.
7. Kumail Hamid
4. Midland Sparks Midland Sparks is helmed by Maitreya Rajurkar who showcases the freshest
Kumail Hamid is a music producer from Mumbai who has been experimenting with a variety of genres, over the years. Currently, his music can be classified under the ambiguous label of ‘electronic music’. This producer released his debut EP titled ‘Flashbulb Memories’ in 2015. Ever since then, there has been no stopping for this experimental artist.
KADAMBARI SRIVASTAVA
Nostalgic Notes : Jaan Pehchaan Ho – Gumnaam (1965) Often while struggling through a waft of emotions, we find ourselves delving into playlists, those that span nearly a century, that of Bollywood songs. Why not? After all, Bollywood has always served us a delightful bouquet of music. The best part, this trait of songs which has been quite unique to the industry, never served as a deterrent to the narrative; instead, it was mostly fused beautifully in the main plot. Every note of these painfully constructed medleys holds a nostalgic anecdote, and we thought, why not bring to you every month, the glory of those golden days and the hidden gems that weaved them into the tunes that are timeless. Keeping that in mind, we are initiating this very special segment with one of the most popular thrillers of Hindi cinema, Gumnaam. An adaptation of Agatha Christie’s popular work And Then There Were None, Gumnaam was not just lauded for its taut plot, but also for the haunting score which is popular to date. The title track, Gumnaam Hai Koi still evokes feelings of nostalgia and mystery in equal parts. However, apart from the title track, there is yet another track from the classic, which even though may not have registered on our music sense, but went on to become quite popular, internationally. We are talking about Jaan Pehchaan Ho, which was crooned by none other than Mohd Rafi sahib. Did you know that the song featured one of the most famous music group of the time, i.e. the 1960s – Ted Lyons and his cubs?
back home, has achieved a cult status in the west. So much so, that it was a part of the opening sequence of 2001 movie Ghost World, starring Scarlett Johansson. In fact, it was this feature which actually made people sit up, take notice, and flutter the archives of Bollywood music to ultimately trace the Rafi song back to the thriller of 60s. Jaan Pehchaan Ho has achieved a status which is quite hard to beat. The song is also a part of first-person shooter Far Cry 4. One can hear it when the player reaches the fortress. Come to think of it, the song has quite a few tones which fit the game aptly. If you thought that’s about it, you may be a tad wrong. Heineken, the beer brand, used the song for one of its commercials, titled The Date. Though it’s not the original footage as in the Ghost World, but is a recreation of the same, and the beats automatically take you back to the course, the master of which was Rafi with his whacky voice making the song a catchy number. Not to take away the credit from Shankar-Jaikishan who delivered an absolute delight of a music which perfectly tapped to the tone of the movie. Gumnaam is still considered a movie which delivered a stunning shocker in a subtle manner, with every frame. Of course, every anecdote related to it has to be quite special too. Jaan Pehchaan Ho too remains a hidden gem from the movie which deserves many more accolades.
Not only that, the song has quite a few interesting anecdotes attached to it. The song, which may not have many followers
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L E B A L C I US
SOUVIK CHAKRABORT Y
INDEPENDENT MUSIC LABELS FOR INDIE ARTISTS The music scene in India is at an all-time high, especially with a host of music labels coming across the independent music scene. Today everywhere there had been a revolutionary acceptance for the music which is largely underground and non-mainstream. There are a host of music labels from different cities of India, that has represented the big noise of the unorthodox and the innovative music taste of the millennials.
Pagal Haina
M
The multi-talented Dhruv Singh had been phenomenal in bringing up amazing music to the world. from musicians like Prateek Kuhad, Rounak Maiti, and Ditty. PH had been managing, booking shows and developing a community of people around these artists. It is refreshing how the digital labels and modern labels as a whole had been progressive with the kind of treatment they have set up for their host if tie-ups and artists.
ennui.BOMB This innovative project is like an ultimate collectible for all music lovers. Rishu Singh identifies and handpicks some obscure gems lying idle in the stack of dimmed brilliance of mediocre music. This label promotes the talent which is not only less heard but also less celebrated in the popular media. This mixed bag is full of surprises that are brimming with the excellence of the best of the best artists in the nation and has surfaced in the market every year for the last decade.
Azadi Records This has been one of the predominant labels that have not only propagated good music but has also seamlessly given the independent artists and musicians of our times enough boost to hone their own talent. Azadi is also known for promoting the music producers along with the artists. This directly means a better reach to the
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audience and hence a bigger takeaway for the audiophiles. From Sun J, Prabh Deep to producers like Sez, Azadi has touched base with all the big names in the industry. From the promotions to the management of talents, Azadi has arched the underground music scene like an ark.
Soupherb The idea behind Soupherb – India’s fastest growing underground independent label was to start their own platform where they can push the experimental music they like to play for like-minded people. Soupherb was an idea that became the fastest growing label in the underground scene. In 2016, Soupherb had its debut with ‘Prequels & Sequels’. From techno to house and other cross genres, Soupherb’s promotes talent from around the globe and ensures tours and shows in its community across Asia and Europe. From the domestic to the international like Acid Pauli, Ash Roy, 8 Bit Culprit, Midnight Traffic, Peter Groskreutz and Timboletti, Soupherb had been diversified in their approach to uplift the music of our times.
Juicebox Music With over 40 international artists and over 10 Indian artists, Juicebox Music focusses more on a much poignant and alternative sound. A sound which is usually skipped from the mainstream platter of music in India or the world. The Juicebox collaborated and produced ‘Ozaki 8’ with Dousk, the versatile Greek producer. Other tracks include “Timelapse” from SEQU3l, “Mellifluous” from Li-Polymer and Monojoke’s “Arterials” to name a few. DJ Praveen Achary while creating the brand Juicebox had the sole ambition of making the Indian artist heard across all countries alongside promoting global artists across all the domains.
UR-RT Steinberg.net/UR-RT
YAMAHA MUSIC INDIA PVT. LTD.
P – 401, JMD Megapolis, Sector – 48, Sohna Road, Gurgaon Haryana – 122018, India Tel: +91-124-4853300 Fax: +91-124-4853301 Email : support_in@inquiry.yamaha.com
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SREYOSHI GUHA THAKURTA
TWO'S COMPANY, THREE'S A CROWD When I think of Simon and Garfunkel, or Mick Jagger and Keith Richards, it is always the chemistry in the music that hits me the most. Music duos have always had the balancing act in their pockets. For many, such a symbiotic relationship might not have been a successful enterprise, but the results have often been brilliant- I can never stop listening to Simon and Garfunkel! India’s music scene, which has mostly been monopolized by Bollywood, has seen some of the greatest music duos in terms of music productionJatin-Lalit, LaxmikantPyarelal, Sajid-Wajid. But thanks to the innumerable music festivals and platforms for non-Bollywood artists popping up- we are finally witnessing independent artists showing us the kind of change we need. These terrific duos are creating a ripple throughout the evolving indie scene in the country and you would not want to miss them!
1. Hari-Sukhmani This Chandigarh based duo aims to revive fading folk songs from Punjab with Sukhmani’s powerful voice and Hari’s uniquely complimenting ambient electronic beats. Sukhmani Malik is a highly trained classical singer belonging to the Rampur Gharana and Hari Singh Jaaj is the producer and backing vocalist. They have been a Coke Studio favorite for many fans, for their refreshing take on fusion music.
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2. Sulk Station This Bengaluru based duo defines their music as “mellowdramatic pop”- incorporating the richness of Hindustani classical with electronic music genres such as ambient, trip-hop and post-dubstep. Tanvi Rao with her distinguished sultry voice and Rahul Giri’s hypnotic, dream-pop like synth beats creates a unique flavor that has you listening to them on a loop.
3. Paloma-Adil Paloma Majumdar, an award-winning Bengali playback singer, and Adil Rashid, the terrific guitarist from Underground Authority came together in 2016. Their genre can be termed as “electronic mood music”- a mix of jazzy vocal melodies and electronic music with live guitars. Their style brings forth their own thoughts and feelings in the most poetic way and it sure to strike a chord with you.
4. Maati Baani Kartik Shah and Nirali Kartik’s Maati Baani began its journey as an experimental YouTube video back in 2012. This wonderful duo has been described as “nomads of music”- as they have incorporated diverse styles and techniques in their music from all around the globe. They have collaborated with more than 70 artists across 30 countries.
5. Seedhe Maut This rap duo- Encore ABJ and MC Calm, is best known for their fiery, bilingual rap. They sing about the struggles of raging poverty, political violence and unemployment they witness around them- giving a voice to the marginalized and inspiring other artists to speak up. Being a regular at music festivals, this duo has successfully defined rap on their own terms and they are doing an incredible job at it.
GAJENDRA PURI GOSWAMI
Bombay (Hip Hop) Beyond Gully Rap The tectonics in the hip-hop world have changed ever since the release of Ranveer Singh’s starrer, Gully Boy. It is incredible how a single movie can redefine narratives and affect the understanding of a discourse that has been bubbling for years, in a matter of just a few weeks. A genre that had up until now, been seen just as a scaffolding to the music industry, has now become a large entity in itself by penetrating new audiences and reorganising the ones that existed beforehand. The listener base of hip-hop artists in India has exorbitantly soared in the last few months. Their music videos are now garnering over a 100 million views on Youtube and mainstay radio stations have shed their reluctance in playing music by artists beyond Naezy and Divine. Only last month, the scene saw the advent of two new independent record labels - Ranveer Singh owned IncInk and Divine's Gully Gang Entertainment. These small yet formidable augurs indicate that Hip-hop in India (and Mumbai specifically) have moved beyond Gully rap; only how much, we do not know yet. So we decided to delve into the scene a little more and link up with Vineet Nair a.ka. Trappoju - the founder of B3 India and one of the few linchpins of Bombay Hip Hop - to get a closer understanding of the scene and it’s twists and turns. "Right now there are different sounds that are emanating from different pockets of the city and it's just a matter of time until they get picked up and start gaining momentum. Meanwhile, everybody is working on their craft and even though it may seem a little haphazard everyone is pulling up a unifying effort in pushing the boundaries of hip-hop" - says Vineet, although he admits that there is visible disparity in the outreach of all these voices. This difference manifests itself not only in the online views of their music videos, but also in their revenue share. The more vocal artists consequently receive more gig requests and brand collaborations. Yet it is believed that artists from Mumbai have an edge over artists from other cities due to the presence of the film industry therein. Vineet refutes this argument claiming that brands and
events also pick up artists from other cities. His claim stands true, but only for the big fish in the tank. Small and independent artists are still struggling to book shows and host regular performances which are indispensable for earning revenue and establishing a solid fanbase. But the narrative that the Bollywood industry gives artists from Mumbai an edge over their counterparts in other cities also does not stand true on merit. As Vineet himself points out, " Bollywood is promoting hip hop in a sensible way but that does not mean it is uplifting the larger scene. Hip Hop music in Bombay stills lacks proper infrastructure." That is true on all accounts. Hip Hop in India still needs a legion of other forces like promoters, marketeers, venues, technicians, and record labels to pass through the bottlenecks that are inhibiting its growth. In the absence of these forces, the larger part of the revenue share in the market is pounced upon by bigger players with resourceful backing. Vineet explains this further and adds," A label gives an artist access to networking which subsequently gets them to more shows, events, media and brands that they otherwise would find difficult to permeate. Basically it is a machinery that keeps pumping itself to get more cash flow." In the absence of this machinery independent artists in Bombay are veering towards alternative sources of earning that could assist their artistic endeavours until things get better; day jobs to pay the bills until the night job bears fruits. Vineet himself works as a writer for Desihiphop. com - an independent media company that promotes hip hop music by south Asian artists - while working on his forthcoming EP Kala Paani. But, for independent and assiduous artists like him to earn the fruits of their labour it is imperative that their audience evolve their listening ear. Until that happens big label artists will continue to stuff their pockets in absence of formidable competition which is neither good for the art nor the artists. The
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JANET CATHERINA
Visual Hooks with
THE NAUTILUS SHELL What made you want to focus on design in the independent music scene? I've been designing for the past 21 years. And I’m a musician too. A few years ago, I designed an album cover for one of my friends and received a lot of good feedback. After that, I started getting a lot more projects from Chennai bands. The Chennai music scene is still growing, so most artists don’t know how to work with it. It’s a very big niche and I managed to get a hold of it. I really want to see the growth of the bands. The moment you take your passion as your profession, it will spoil your creativity. But it’s not just about the money for me.
Tell us about your unique Instagram feed.
Sohail Khan AKA The Nautilus Shell is a Chennai-based artist who has worked closely with both local and international musicians and bands, including big names like Plini, to design their album art, posters, and merchandise. 34
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Every time I do something, I make sure I stand out. Everyone’s already planning their Instagram feed with all these different grids, but I wanted to stand out even after that. Every day, I get at least one or two messages complimenting my feed. I don't call myself an artist, I call myself a creative person, which means I have to be creative in everything I do. I also make my captions and stories noticeable and fun. You don't have to add commas and full stops all the time. It’s not necessary to be very formal to do business. I try to be consistent on social media as well, I consider it my office. I can't afford to travel to different countries, so for me to connect with musicians, I have to be on Instagram.
You designed the poster and the merch for Plini’s gig in Hyderabad. How was that experience for you?
As a designer, the biggest target I set for myself was to work with Plini, my favorite musician, one day. By God's grace, it happened recently. The moment I put the artwork for that gig out, people started talking more about the poster than the gig. The organizers asked me to have a merch stall at the venue. Plini told me that no one's ever done this in the whole history of his music career. It was by far the best experience of my life.
Tell us about your masterclass tour, Don’t Sleep. I’ve been designing for the music scene for five years and I see so much potential. That’s the main reason I started this tour. I want to find talented artists who want to do bigger things and push them as much as I can as a designer. In the future, I want to be able to hire artists from college through campus interviews. So to reach that stage, I have to start somewhere and spread awareness about design in the music industry.
What would you like to tell musicians about design? Bands should start looking at themselves as brands. Many bands don't take their cover art seriously because they don't know the value of visual impression. People say, "Don't judge a book by its cover," but you have to sometimes. And there’s so much merchandise like T-shirts, wristbands, and sneakers that a band can sell but bands in India don’t do this. That’s why we’ve started to build that culture here with STEVIE, HaikuLike Imagination, and two other bands in Mumbai. I hope more people jump on the bandwagon.
IN CONVERSATION WITH
DJ Shadow Tell us about your recent collaboration for “Slowly Slowly” During my US tour last year, I was listening to urban music in the west and caught a whiff of the fresh wave of music which the Indian music industry hadn’t yet discovered and I wanted to grab that opportunity. I am a staunch believer in collaborations so I quickly reached out to Guru Randhawa and he worked on a composition that was exactly on the lines of this fresh sound, which then I further produced. We really wanted to make this a big one so we brainstormed and decided to further send it across to an international artist. We sent it to Pitbull’s management. When Pitbull heard the song, he couldn’t help but love it instantly and him being a fan of India and its culture, he decided to drop his own verse on it. That’s when the grain of thought started seeing the light of day which would eventually grow into a track that has now crossed over a 110 Million views on Youtube.
When did you first get into this profession? What was the sound that drew you in? I started out working in the Events industry and as a teenager when I was pondering about what to do with my life, my passion for music and exposure to DJ sets at events got me really interested in exploring it more and that’s when I started experimenting as a DJ. Growing up in Dubai, I’ve been exposed to the music of the east and the west and always wanted to fuse the two. A fusion of Indian music and the sounds from the west would be the ideal approach to give it an international feel, this is exactly what drew me in to music and prompted me
to create collaborations with artists from across the globe.
Tell us about your tech set up and the gear that you swear by The technology that we use for DJing has really advanced over the last couple of years and I think I’m really fortunate to be a part of this era where technology has really played a key role in the kind of music we create today. Pioneer is the leading industry brand and I swear by its equipment for all my gigs.
What's your take and how do you leverage digital space to put out your work? When I started DJing, it all started with wanting to create a blend of Bollywood and Electronic music which wasn’t being done at that time and so I started doing it myself. Back then, social media wasn’t as big as it is today so we used to share music over MSN messenger and Orkut. Today, we have so many more options in the digital space to put out music. I personally upload a lot of my music on my Youtube channel and I find that instagram is the best platform to directly engage with your audience, which is where I promote all of my music.
What are your upcoming projects? I think this year, you can expect a lot more original music, I believe collaborations are the way forward to uniting the world through music as well as taking Indian music to a global audience, so that’s something you can definitely expect. I have some super exciting projects coming up this year but unfortunately I cannot name them yet.
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ANUVA RANA
International Music: Spotlight on India
It is no secret that artists all over the world are fascinated with India and its vibrant diversity and culture. From the Beatles to Mumfords & Sons, some of the greatest musicians have chosen this colourful country to imbibe a soulful melody in their music videos! While some artists shot at luxurious heritage locations in India, others took to the streets and depicted something that only they wanted to see. These music videos have received both a bellowing outcry and a plausible appreciation for showing the true and the false. India’s representation in international music gained recognition with the release of the following.
3. Magenta Riddim – DJ Snake (2018) 1. Hymn For The Weekend – Coldplay (2015)
2. Lean On – Major Lazer & DJ Snake feat. MO (2015)
This single opens with an animated peacock dancing in the unkempt ruins of a historical fort covered in mold, vermillion-smeared sadhus, people dressed as Gods, and a strange Beyonce with mehendi clad hands wearing a weird indo-western attire that doesn’t seem true to any community sustained in Indian culture. Chris Martin arrives in a taxi and plays Holi in economically weaker societies of India because maybe for him that’s the only truth. A few magic boxes, carnivals, puppets, and old theatres later, the video confirms the fact that most of the artists are still living under an elusive state of what they have been exposed to by their local cinema. Largely shot in Mumbai, the video ends with animated fireworks and I wonder what was the point of Sonam Kapoor running around?
The confusing and almost forceful juxtaposition of the elements in this music video start with a palace room, a modern princess in a mini skirt, gold jewellery, and backup dancers dressed in a form of saree. The disappointment sinks in with the onset of an extremely vulgar dance. The obscenity of this video is outstanding against the backdrop of lavish red carpets and golden curtains, walls adorned with swords and traditional Indian weaponry. The appearance of the other artists in funky beach clothes is a huge misfit. The location abruptly shifts to an urban construction site with the artists riding local buses and horses. The nonsensical drama ends with a close-up of the palace’s beautiful ceiling designed with traditional motifs. Shot in Maharashtra, the mise-en-scene doesn’t resonate with the song and the artists appear to be a couple of high hippies tripping on a joint dream.
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DJ Snake’s love for misrepresenting India did not stop with ‘Lean On’ and he further decided to shoot the video for this song at Ramoji Rao Film City in Telengana. This is by far one of the most hilarious videos I have ever seen and this could have only been pulled off by our talented South Indian artists who rule comedy and action stunts in the country! The song’s drop is quite catchy but the tune and beats have been modified to replicate a modern rhythm of a snake-charmer. Aren’t we done with the stereotypes yet? Besides that, the video’s buildup is amazing with a cracking story full of thrill and suspense. Its subtle touch on corruption that engulfs every country in the world provides a meaningful premise to move the story forward effortlessly. The video is naturally and liberally Indian without any forced shenanigans and exaggerated add-ons. Its vibe is full of colour and joy, laughter and dance, streets and people and also an ode to the action industry in South India. Therefore, the climax punches you in the stomach with the realization that not all is hunky dory!
SHASWATA KUNDU CHAUDHURI
Living on in Songs A posthumous album was salvaged from old and nearly lost recordings of a bohemian poet from Kolkata
“Now you’re gone forever, Things will never be the same, Now you’re gone forever, Will I see you again?” The haunting last lines of Rajarshi (Babu) Ghosh’s song ‘Departed’ seems like it was written for himself. The singersongwriter passed away on 16 December 2015 due to heart attack, in the midst of recording an album. His friends have managed to salvage some recordings and make it into a 14 track album ‘Every Moment’ available on SoundCloud. Plans are being made to digitally distribute it through label Amuse. Babu worked at Wall Street after completing his studies in Austin, USA. But at heart, he was a bohemian who travelled a lot and sang, played guitar, keyboard and harmonica. His music has feels of acoustic Mississippi blues and West Coast jazz peppered with bossa nova. “I loved the fact that he never lost his Bengali-English accent,” said Adil Rashid (Underground Authority) who played in Babu Band with bassist Soumyadeep Bhattacharya from 2012 till Babu’s death. Princeton Club was the meeting point of two important friendships for Babu. One was Mainak Nag Chowdhury (Kendraka) and the other was Subho Md. Dali, a former musician.
Babu Band released three EPs – Get Used To It (2008), Take One (2007) and Sampler (2011), the last two being live recordings. ‘Project Nova Fusion’ had parallely unfurled as Babu had a variety of compositions and some needed different treatment. Both lineups have contributed to ‘Every Moment’ besides vocal harmony by Anita Basu Mallick. While most songs are romantic blues ballads, ‘Poison Love’ is harder hitting. ‘Did I Tell You’ and ‘Words’ reflect Dylan’s importance in Babu’s life while ‘Golden Flames’ reminisces of Simon & Garfunkel. ‘Spanish Dancer’ is pure Latin while ‘Never Again’ is funk rock personified. The darker ‘Mystified’ and ‘Spirits of the Night’ belie the ominous side of his imagination. Babu may not have been a technically brilliant musician but his songs have soul. They grow on you. His words touch hearts. Some tracks have a grainy quality, giving off a nostalgic vibe - a throwback to the sounds of his generation, which could romanticize, having the luxury of time. Certain songs might set you off on a melancholic trip into your own memories but a lilting melodica breaks through the stupor to lift you up into a smile. “The upcoming generation should listen to meaningful music such as his. Hence, the efforts to concretize the memory of a good man,” remarked Subho.
When Babu’s mother remarked to Subho that his songs were lying about, he decided to recover them and make an album out of Babu’s original material, including some old recordings. “Most were home recordings, some quite dirty and all mixed. Scales were haywire in some acoustic songs. It was a very big challenge. We had to break down the tracks, isolate vocals, adjust volumes, tempos, scales and re-forge them to balance it out. The work wasn’t perfect as we did not have raw tracks,” said Subho, who along with colleague Arpit Vyas, mixed and mastered the album. “Most difficult was trying to match a twenty year younger Babu Da’s voice on the old open-mic recordings made in New York to the deep baritone in his sixties.” Some guitar parts were overdubbed by Subho where he felt it necessary to fill out the sound. Mainak played bass in the band for some years after Babu moved back to Kolkata in 2006. The constant through both lineups was drummer Jay Bhattacharya. “Babu Da understood the importance of a fantasy world. He was writing songs because he had to. We lost a true musician,” said Mainak. The
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NEHITA A. In the musical language, p or “p” stands for “piano” which means soft. This abbreviation has a much deeper meaning, not only for composers but also for the inventor of the world’s first piano. One of the elements of musical expression is dynamics. Funnily enough, the dynamics (softness or loudness) of a musical piece weren't given much thought until the 18th Century, after which it spread like wildfire. To understand why, we need to back track to 17th century Italy.
Music In The Middle Ages During the Middle Ages, attempts at stringed keyboard creations were high. By the time they reached the 17th Century, one of the stringed keyboards called the Harpsichord, was well into its mechanical and physical development (even looked like an early version of a piano). If we were to take a look inside the Harpsichord, we could see that the strings were mechanically plucked every time the player depressed or pushed the key down to play a note. Now, the Harpsichord was pretty loud for the time. It also had a softer setting, but couldn't produce any dynamics. One had to choose a setting- loud or soft, and stick with it. Because of this, even composers like J S Bach never really paid any attention or gave instructions for the volume.
A Royal Family, Cristofori, and the Piano Ferdinando de' Medici (1663 – 1713) was the eldest son of Cosimo
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III de' Medici, Grand Duke of Tuscany. He is remembered today because of his decision in 1688 to hire Bartolomeo Cristofori, as a keeper of his large musical collection, one that exceeded 75 items. Bartolomeo Cristofori, being an expert Harpsichord maker from Italy, was supported by Prince Ferdinando with the money and time to pursue his passion as an inventor. In response to this, Cristofori came up with a series of new instruments. The third instrument was the now famous, piano in 1700. Getting into the nitty-gritty of Cristofori’s legacy, it began by designing a stringed keyboard in which the notes are struck by a hammer each time the performer presses down with their fingers. The hammer was crucial to strike the string, contrary to the Harpsichord that plucked the string. This resulted in variations of volume. If the intensity of the key press was high, then greater was the force of the hammer striking the strings. So, here’s a single instrument, which permitted a range of dynamics, including soft, quiet playing and/or forte (f) which meant loud playing. The Italian inventor thoughtfully named the instrument un cimbalo di piano e forte ("a keyboard with soft and loud"), abbreviated as pianoforte, fortepiano, and later piano. Cristofori's new instrument took 11 years after its invention to receive recognition from an Italian writer, Scipione Maffei, who wrote an enthusiastic article about it in 1711. By the late 18th to early 19th century, pianoforte or fortepiano was an instrument on which Haydn, Mozart, and the younger Beethoven wrote their music. Tchaikovsky marked a bassoon solo under the instruction of pppppp, in the first movement of his 6th symphony, so that the player won't miss the fact that it had to be played very very softly. Cristofori’s fortepiano was not only the start of dynamic range and control, it was also the role model for many approaches of piano-making and evolution, ending in the late 19th century with the Grand Piano. So back to the golden question, who put the “p” in piano? The inventor or the composers who took a shot at expressing dynamic range in their pieces? Let’s just say both have to be given credit.
XS Wireless Digital An instant connection. A good connection doesn’t require being tied down. Wireless means no obstacles, no distractions, just effortless audio, every time. As a liberating solution for the musician moving about on stage, or a convenient approach to practicing in the rehearsal room, XS Wireless Digital empowers your inner creativity by allowing you to roam free. Lose the cables but keep the connection. An all new way to perform wirelessly. An instant connection. www.sennheiser.com/xsw-d
In conversation with Darshan Doshi, India’s popular Drummer & Composer
What inspired you to pick up drums and what inspires you to continue down this journey today? The drumming journey started when I was two years old. My father is a drummer and percussionist and runs an academy in Juhu, Mumbai for the last 35 years. There is nothing except drums for me. I just feel that I should keep getting better and there is a lot to learn. It takes years of practice as it’s not an easy instrument.
Your speciality in the music industry revolves around a lot of Bollywood and film music. Could you tell us the difference between composing parts of a film soundtrack versus writing music with your band? When I record drums or compose for a Bollywood film, it is very situational based that is given by the Director. Even if I play drums for a movie, some story is given and that is different from when I compose for my band. I have complete freedom and can decide what instruments or vocalist I want to include. Both are different and I enjoy doing both. It is great to have a balance between doing film work and independent music.
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You’ve involved a lot of digital and electronic set up in your performances. You think musicians have become overly dependent on technology? I feel, as a musician, we should always move ahead with technology and it should be a part of your set up. I have always used technology in my set up like electronic pads and stuff like that to make it more like a hybrid set up than having just electronic. I mix it well by having my acoustic kit as the main one and mixing it with some hybrid mics etc. It’s just the balance that we as musicians need to understand. Electronic sound cannot be compared to acoustic sound! If you merge it well, the output will be great.
We’ve seen a lot styles of fusion evolving in India over the past few years. How do you approach the synergy between western music concepts and music that sticks to Indian roots? For me fusion music started way back in early 60s and 70s when Pt. Ravi Shankar, Zakir Hussain, John McLaughlin started performing fusion music. They are my idols. I follow Zakir Hussain sir a lot when it comes to this. I’m trying to do the same with my band where I have a Sitarist and a Guitarist creating fusion music. I do understand the Indian part of the music as well and it’s important to have a good part of both worlds.
Even if I were to play Tabla on my drums, I would interpret it more as a drummer rather than playing it directly as a Tabla. That is something I have been focussing on a lot.
balance of both. For toms and snare, I use the AKG D40s which are brilliant dynamic mics that capture the low end and mid tones and when it comes to snare, the high end very well.
Tell us about your endorsement with Harman
For high hats, I use the condenser C451B which by far has been amazing in terms of sound, and clarity.
I was looking out for drum mics and have been trying different mics over the years. At one of the concerts, we used an AKG mic, and when I heard back the recording, it sounded so the amazing. I spoke to Harman and they were sweet enough to send the AKG drum set premium mics. If you see my Mumbai movement single, all mics used were of AKG. The best part about this drum set is that they have high hat mics that nobody else offers. I think the AKG C41B is the finest mics I’ve used for the same. I use the D40s for toms and snares. I used the AKG 214 for overheads and C414s for room mics. The kit sounds warm and the detaining of the high hats and overheads have been amazing. These are something that will get the right sound of my drumkit. I would totally recommend!
Can you highlight products of Harman you’re using and why you specifically like the product? So, currently I’m using the AKG drumset premium mics. For the kick drum, I’m using the D112. I have the D12 that is a part of the set and sometimes use two kick drums mics and have a
For the overheads, I use the AKG 214s that captures the cymbals. We have the C414s which we use as the room mics. AKG has a great drum set premium mic set and this is something you should try out!
For musicians looking to enter the business of gear endorsements like Harman, what advice would you give them? The most important thing is to know your sound and to know which brand gives you the sounds that your music demands. For me, endorsement is not just getting gear from a company. It’s basically to enhance my sound as a musician, drummer and a composer. I’m very lucky that I’ve been tied up with amazing brands. AKG mics have been great in terms of support to give us gear on time. That’s very important when it comes to an association between the company and artist. The
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When can you call yourself a Mix Engineer?
Picture credit: Mrudula, Digi Sound Studio
There are many modern production techniques for your own mixes using a Laptop or in a home studio these days. Due to the current trend of getting DAW’s for cheaper and the plugins at a good deal, the traditional or the conventional way of mixing is really missing these days as they have not even seen the old Analog mixers and also not even heard the 2-track or 16-track tape machines and how it sounds.
members and the guitarists or bassist come at different times and implement their ideas and because of today’s modern lifestyle, even the hearing is changed. So many people today hear only in the small Ear Pods and judges the mix and complaints to the engineers that the Bass is Not good! Well, I wonder how can a small Diaphragm produce tonne of Low end and extreme High Frequency?
Today, as we are all in the Hard Disk based (NLE - Non Liner Editing) bases system, everything is in random access and we can do anything at any time. The traditional workflow has totally disappeared. So that’s why we face a lot of sample based recordings and also there is no contact with the musicians either! Even a teenager is now calling himself a mix engineer, all produced on a laptop! Everybody wants to call themselves a “MIX ENGINEER” and sit in from of the big screen. I really appreciate this, but what I insist is to know the old school style of analog mixing workflow and then follow that in the DAW.
What we miss in our modern digital Recording is the analog warmth, Depth and noise and Tape saturation which is not present in our DAW using the modern audio interfaces. So to get that big sounding analog feel in our music production, I highly recommend to have analog modeling plugins in your DAW to get that Analog sound and feel in your mix to make it more Musical rather than the machine generated sound. In the digital process, many use countless overdubs, playlists features by DAW or Comping which we call and using unlimited samples from various sources on the internet and creating complex automation to make sound different, these are the few factors which make sound so different when compared to the traditional approach.
In those days, the artistes use to practice well and prepare themselves before they step into the studio as time and cost was a major factor. Then recording them all together in the same room with lots of Mic Bleed was a great challenge for the Engineers and also mixing sounded very musical, meaning that so called BLEED from one mic to the mic was the beauty! Then the Live Drum with the Bass Guitar amp was so well glued together in the mix and the whole band sounded very lively. As things change today, each artist comes separately and sings on a click track and never meets the other band
So, to finally call yourself a “MIX ENGINEER” one should go through the tough path of learning the analog mixers and how to handle it a live situation in a studio or at a live concert and then have a feel of those preamp how they sound in your mix. Not only that, I highly recommend the young laptop producers to know the mic placing technique to get the best during the recording process instead of having a mindset of “ I will FiX IT IN THE MIX”! Happy Mixing and Learning!
Author: L. Baba 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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Tell us about the space and how it’s name came about
Studio Tour GLASSONION STUDIOS
Glassonion Studios is essentially a rehearsal room that doubles up as recording facility for bands and musicians. We knew there are very few Jam Rooms in the city that are big and can accommodate many musicians at once. Hence we wanted to build a space that was big enough for larger bands (8 – 10 people) to come in and rehearse. We included the recording facility to allow artists to create show reels or record Eps, and we are now in the process of upgrading the space with new additional gear so that we can offer an artist the experience of a Home Recording Studio or a Full Fledge Studio. Along with the in-house rehearsal space, Glassonion Studios has a Video Production and Artist Management Unit thereby allowing an artist not only the ability to rehearse or record, but also have the opportunity to create a video or gain expertise from one of our artist managers. ‘Glassonion’ is a song by The Beatles (Yes, we are all music lovers here!) and it felt right as a name for a studio and with what we do. Many have asked if the wooden waveform mural does mean anything - It actually does! The waveform was cut from the original recording sung by John Lennon of him just saying the word ‘Glassonion’ ‘Glassonion’ is British slang for a 'Monocle' – as the song says “Looking through a glassonion” – this defines our whole approach - not just in terms of looking at the finer details of our recordings, videos or projects, but also (importantly) looking at each of our artists and clients and tailor making content that works for them! We are the Monocle - We are ‘Glassonion’ Take us through the process of setting it up.
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The first thing we wanted to make sure and we got right was the location. We were looking
at a space that was not only big enough but also centrally located. We were glad to have Kapil Thirwani from Munro Acoustics on-board who worked on all the acoustic treatment and sound isolation to the building elements for our Live Room. Abbey Road Studios mix room, Alvernia Studio Poland, & British Grove (Mark Knopfler) are some of the iconic studios they have built around the world. The interiors of the studio and office spaces were done by Goolshireen Rafaat from Design Multiples. What equipment do you use? Here’s some of the gear we use. • Mapex Meridian Maple (5pc) • Drum kit, Zildjian ZBT cymbal pack • Vox AC15 Guitar amp • Hot Rod Deville • Fender Twin Reverb • Laney R210 Bass Cab with Laney R500 amp • Midas M32R Digital Mixer Philosophy or reasoning behind gear choices When we started out we looked at gear mainly for the rehearsal room. A lot of the choices made were based on gear we personally liked and had worked well for us as musicians. So Fender and Vox as far as amps were on top of what we wanted in the studio. A lot of the other gear we picked up based on recommendations from professionals in the field as we are looking to now expand as a Rehearsal Room that offers Multi Track recording. Tips to aspiring owners of studio Well, Planning and getting the right people on-board to work with you because setting up a studio or even a Jam room is an expensive affair and planning makes the process move a lot more smoothly. That being said, it’s not like issues won’t prop up every now and then and only a good team on board will help you resolve those!
Sennheiser Reinventing the Dynamic Driver Principle with Its All New IE40 PRO, IE 400 PRO and IE 500 PRO In-Ear Monitors Launched at NAMM 2019, these professional in-ear monitors ensure impeccable audio reproduction with warmth, great detail and natural clarity Audio specialist, Sennheiser recently added three new members in its family of professional in-ear monitors IE40 PRO, IE 400 PRO and IE 500 PRO. The brand-new series of professional in-ears offer natural, high-resolution sound, a secure and comfortable fit that comes close to custom-molded in-ears and a break-proof, patent-pending cable connection. These new models have been appreciated and loved by musicians, DJs and sound engineers across the globe. Theses professional in-ears ensures impeccable audio reproduction with warmth, great detail and natural clarity, thus improving the artist’s focus and performance control even in difficult stage situations. The three models target professionals across segment with IE 500 PRO being top-of-the-range followed by IE 400 PRO and IE 40 Pro designed as an entry model.
Sound profile This single-driver technology, termed TrueResponse, ensures a completely natural, clear and spacious sound stage with a total harmonic distortion (THD) as low as under 0.08% at 1 kHz and 94 dB. When the sound is so precise and detailed, the acoustical stress for the wearer is reduced, and they discover that they can set their monitors to a lower level. Even so, the sound still has punch – even in the loudest of surroundings. This enables musicians to critically monitor their sound and to fully concentrate on their performance.
Comfort and fit With the driver measuring only 7 mm in diameter, the IE 400 PRO and IE 500 PRO feature a comfortable ear mold, which is ergonomically shaped, has a low profile and is extremely lightweight. The in-ears come with silicone ear adapters in various sizes and special ear tips made from memory foam, which expand to perfectly fit the ear canal. In addition, the earphones’ ‘sound tunnel’ has two rest positions to attach the ear tips to, to accommodate the variances in length of human ear canals. This results in a secure and comfortable fit that comes very close to custom-made ear molds. Moreover, the perfect sealing provides powerful bass reproduction and a reduction in ambient sound by up to 26 dB, protecting the wearer against excessive stage sound.
Patent-pending audio connection Like every in-ear in this professional series, the IE 400 PRO and IE 500 PRO are fitted with a break-proof inner cable duct (patent pending), that has the cable’s sturdy anti-kink sleeve sit directly on the ear mold, providing a long-lasting solution for the rigors of stage use. For easy distinction, the right ear mold has a red ring at its cable connection. Both new models have a detachable cable with a reinforced ear hook. While the IE 400 PRO comes with a black, straight cable, the IE 500 PROs are fitted with a clear, twisted-pair cable which provides optimized resistance to structure-borne noise
IE 400 PRO Clear
IE 400 PRO Smoky Black
Theses in-ears will be available in black and transparent versions at Sennhesierindia.com and through our network of channel partners.
IE 500 PRO Clear
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`49,995
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KAUSTHUB RAVI & SIVANESH NATARAJAN
WHAT ARE YOU WAITING FOR? -Selectable Mono/Stereo control -Dry/Wet control for parallel mixing
WAVES SUBMARINE SUB HARMONIC GENERATOR Bring out the Subs
This is a subharmonic generation plugin powered by Organic ReSynthesis technology. It features a swanky GUI and is a new addition to the waves collection of plugins. Simply put, it adds bass to your tracks. But we already have a bunch of plugins that do this. Quite a few from Waves themselves including Maxxbass, RBass and LoAir. This plugin though, claims to be a little different. It features -Two subharmonic generators (Sub -1 and Sub -2) add subs ONE and TWO full octaves below the selected frequency range of your source -Frequency Range slider (20–240 Hz) to target precise frequencies -Drive saturation control -Dynamics control to go from short sub transients to longer sustained sub notes
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These options help it to sort of separate itself from the other ‘bass generators’. Primarily, being able to add upto TWO octaves below opens a range of possibilities. The plugin’s innovative Organic ReSynthesis engine strips the original signal down to its core elements – carrier, pitch, formant, and envelope – processes them individually, and then reconstructs the audio to create brand new sub frequencies which retain the exact pitch and time of the original signal. The result is deep subharmonic content that is clean and musical and naturally blends with your source. It can be used to very subtly fill out sounds especially in delicate situations like mastering and it can also be used to really help out a kick with some serious thump if needed. In a way, its much more precise than the others. The Organic ReSynthesis tech claims to let you add 'powerful sub-harmonics while preserving the pitch, timing, and clarity of transients.’ The frequency range selector helps to really hone in where you need the addition. Also a personal favourite is the drive knob. This really helps to glue the subs to the mix without making it seem like a weird addition by adding upper range harmonics. This plugin is a lifesaver when a low-end EQ boost won’t help (because your track lacks low frequencies to begin with), or where psychoacoustic bass enhancers like Waves’ Renaissance Bass plugin won’t be enough (because they work their magic on small speakers, not on big subwoofers). With the Waves Submarine plugin, you can dive as deep as you want, with better clarity throughout the low end.
BRAINWORX BX_OBERHAUSEN Synthesizer plugin
ARTURIA - 3 COMPRESSORS YOU’LL ACTUALLY USE
BACK TO THE FUTURE!
THE NAME SAYS IT ALL
From a synth company that makes a plugin to a plugin company that has made a synth, there’s a lot of expectations for the first synth from brainworx. But in all honesty, this one is modelled on the 70’s classic, the Oberheim SEM. And Brainworx is no stranger to modelling analog gear.
Arturis, a name synonymous with synthesisers have released a compressor bundle. Naturally we remain a little skeptical but I must say the bundle’s name is quite a clickbait idea. The 3 comps are all emulations of three legendary units namely- the Universal Audio 1176, Gates STA and DBX 156A. As someone who has access to actual units for the 1176 and STA level, Its always fun to put emulations up to test with the real thing. Arturia claims to have faithfully recreated the sound of these units while expanding on them with a range of added functionality bonuses. The impression i get from the choices of comps chosen is that these three comps should cover most sources quite well. Lets talk about each of them -
The plugin features signature Brainworx Audio Tolerance Modeling Technology (TMT), a unison mode, M/S processing and a set of effect modules from brands such as Mäag, Brainworx Audio and more. The bx_oberhausen comes packed with full polyphony of up to 32 voices, twice the voice count of today’s priciest poly synths remaining resolutely in the analog domain, users can create sounds that are not possible using the original hardware by using what they call Tolerance Modeling Technology (TMT) to accurately replicate individual component variations specified by the manufacturer. This creates, in separate voices slight variations which you would expect to hear in an original analog instrument. These slight variations add the complexity, nuance, depth, and width for which analog instruments are loved. They have also added a lot of their plugin prowess to the synth to help it sound better and sit better in mixes. These involve additions like an M/S menu through which users can select which part of the sound passes through the filter section and which part does not. It also features a Unison mode through which you can combine voices to generate rich, complex sounds. The effects section features an interesting array of small versions of fx carrying the Brainworx brand – including the Mäag Air band. The synth further includes FM modulation and a really great arpeggiator which comes with an adjustable “swing parameter” which really helps humanize parts that would normally sound extremely mechanical. This plugin is a great example of adapting the essence of a classic to create a truly versatile modern synth plugin. Its got just enough usability to make it easy to pick up and add parts while also retaining insane versatility if you need it. It’s very easy to make big lead sounds with this that will cut through your mix and have a lot of character. It sounds fat and warm sounding when needed, and at the same crystalline and sparkly. More than capable of all your bread and butter analog-style synth sounds and much more, this synthesizer expander module inspired VST is definitely worth checking out!
The Comp FET 76 - promises the fast attack, huge punch and versatility of the original with added features scubas side chain control and time warp. Its a pretty nice sounding comp with the right amount of functionality and colour. Sounds pretty good on vocals and guitars especially. Comp TUBE STA - The real version is known for its creaminess and tube warmth that still remains unparalleled to this day. Arturia’s version does a good job of getting close. It really smooths out sounds in a musical way while making it stand out and sound much larger in the mix. They have also added a bunch of side chain controls that seem unnecessary and confusing but at the same time might be useful for a lot of people. Comp VCA - 65 - One of the most popular classics especially for aggressive compression duties, this one is a faithful reproduction of the DBX 165A. It works great for situations where you need some heavy duty compression. And the character it adds is also quite nice. All three compressors are super versatile and come with the color you want to add to your mix when using these types of compressor. It felt like a carefully chosen trio for people looking to add a quick collection of coloured and ‘musical’ compression tools to their arsenal. It seems like a great buy for a producer looking for simple and quick tools to make their tracks sound a little better before they head out for mixes. Quite impressed with this plugin series from arturia. Looking forward to more (delays/verbs maybe?) in the future!
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Yamaha HPH-MT8 & HPH- MT5 headphones MPH-MT8
These headphones are specifically designed to give you accurate response and high resolution sound. They reproduce every nuance of mid to high-end with tight bass. To create this product, expertise in professional and high=end studio equipment manufacturing has been used. Some important points to keep in mind about the product:
HPH- MT5
High-grade monitor headphones that deliver a balanced sound that is faithful to the source. They are perfect in the studio, music production at home or for personal listening. These headphones are portable and lightweight.
Features:
• Detailed and brilliantly balanced sound profile
• 40 mm custom drivers with CCAW voice coils deliver a broad frequency range from 20Hz to 20kHz
• Impressive & passive noise isolation
• Closed-back, circumaural design for excellent isolation
• Simple, classic design
• Three-dimensional arm pivot construction and adjustable slider length alleviate fatigue when working for extended periods
• Comfortable to use Despite their large, robust over-ear design, the studio-black color scheme keeps the MT8 headphones looking decidedly unassuming up close.
Verdict:
The Yamaha HPH-MT8 headphones are a durable set with excellent sound reproduction for the money, easily providing some of the best all-around sonic performance at their price point, and adding in an extremely comfortable fit, to boot. It comes with a larger 45mm custom driver to deliver a wide, yet even spread of clean sound across the frequency spectrum. As well as dealing with the sound at high sound pressure levels. This means you can really complete a thorough mix down and test at different volumes.
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• Moveable earcups allow single-ear monitoring • Thick, durable ABS housing and folding arm ideal for use in tough working environments or travel • Straight 3 m cable suitable for use in a wide variety of applications *6.3 mm diameter standard stereo plug adaptor included • Convenient carrying bag included
Verdict:
If you're looking to make solid mixes that translate from system to system, they should be high on your list. Website: In.yamaha.com
Loud and Clear The S360 combines main monitor performance with compact size, delivering a true reference even at high sound pressure levels. And with our GLM software, the S360 will intelligently adapt to your acoustic environment. So if you need to really feel the energy in your music – or are working with large scale immersive film production – it is no longer a choice between power and precision. Find out more at www.genelec.com/S360
Distribution by Sound Team T: +91 22 2881 4041 E: info@soundteam.in www.soundteam.in
ROLAND ANNOUNCES
TD-1DMK V-DRUMS Inspiring Entry-Level Electronic Drum Kit with Roland’s Acclaimed Double-Mesh Pads and Education Features
Roland announces the TD-1DMK V-Drums, an entry-level electronic drum set with legendary V-Drums sound and playability. The TD-1DMK offers a variety of great drum sounds, authentic acoustic feel with Roland’s famous dualply mesh pads, and access to powerful skill-building tools with onboard coach functions and free Melodics for V-Drums training software for Mac/Windows. This makes it an ideal choice for beginning drummers and practicing students, as well as adults who want to get back into drumming later in life. Delivering a fulfilling drumming experience in a compact kit that can be played quietly with headphones, the TD-1DMK is an infinitely inspiring instrument that will launch a lifetime of drumming satisfaction and enjoyment.
For Beginners: Start Playing Drums Now For players who are just starting out, the TD-1DMK is a hasslefree drum kit that’s easy to set up and intuitive to use. With just a few simple steps, users can start playing an authenticsounding collection of 15 preset kits and enjoy a realistic and engaging drumming experience right away. And with onboard coach functions and Melodics for V-Drums software, they’ll learn essential skills and experience improvement with every practice session. Weighing just 15.5 lb./7 kg, the TD-1DMK is convenient to move around the home and to other performance locations as needed.
For Parents: Help Develop Your Child’s Sense of Rhythm When a child learns a musical instrument, they build discipline, determination, and many other essential life skills. Accurate timing and keeping a solid beat are fundamental elements of drumming, and the TD-1DMK’s onboard metronome and 10 coach functions motivate successful development with a game-like experience that keeps every playing session fun and engaging. Melodics for V-Drums takes learning even further with interactive drum lessons that build a sense of rhythm without it seeming like hard work. The
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TD-1DMK’s pads are quieter than other electronic drums too, allowing children to practice for extended periods without limitations.
For Students: Become a Better Drummer With its great feel and natural response, the TD-1DMK supports developing all the traditional techniques needed to be a top-level drummer. Thanks to the fast processing and authentic acoustic sounds of the kit’s module, the TD-1DMK faithfully responds to the subtle nuances of the user’s playing, with every dynamic nuance detected and faithfully relayed. Compared with other mesh heads, Roland’s dual-ply mesh heads for the snare and toms feature adjustable tension, and also provide authentic natural rebound that’s as close as possible to the feel of playing acoustic drum heads. The TD-1DMK’s kick pad is compatible with standard single and double kick pedals, and features a soft rubber surface that absorbs noise from the beater while maintaining natural acoustic feel and response.
For Past Players: It’s Time to Start Drumming Again The TD-1DMK is the perfect solution for bringing drums back into anyone’s life. From onboard songs across a variety of genres to connecting a smartphone to the module and playing with favorite tracks and web lessons, users can drum along and quickly reignite their musical passion. And with the ability to play quietly with headphones, they can fully immerse themselves without disturbing family members and neighbors. The durable TD-1DMK is infused with renowned V-Drums reliability, providing playing confidence for years to come. As skills and ambitions are renewed, there’s even room for expansion by adding an extra crash cymbal or upgrading the sound module. To learn more about the TD-1DMK V-Drums, visit Roland.co.in
Casio CDP-S Series Review
If you’ve ever been inside any Indian music school’s piano room, you’re probably familiar with the massive dominance CASIO as a brand has in the industry. From 90s kids reminiscing their childhood CASIO keyboards to budding professionals utilizing the comforts of a digital piano, there’s a reason why a staggering number of people consider CASIO to be a synonym for the instruments themselves. The CDP series has fallen in the comfort zone of most teachers and students living in apartments, and the S series line of instruments has capitalized on this strength without burning the metaphorical hole in anyone’s pocket. 3 instruments have been released under the CDP S-series line. Apart from their respective differences, the series as a whole boasts a significantly more thoughtful approach to minimalism. No intimidating number of buttons and yet far more actual preset sounds and libraries. The size and dimensions have become more compact and sleek in shape, and the entire instrument weighs less than 11 kgs. The usual 88 scaled-keys now come with enhanced hammer action, making the playing far more conducive to dynamics and touch-response. The portability aspect is also enhanced from the wireless perspective with an astounding battery-life despite the demanding electronics. The built-in speakers have seen some performance improvements too, despite the prior models having stellar quality to begin with. Unfortunately, the instrument does not come with a stand, which is sold separately as an accessory, but this was probably a conscious choice since
the product makes for a perfect MIDI station too. From a teaching and practice perspective, the Duet Mode makes for a simple yet stunningly effective study. The keys left and right of the centre can be converted to the same tonal range, such that two people can play the instrument simultaneously on either side of the centre without any octave differences. The arguably best innovation in this series however is the app that goes with the controls of the instrument, called Chordana Play. Available for Android as well as Apple, it works as a brilliant control setup to adjust instrument settings, control the piano’s MIDI and even teach you basic lessons and concepts using the built-in plugins. Feature Highlights: CDP-S350 (MRP: Rs 49,995/-): A wide variety of 700 Tones & 200 Rhythms, Registration Memory (32 Setups), optional SP-34 three-pedal Unit, Music Presets, Auto Harmonize (12 types) & Arpeggiator (100 types), Lesson Feature with 152 Song Bank Tunes, Backlit LCD Screen, Chordana Play for Piano Compatible, Duet Mode, MIDI Recorder, USB to Host & USB to Device along with 8W+8W, 2-Way Speaker System CDP-S150 (MRP: Rs 39,995/-): New Scaled Hammer Action Keyboard II Keys, 64 Note Polyphony, 10 Tones, Chordana Play for Piano Compatible, optional SP-34 three-pedal unit, a Duet Mode, Midi Recorder, USB to Host along with 8W+8W, 2-Way Speaker System CDP-S100 (MRP: Rs 35,995/-): New Scaled Hammer Action Keyboard II Keys, 64 Note Polyphony, 10 Tones, Audio IN feature, Chordana Play for Piano Compatible, USB to Host along with 8W+8W, 2-Way Speaker System With the optional CS-46P stand (MRP Rs. 4,495) the CDP-S Series quickly transform into practical standing models. The CDP-S350 & CDP-S150 can also be connected with the new three-pedal unit SP-34 (MRP Rs. 3,495). The
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MUKESH AMARAN
ALBUM ARTicle:
SHAILY NANDU Hello, a little bit about yourself and your background in arts and music?
Tell us a little bit about the process that is involved in making a piece by Shaily.
I’m a freelance architect working in urban design, architecture and design in Bombay. I also make art, music and design furniture.
Every artwork is a time capsule, that juxtapose images taken over periods of time to highlight the relationship between the human condition and our built environment.
At this point in your career, what role did music have to play in you getting to where you are?
How is creating an album art different from creating other art?
Music is a source of inspiration for all the work I do. I usually end the day by listening to a new album and making some art. I believe the art you consume, governs the art you produce.
An album art is central to the music and the process of the artist. Contrary to my artwork that is associative to my personal muses.
Tell us about your collaboration with a client from conception to creation and the end product.
Tell us about your art style and the concepts behind your artworks.
Neil reached out to me over Instagram by stumbling upon a picture I had posted. After listening to the album on loop, we discussed the conception and journey of the album. The album was inspired after Neil took a trip to Ladakh,
I’m currently exploring digital collages, glitch art in videos and photos. I’m also experimenting with electronic music with sound recordings taken from my architectural construction sites.
Some of elements of the artwork like the monks, are pictures he took during that time and are an ode to Ladakh. Every element has a little story, like a kaleidoscope through the music. The artwork is a postcard from Bombay, an old school google map for lovers.
Favourite band?
What are your thoughts on how other art apart from music is perceived in our music scene? (Like visual arts, album arts, photographers and the likes) Artists have always been an integral part of the music scene. It’s exciting to see how the indie music scene in India is producing such great wholesome experiences.
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Beirut, James Blake, House of waters.
Favourite track? Warm on a cold night, by Honne
Favourite Indian artist? Peter cat recording co.
New Delhi-Based A/V Rental Company Audio Factory Private Limited Chooses Bose Professional ShowMatch System Leading rental companies continue to select ShowMatch as the system of choice based on its sound quality, compact size, selectable coverage patterns and scalability – allowing ShowMatch systems to handle a wide variety of sound reinforcement applications rental inventory. Since we started using our ShowMatch system, we have employed it on a wide variety of shows, from a government cultural program at India Gate, Delhi to a concert at the Grand Hyatt Goa in Bambolim, India, featuring Pritam, the multi-award-winning Indian composer, record producer and music director for Bollywood films. It is a very flexible system.” Bose ShowMatch DeltaQ array loudspeakers feature the most versatile DeltaQ design, optimized for permanent installations or portable applications, with field-changeable waveguides (offering 70/100-degree horizontal coverage) in compact enclosures that can form DeltaQ, constant-curvature, or “J-shape” line-array configurations. ShowMatch loudspeakers are available with 5, 10, or 20-degree vertical coverage options. An integrated suspensionhardware system allows for arrays up to 24 boxes. A matching single 18-inch subwoofer enclosure can be integrated for extended low frequency support.
New Delhi-based Audio Factory Private Limited, India’s largest sound reinforcement, lighting and visual service provider for rental and touring projects has adopted a new Bose Professional ShowMatch system as a go-to solution for its rental clients. Providing internationalartist tours, Audio Factory’s ShowMatch inventory currently consists of 96 modules in total – 48 ShowMatch line array modules and 48 SMS 118 subwoofers – sufficient to handle any sound reinforcement situation from small corporate gigs all the way up to stadium-size shows. “When I first heard the system a few months ago, I felt the sound quality was extremely good,” stated Vivek Vij, Director of Audio Factory Private Ltd. “I immediately compared ShowMatch with other systems on the market and then realized that the quality of the sound from ShowMatch was really amazing. You can listen to this system for many hours without fatigue – and it is very consistent. The audio quality does not diminish over time – which is exactly what I need to provide to our clients: a system that consistently provides clean, clear audio. We made the commitment to add Bose to our
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GIG CALENDAR JUNE 2019
DELHI
MUMBAI
03-Jun
Gatha & Anirudh
The Pianoman Jazz Club, New Delhi
06-Jun
Dubfounded Album Launch Party with Ravana + Barmer Boys
Auro, New Delhi
06-Jun
Thursday Live ft. Bhavya Raj Experience
07-Jun
06-Jun
The Local Train- Mumbai
Flea Bazaar Café, Mumbai
08-Jun
Kitty Su Mumbai presents : Martin Roth & Joseph Ashworth
Kitty Su, Mumbai
Hard Rock Café, New Delhi
22-Jun
Kitty Su Mumbai presents : Ash Roy + Rimka
Kitty Su, Mumbai
Shubhangi Joshi Collective
The Pianoman Jazz Club, New Delhi
27-Jun
Soul Temple
Hard Rock Café, Andheri
08-Jun
WAVLNGTH turns 3 w/ Juju & Jordash | Delhi
Auro, New Delhi
13-Jun
VAV Trio
The Pianoman Jazz Club, New Delhi
13-Jun
Anomaly Thursdays x Infuture ft. _RHL, Aerate Sound & Dolorblind
Auro, New Delhi
14-Jun
Kitty Su x Paradox present Pete Oak
15-Jun
BANGALORE 08-Jun
Bangalore Open Air - Metal Nights
Fandom, Bangalore
Kitty Su, New Delhi
09-Jun
Parousia - The Second Coming!
Bflat, Bangalore
Saturday Night Live ft. The Local Train
Hard Rock Café, New Delhi
14-Jun
Fandom presents Komorebi
Fandom, Bangalore
17-Jun
Aditya Parashar
The Pianoman Jazz Club, New Delhi
15-Jun
Social presents Cinema Sanima ft. Skip
Sarjapur Social, Bangalore
22-Jun
Submarine in Space
The Pianoman Jazz Club, New Delhi
16-Jun
KittyKO presents : Zone+ (Anjunadeep / All Day I Dream)
KittyKo, Bangalore
28-Jun
Kitty Su Presents Metodi Hristov
Kitty Su, New Delhi
20-Jun
Thursday Live ft. Mud Road
Hard Rock Café, Bangalore
29-Jun
Tanya Nambiar
The Pianoman Jazz Club, New Delhi
PUNE
HYDERABAD 06-Jun
PipeDreams - Thursday Live!
07-Jun
Social presents FLEX feat. DJ Deep
Viman Nagar Social, Pune
13-Jun
Thursday Live ft. Moonstruck Project
Hard Rock Café, Pune
27-Jun
Thursday Live Ft. Electric Pulse
Hard Rock Café, Pune
Hard Rock Café, Hyderabad
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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