The Score Magazine February 2022 issue! by The Score Magazine

ISSN 0974 – 9128

Vol 15 Issue 1 February 2022

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Music Technology

Watts The Right Way- How To Power Your Mix Correctly ON THE COVER

SHANKAR MAHADEVAN, SIDDHARTH & SHIVAM MAHADEVAN GETTING CANDID WITH THE POWER-PACKED MUSIC TRIO! In conversation with Lavita Lobo, Push The Tempo- How To Shake Your Mix Up, Usage of Legendary Compositions in Popular Music and more.

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SNEHA RAMESH / NAVYA C

GETTING CANDID WITH THE POWERPACKED MUSIC TRIO! Having a power voice might be a bestowed gift, but maintaining such power and intensity is not an easy task at all. Such a power house singer is Shankar Mahadevan who has endorsed many hats during his mesmerising career. He has excelled as an amazing playback singer, composer, and a start performer. His sons Siddharth and Shivam Mahadevan are following their father’s footsteps in becoming towering performers with their unique singing styles. The Score Magazine brings to you an exclusive conversation between these three amazing musicians. The

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SHANKAR MAHADEVAN Your earlier most influences in singing- Can you elaborate one striking incident that took you towards music? I vividly remember the first time that I saw the Harmonium as a three-and-a-half-year old. I could immediately understand the instrument’s black and white reeds without even knowing what it was...without ever having learnt how to play it before. It came very naturally to me and I could understand the connection between a melody and its corresponding notes. Before I knew it, my fingers had taken over and I was actually playing a song on it. It was a striking incident and my first real tryst with music…something that I look back upon as a blessing after all these years. This experience at the age of three-and-a-half drew me into the world of music almost sub-consciously.

You are blessed with a powerful voice and show perfection in each note. How did you manage to maintain the same voice quality over the decades?

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This is a rather difficult question to answer actually. Honestly, the more in touch with music you are, the more you understand it. The more you understand it’s nuances and your own skills, the more you respect music in its entirety. And, all that collectively allows you to maintain, adapt, and hone your voice. It’s almost like learning to

operate a new device. Once you understand how to operate it, it becomes easier with the passage of time. It becomes your second nature as you rely on muscle memory.

Before a song is given to you for recording, what is the approach towards it? Can you take us through the process.

Please tell us about your upcoming songs, and the experience composing the song during these times.

See the films or projects that we work on as Composers are all keeping the Director’s vision in mind. We are merely elements on a large canvas that bring his/her creative vision to life. That means that when a Director presents us with a situation based on the screenplay and the script, it’s our task to musically interpret, visualise, and manifest that situation on-screen. There are some notes that suggest the kind of mood that needs to be captured. Based on that either we first create the tune or the Lyricist comes up with a set of lyrics that depict what the situation is and we put that into a melody. The sequence of events might vary from song to song, but the objective remains the same. It’s a lot like painting on a canvas… one brush-stroke, one colour, one shade after the other from different directions. There’s some trial-and-error involved. You may need to add something or erase something else. That’s how even a song comes to life. There’s a blueprint, but never a fixed formula.

There are quite a few interesting projects in the pipeline. There’s the music for “Prithviraj”, a soon-tobe-released Yashraj film. We are also doing music for a film called “Yudra”, directed by Ravi Uddyavar who has previously helmed “Mom”. There’s a Netflix original series by Zoya Akhtar in which we are recreating Archie and the Riverdale comics. That’s really exciting….bringing a slice of our childhood and adolescence alive on screen! We are also doing a film called “Dhaakad”, starring Kangana Ranaut and directed by Razneesh Razy. Then there’s a Rajshri film by Avinash Barjatiya. There’s also Meghna Gulzar’s film on the legendary former Indian Army Chief, Field Marshal Sam Manekshaw. So, there’s a lot of exciting and diverse work in the offing. Since these are Directors we have worked with in the past, it’s always a phenomenal experience collaborating on new projects all over again. These folks are like family and composing music for their projects is pure joy.

Which form of music does immediately strike at the time of composing?

of music that we begin with… to avoid bias of any sort. Each time we make a song, it is the song that dictates the genre of music. You cannot compare what we made for “Rock On” to “Taare Zameen Par”, “Kajra Re”, or “Kal Ho Na Ho”. They’re all different genres and musical styles that complement the screenplay and lyrics. Keeping all of that in mind, notes and tempos come together to create a melody.

Western and Indian rhythm patterns are exclusive in their own way. Which according to you is more adaptable? Rhythm is a time signature. Rhythm is universal. It is the language of the universe. You’ll find it everywhere. So, in terms of music, it doesn’t matter whether these rhythms are Western or Indian; as long as they’re composed tastefully. It’s like adding an Indian Garam Masala to French cuisine. Sounds unpalatable on the surface, but it’s doable if mixed in the right quantity, at the right time. Picking and choosing the right rhythms to mix is key. You can’t hope to mix any two random forms of rhythms and expect it to be aesthetically delightful! It really comes down to the creative vision of the Music Director and his or her ability to make these rhythms adapt to each other.

We keep an open mind whenever we need to musically interpret and manifest a situation. It’s about capturing the mood and conveying that to the audience or listeners. So, there isn’t a particular form The

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eight or nine languages which There’s this trend are nationally advertised. So, of picking popular that training has definitely compositions of classical all paid off in the long run. music and popularising in a different manner. What are the three most What’s your take on this? important aspects that a professional vocalist I haven’t seen this trend of must follow according to picking classical compositions, you? but there’s definitely a trend of picking popular songs from the sixties, seventies, and eighties… and re-packaging them with a new contemporary rhythm. I think it’s alright if it’s done as a novelty now and then, but too much of anything eventually gets boring. It also conveys a message that these music label companies may not entirely trust their composers and their individual visions. There needs to be a balance. New compositions should generally be encouraged as there’s only so much that you can play on the audience’s nostalgia from the past.

Your Language diction is impeccable-whether you sing Telugu, Tamil, Hindi. What is the secret behind understanding the diction to perform? The secret of this impeccable diction - something I’m really proud of as an artist - comes from living in a cultural melting pot of a city like Mumbai for years and everything that I learnt musically in the ad world singing for jingles. Tamil is my mother tongue. And, I’ve sung so much in Kannada and Telugu over the years. Hindi and Marathi are languages that I’ve gotten exposed to in Mumbai. We used to dub each jingle in

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The three most important aspects a vocalist should focus on are - first and foremost trying to be completely unique and authentic…not imitate someone else. Secondly, having a sense of communication with the audience where he or she sings a line, the emotion that he wants to convey, gets conveyed effectively. And, thirdly - if he or she is a student of music and immerses himself or herself in understanding the relationships between notes, melodies, and rhythms. Attention to detail, preparation, and self-awareness are must-haves as well.

What is your take on digitisation of music in current times? Digitisation of music is beautiful.The kind of instruments, hardware equipment, flexible software, diverse sounds, and processing capabilities that can add value to a musician’s life is phenomenal. That still doesn’t change the fact that one needs a solid understanding of and grounding in music. That’s the only way one will be able to handle and get the best out of these digital instruments. One can’t blindly depend on them to create great music automatically. It’s like having

the best paint brushes, paint colours, pallet, and easel… but being unable to paint. Knowledge is power. Skill can be honed.

Could you talk to us about the trio - You, Siddharth & Shivam. About your home band and music that we can look forward to? I feel truly blessed to have two kids - Siddharth and Shivam who are more than just serious and talented musicians. They understand music and it’s many genres, styles, forms, and qualities. They can tell the difference between great, good and mediocre music in an instant. I can have a discussion with them as a friend or a musical colleague. I consider it my greatest blessing that I can also stand and perform on stage with them by my side. And, everyone seems to enjoy that too! This is a long journey and there are a lot of exciting collaborations that we are exploring together in this beautiful world of music!

Who are your greatest influencers (nonmusicians) who helped you to craft your voice so uniquely? My father…whose attitude towards life was beautiful and taught me so much. My wife, Sangeeta, who takes care of every single aspect of my life and Iam incomplete without her. And, my children who continue to inspire me everyday. These are my

RAPID FIRE people who have helped me build, experience, and enjoy a beautiful life. And, when you have a beautiful life, you can focus on creating beautiful music that brings joy to the lives of so many others.

Apart from singing, how do you unwind yourself and recharge your vocals? Well apart from music, I like to listen to the sound of silence. Silence is a very important part of music. Notes are placed in silence. That’s what creates a song. I love listening to the sounds of nature. It’s a natural source of inspiration and helps me recharge. Cooking, watching movies, shopping, traveling, and just spending time with family offer me the simple pleasures and joys of life. Moments like those collectively help me unwind, relax, and recharge.

How important is technology in music according to you? Could you talk to us about your go-to audio equipment? Technology is very important because it makes your listening experience beautiful. The better the technology, the better the chances of becoming a good musician…provided you understand music, of course! Music and technology need to go hand in hand. You need technology to create world-class music today, but you need to have a keen understanding of music and it’s nuances to unlock true value from that technology. My go-to audio equipment is the app on my smartphone on which I can control everything in my home studio remotely via this app.

A genre you wish to perform- but haven’t performed yet I haven’t performed OPERA!

A song that is currently in loop on your playlist- and why? Lots of them actually but my entire Kishore Kumar playlist is on loop!

Early morning singing practice or late night singing practice? Anytime through the day doesn’t matter!

Your biggest pet peeves Lying and negativity

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SIDDHARTH MAHADEVAN

Take us through your childhood having grown up with strong musical influences at home. What was your music learning journey like? Yes, I was born into a musical family as when I was born my dad had quit his engineering job and gotten into full time singing jingles, it was a very musical house as all his friends, colleagues would come home in

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me to learn Carnatic classical music and Hindustani classical music from a couple of teachers. Also he said that the concept of harmony is a concept of the western music culture and is not there in Indian classical music hence he encouraged me to learn the Piano to gain that knowledge of harmony. So, I did a couple of Trinity grades which really helped me. Today when I look back during composing, I realise how much all this helps me. It was fantastic just being surrounded by music. My cousin Souumil whose now my music partner and we make music together was training to be a pianist and I love to play Percussions so we used to jam all day at home. At one time Dad had bought us an Apple computer with the basic music production software and Souumil and I would be up all night just putting a couple of loops together and putting tunes together and that’s how the inclination towards becoming a composer came in. It has been a fantastic journey. our small little flat in Chembur. There would be Jam sessions. Dad also noticed that I was inclined towards music since I was young and I had a sense of rhythm and pitch. I would pick up any percussion instruments and play it so it was wonderful growing up listening to these amazing musicians. I was really interested in Music but I didn’t know what I wanted to do in music whether I would become a singer or instrumentalist composer performer or even a sound engineer. My Dad got

As a new-age singer, what is your take on competition and how do you manage to stay ahead of the curve to ensure you are relevant? I don’t consider any singers as competition. I believe that everyone has their own niche and style. There’s more than enough work in this industry because so many new avenues across platforms have opened

up. Some artists are YouTube or Instagram sensations, while some are doing music only for the ad industry or singing jingles. Some are singing for films, TV, and web series while there are others who are doing background scores and vocal arrangements. And, then there some who are purely live performers, while some are doing all of it! I think it’s a great time to be a professional musician as the opportunities are huge and I don’t think anyone is stepping on anyone’s toes right now. There’s enough time and space to carve your own niche and build on that legacy.

Living in an age of digital world, how do you leverage digital platforms to keep in touch with your audiences? I think social media and other digital platforms have made it incredibly easy to distribute content to diverse audiences. It’s a fantastic enabler that offers a level playing field. Artists from across the world or even remote corners of the country can showcase their talent and work to discerning audiences anywhere on the planet. These platforms also offer us the chance to engage with our fans, receive feedback, and understand their expectations better. Whether it’s Facebook, Instagram, or YouTube…the digital world is a boon for any artist right now…regardless of whether they’re just starting out or is an established giant in this field. That’s also what I’ve been working on for the last year and

a half…creating and putting out my own content to build and engage an audience. It’s all a part of a modern-day artist’s growth story.

I feed my musical curiosity and further my education… all backed by my genuine and undying love for music at large. In fact, off late, I’ve been listening to a lot of Spanish and Afro-Cuban music…a great learning and cultural experience in itself.

How do you make sure you sound original by escaping the magnanimous influence of your father? Who is your biggest influence in singing and The greatest advice that my why? father has given me is to have my own personality and authenticity. It’s so important to be original without trying to copy anyone else. I have a long way to go before I become the singer that my father is. But I do believe that I have my own unique style of delivery and tone of voice. That’s something that every artist should nurture to carve a niche driven by a personal identity. Seeking inspiration is great, but blind imitation will not get one very far. My father is one of the best in his industry. I learn and seek guidance from him, but I’m also on my own journey of being the best version of myself everyday.

What sort of genres do you usually listen to? This is actually crazy because I listen to almost all genres of music actually and have never really restricted myself in that regard. From Hip-Hop and RnB to Country Music, Blues, and Jazz. From Thumris and Ghazals to Abhangs and Devotional music…there’s something to admire about and learn from every genre. And, every genre represents a mood. The sheer diversity and continuous evolution make the world of music so beautiful. By listening to multiple genres,

As a singer there are so many of them for me to choose from. One picks up little little things that one admires about so many people. But I think my greatest influence, growing up, was Michael Jackson. Currently, I would say Bruno Mars is my absolute favourite artist and I was lucky enough to watch him perform live in Dublin. The man is an all-round package of being a producer, guitarist, dancer singer, drummer, and songwriter…all rolled into one. There are only a handful of artists globally who can do what he does and there’s so much to admire and learn from someone like him…someone who’s presently at the pinnacle of his art, craft, and performance.

How was your experience when you recorded your first ever playback song? Honestly, I did not know that it would even see the light of day and has a crazy genesis story. I was in college back then and happened to go to the studio where the composers of the film “Bhaag Milkha Bhaag”Shankar-Ehsaan-Loy were working on the music. I knew it was going to be a massive film and I’d just heard one song The

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it would get approved or not. I just wanted to go behind the microphone and give it my all. I put all my energy into it and only found out that my voice was selected when the teaser was launched with it! And, it was such an incredible feeling to hear my own voice with this big banner film…with Farhan Akhtar running on the street and recreating the amazing life and times of the great Milkha Singh. It was a surreal experience that left me excited for days for as a young artist to make his Bollywood debut with such a massive film was a dream in itself.

The Indie music scene has become very big now. What’s your take on the Indie scene? Are you working on original music that we can listen to soon?

from the album in my father’s voice. The composition, lyrics, energy, and vibe blew me away and I thought that obviously a big singer would lend his vocals to it. The track stayed with me and one fine day, soon after that, my father asked me to come to the studio as the film’s director, Rakeysh Omprakash Mehra, wanted to try my voice out. I’d sung some ad jingles for Rakeysh Uncle in the past so he was familiar with my voice texture. I entered the studio and recorded the song with my father in a relatively chill external environment… but, I was nervous on the inside knowing what was on the line and the magnitude of the film. I wasn’t even thinking whether

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I think it is the best time for independent artists and independent music. And, I’ve been focusing extensively on this avenue for the last year and a half…all through the Pandemic and the lockdown. My cousin and music partner, Souumil, just locked ourselves in the studio and focused on creating a lot of original content. We’ve made around 30-35 original songs and are just waiting to finalise the distribution channels so everyone can sample what we’ve been cooking up for months. It’s a tremendously exciting time for us to take our labours of love and effort to the masses. All those hours in the studio, working on and perfecting our own sound…

putting it out there for the world to listen to and enjoy… the anticipation is amazing. We hope that audiences will love our music.

Talk to us about your upcoming projects. I’ve produced a soon-to-be released Marathi film, while also composing the music for two other Marathi films. I’ve worked on a Bollywood film project that should hit the screens later this year. And, this is merely the tip of the iceberg! I’m also working on a bunch of other exciting projects and corporate songs that will give me the ongoing opportunity to exercise my creative vision and grow further as a musician.

RAPID FIRE Film Music or Indie Music? I would like to say Indie Music

Go-to microphone It’s the Neumann M 149 Tube Microphone

Favourite food item There are too many but “The world’s best burger” or butter chicken

A raag you would be always challenged to sing There was this ‘Varnam’ I used to sing as a child, it was in nine raags, it’s called “Navaraga Varnam”.

SHIVAM MAHADEVAN How important do you think is learning Classical music for a playback singer? Learning classical music is extremely important for musicians, and even more so for playback singers. It’s a lot like building a sound foundation in music…a vital part of a singer’s education and evolution that can radically open up diverse spectrums. A solid grounding in Classical music unlocks a spectacular range, in terms of versatility. One can then sing Classical, Semi-Classical, or Contemporary…different styles and genres. That’s the way I look at it and it has been crucial to my growth and confidence. I’m happy that I’ve learnt and continue to learn the basics and finer nuances of Classical music from several teachers over the years. The biggest tutor and guide being my own father. It has definitely made things easier for me behind the microphone. The core understanding of music allows me to draw on my roots and the hours of training give me the confidence to not just do justice, but also ace any playback singing project that I take up.

Can you share us a memorable moment with your dad while singing on stage? I wouldn’t say there’s one specific moment but there are several moments when I started off singing with him. In our live shows, I often come on stage to perform mid-way after he introduces me as a special act! The

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Once I’m on stage, we deliver an ad lip portion of the song that’s being performed and I sing something that seamlessly goes into the groove of that track. It’s like bringing on another partner on board to deliver something special for the audience, in the moment. Often times, after the ad lip portion when I look at my father, he gives me a wide smile and nods his head…in acknowledgement of me having done a good job! That response from him is priceless and gives me tremendous confidence and satisfaction to dial up my own performance. I feed off his infectious energy and positivity. It’s those invaluable moments during such live performances that I consider a blessing…

Who are your earliest influences in singingapart from your father and why? When I started embracing the world of music and contemplating the idea of becoming a singer, my learning was mostly a 3-step process. Listening closely, repeating, and improvising to add my own individual flavour. In my early days of learning music, I drew great inspiration from Lata Mangeshkar ji for her timeless voice and beautiful compositions in Bollywood and Ghulam Ali Khan Sahib for his Ghazals. These aren’t just prominent musicians in India; but continue to remain global artists that many artists look up to and learn from on their own journeys. Learning from what they used to sing was very crucial in my initial

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must be practiced for the first 15 minutes of a session before moving to the other notes. That’s just a part of my Riyaz that I religiously work on everyday.

What are some of your biggest learnings from your father and brother considering you belong to a family deeply rooted to music? years of musical education. I used to just listen to them and replicate what they sang. So, they would definitely be my early influences; but I continue to learn from so many other musicians across genres and nationalities. That’s the only way to keep evolving and growing as an artist.

How is your daily singing regime like? Can you take us through the process of riyaaz? My daily regime of singing is simple - don’t stop singing! I ensure that there isn’t a single day when I haven’t sung anything or exercised my voice. It’s akin to speaking. To speak or communicate, you have to talk. And, to sing as a vocalist, you just have to do more of it. And, that’s always been my focus. This is also to ensure that my voice doesn’t get rusty, remains well-groomed without losing its individuality. With regard to Riyaz, my father has always told me that I need to perfect my “Sa” like in “SaReGaMa”. The rendition of the “Sa” note has to be pitchperfect, should not shake, and

The biggest and most important lessons that I’ve learnt from my father and brother is to remain true to my music, constantly listen to great musicians, and immerse myself in a musical environment without disconnecting. To be always engaged in some kind of musical activity, to constantly create new music and keep singing has only helped my passion in and interest in music. These are cardinal realities that they’ve lived by and that’s been instrumental in shaping their creativity and consistent performances over the years. So, with them as constant sources of inspiration, I’m focused on always learning and grooming myself to become a musician with a solid educational foundation having learnt from the greats themselves.

What was the best ever compliment you received from your solo performance till date? I do receive regular compliments for my singing and am eternally grateful for all

the love and appreciation that comes my way. But, there’s one specific compliment that came from the great Javed Akhtar Ji that will always remain with me…when he said that he could see the reflection of my father in my voice. He also said that I have the gift of music and it’s up to me to groom, hone, and build on it. That really is the greatest compliment that I’ve received till date. I draw a lot of confidence from it while it also encourages me to learn and improve my craft on this ongoing journey.

How often you, your elder brother Siddharth and father jam together? What sort of songs usually come up then? Describe us the experience. The environment at home is such that we are always singing together. It’s a fascinating and fond experience when our father sits with his Harmonium, while we sit around him. We then sing songs by him and even songs that we’ve learnt from him over the years. It’s practice and fun at the same time. He has composed so many incredible tracks over the years, so just sitting, listening, singing, and learning in his presence is a delight. While we’re at it, we often make impromptu videos of us jamming that we post on social media. We love jamming together and feed of each others’ energy which is what makes so much fun regularly.

RAPID FIRE The current song playing in your playlist in loop One particular song I call the greatest song in Bollywood‘Noor E Khuda’ from “My Name is Khan”. Another song from “Atrangi Re” by AR Rahman Sir called ‘Rait Zara Si’is a stunning song am listening to everyday.

A raag you can sing at any time of the day Raag Yaman which we have all learnt as one of the basic Raags so it’s always on my mind. And of course, Raag Des as my first Marathi song was in Raag Des so I remember it prominently.

Love to perform on stage or in recordings? Cannot choose. It’s a different experience and environment on stage but when you go behind the microphone you know that you have to perfect it even more as it’s for a project whereas on stage you are for the audience in front of you.

Ultimate role models in singing/music? Lata Mangeshkar ji, Ghulam Ali Khan Sahib, My Father, Shreya Ghosal my ultimate favorite Bollywood singer, Sonu Nigam, AR Rahman Sir, the legend, everyone’s role model Arijit Singh.

A dream venue you would love to perform someday? I don’t have a dream venue but I have a dream project to once perform on stage for all my family and friends and want everyone dear to me to be present at this concert. So not a favorite venue but a favorite situation.

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ARTIST OF THE MONTH

TANSEEL KHAN

You have had quite a few releases over the last few months. Could you take us through your process of making music? I don’t have an organised, step-by-step process of making music. Whenever an idea pops into my head, I make sure to record it as a voice note on my phone. I essentially begin with composition. The moment a melody/harmony pops into my head, I record it quickly and over a period of time, I layout the framework in terms of how I want the song to sound. Once that is done, I add lyrics. And the last step for me – and what is possibly the first step for everyone else – is the music. Most of the songs I have written and made, the music is always the last step. I write songs according to how I feel, and how I hear the song in my head. Tweaks are a given, and as I am learning to become a more confident musician, maybe this process of writing songs might also change! All the singles that I have dropped from Dastaan – only two are remaining from the track list of seven – were created over a period of time, and some over two years. I would write down a melody as it took shape in my head, I would record it and over a period of time, I had collected a bank of melodies that was whittled down to seven tracks that have made their way to my debut album.

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Talk to us about your new collaboration with Manav Chhabra on your single ‘Manzil’. Manav and I have been talking about collaborating on a track for a long time. He had told me that he would love to rap on a song of mine and that’s something we have been talking about over three years, even before my very first single ‘Dilli ki ladki’!

You’ve said that this was a long time in the making. What took so long? Yeah, it’s crazy that it took us so long to work on a song together but ‘Manzil’ is just the beginning of a musical partnership. We have a lot more ideas and dreams, and you will see a lot more of Manzeel, our duo act, in the future. I think the biggest reason it has taken us three years to release this is because we have grown and evolved, and developed our music sensibilities. We would scour YouTube for hip-hop beats and rap over them, and it’s embarrassing to hear those recordings today! But now that we have started, we don’t intend slowing down.

What inspires you to make music? Everyone around me inspires me. I don’t think there is any song that I have written and released, that hasn’t impacted people or people haven’t been able to relate to. I don’t look at numbers to gauge how my music is being received, it’s

how my songs make people feel. My fans’ reaction, genuine reaction inspires me to make more music. My motive is always to make sure that my music reflects me, my words are a reflection of me.

Could you break down one of your most favourite and recent singles and tell us how the production process happened? Choosing my most favourite single from Dastaan is like asking a mother who is her favourite child! It’s very difficult for me to answer that. I have worked equally hard on all songs. But I think what I have gleaned from people and responses, ‘Falsafa’ is a song that people have really enjoyed and it’s a song that has a strong theme and story. Lyrically it asked more of me. ‘Falsafa’ is about a heartbroken man trying to move on but in happy surroundings. That journey of that transition of a person who learns to smile again is what ‘Falsafa’ is about. It also challenged me a little bit more as a singer.

How important is the digital space to you – considering that you have made your mark as a social media creator? How do you engage and interact with your fans and followers? It’s an extremely important space for me because I feel that if you’re making any kind of art, you need to connect with your audience and the digital, online space affords you that. I consider myself very lucky that I don’t need to depend on a big label to reach ears. I have fans across different platforms and while they may not be the largest numbers, I am able to engage with my listeners, my fans., my supporters, and most importantly, get feedback from

Take us through your tech set up. How do you record your songs? What would your live performance entail? I haven’t been focusing on performing live at all but hopefully I will build myself to do that as well. Maybe in 2022, we will see.

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Name 3 artists you love to collaborate with in the Indian Indie scene and why? I don’t have a wishlist because if one is on the same/similar wavelength, then I would like to work with everyone! A true collaboration is the coming together of two artists minds. I listen to a lot of hip-hop and I would love to work with Indian hip-hop artists. I love what acts like Hasan Raheem, Shamoon Ismail, When Chai Met Toast, The Local Train are doing and I really vibe with their thought and work. I would love to understand the way they approach their music and create music.

them. And there are so many different avenues like DMs, Instagram Live, etc through which one can speak to fans. And if your fans are happy, you will be happy, that’s what I believe matters to an artist. I am delighted that I have the opportunity and the privilege of having an audience.

certain level of maturity and expertise, one needs to work hard and I give music that respect and effort. It has made life even more hectic, but I am loving it! Music makes my heart happy.

Tell us 2 things you like and 2 things you dislike Do you think you have to about the Indie music do things differently as a scene in India. musician? There have been times that I I think what music has brought to my life is a little bit of discipline. Actually, I started focusing on my singing during the first lockdown, and it was a way of dealing with what was happening around me and also because I wanted to make music a bigger part of my life. I understand that you reach a

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haven’t been comfortable with the way some things are in the industry but I don’t know enough to have an opinion. I have been a content creator since I was 16, and I’ve seen a lot of different sides and scenarios but I haven’t achieved enough I think to pass an opinion just yet.

What are your upcoming projects and plans for 2022? I have been so busy and involved with releasing music for Dastaan that I haven’t really got the time to think about 2022. But one of the most important tasks for the new year is building my studio where I will write music and learn production. Manzeel will release more music. My head is full of new songs that need to come out. But Dastaan releases in early 2022 and I am fully pumped up for that. And the response from fans has been overwhelming. I feel like I need to find that Tanzeel sound as well. I have been open to different sounds and ideas and now I would like to zone in on what really makes me tick as a musician.

KRIPA KRISHNA

NAVYA C

Relevance of Theory

IN LEARNING CARNATIC MUSIC The theory is an inevitable part of any learning- not just arts or sciences. In fact, every subject or learning of skill needs theoretical knowledge for sure. Carnatic Music, in particular, is very disciplined and structure when it comes to theory with elaborate scale structures and a plethora of raaga styles. The rhythm patterns in Carnatic Music are also very versatileand require the student to learn Music theory mandatorily. Whether a vocalist or an instrumentalist, learning music theory has great advantages and an edge over the students who are not aware of it. Learning music theory leads to paced up notation reading, and perceiving a raaga through the composition’s structure. In the initial stages of learning, Carnatic Music Theory

becomes a boon for the students to progress faster in learning and thereby become superior performers. It becomes an essential roadmap to success as a vocalist or a musician. Until the stage of learning kritis, there is absolutely no harm in following Carnatic Theory as a guideline for learning complex compositions. It makes things easier for the student to perceive the raaga , understand the tala patterns and establish strong fundamentals in Carnatic Music as a form of music. It also makes the student progress in a swift pace from earlier swaras to complex compositions like Ata Taala Varnas and Kritis. But the big debate begins when the transformation the student to a performer- when

the musician has to think versatile ideas on presenting a composition on stage. Here’s when the musician needs to develop independent thought and perceive the composition; without tampering the sanctity of the composer. This can be a big challenge because being too theoretical in approach will not help the performer to go further. Therefore, taking the step of theory as a building block, the musician should make an own canvass of painting with his/her own understanding of knowledge will ensure greater realms of art. Theory can be a building block and an important aspect of Music, but not the only aspect that leads to eternal music.

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SHAURYA SINGH THAPA

5 BEGINNER TIPS FOR PRODUCING MUSIC ON FL STUDIO Popularly known as FruityLoops, the Swedish creation FL Studio is a digital workstation that has been the stepping stone for many producers in their amateur days. In fact, there are dedicated producers who continue making beats and playing around with tools on FL Studio. So, if you’re an aspiring producer and starting out with FL Studio, here are some tips that can come in handy.

1 Adjusting the Metronome If you are balancing vocals with the beat, a metronome can be the perfect tool to perfectly time the former with the latter. As a listener, you can have different preferences for the particular sound of the metronome. On FL Studio, you can just choose a metronome with a right-click and then pick between the default tick sound, a hi-hat, a beep, and even a cowbell.

2 Shortcut Keys Referred to as “Windows Hot Keys” by YouTuber/producer Eliminate, some keys serve as essential shortcuts if you’re using FL Studio on Windows. For example, to access the Mixer, one has to select “View” and then find the “Mixer” option. But if that’s too much of a task for you, you can just click F9 and get access to the Mixer. Similarly, F7 can get you “Piano Roll” or F5 can take you to “Playlist”.

3 Creating Lo-Fi Sounds These days, low-fidelity (lo-fi) is a popular trend, especially for bedroom producers who wish to get a slightly distorted and raw sound for their songs. With artists like Shiloh Dynasty and the rise of SoundCloud rap, lo-fi has only become more popular. To get a retro lo-fi sound on FL Studio, one can download the Dither plugin from Smartelectronix. Dither is basically low-level noise added to the audio signal that makes the quiet parts of the audio slightly louder so that more of the signal can be heard when the bit depth is reduced.

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4 Changing Tempo in a Sample As is common knowledge, every sample’s tempo can be measured by its beats per minute (bpm). However, if you wish to change the bpm of a sample, click on the top-left corner to find “Sample” and then an option called “Fit To Tempo” underneath it. This will take you “Type In (BPM)” where you can type in your desired tempo.

5 Adjusting the Zoom Level of The Sequencer With so many sounds, samples, and instrumentals on the screen, working on an FL Studio file can be straining for the eyes. To zoom-in and to set the adequate resolution of FL Studio’s sequencer, you can select the project’s General settings from the main Options menu and change the Timebase value. Higher values will enable you to zoom in closer on notes.

SOUVIK CHAKRABORTY

Have you seen the wonderful Colour of Sound In case you have this knack of seeing or believing shapes and colors with sounds and music, you are probably not overthinking.

wonderful avenues of creation. It comes along with other senses and does not inhibit or necessarily deprive of the common perceptions.

Music had intrigued the human mind for time immemorial. It has been a medium for artists to experiment and find newer expressions and manifest new creations. And, many artists, musicians, and filmmakers have collaborated with Synesthetes to create content.

When one can hear colors, it is called Chromesthesia; and this had been a matter of clinical research as well. In this type of Sound synesthesia, one can see shapes and colors – on hearing musical tunes. In short, their ears have the superpower to “hear” colors or attribute colors to existing melodies and symphonies.

Synesthesia is not completely uncommon, but few people had actually come to know about it consciously. Music is traditionally defined by its timbre and texture, but for someone with this neurological gift, it is a far more diverse experience. Thus, the person may choose to perceive sound, or music through various sensory elements like that of taste and vision! This is a very emotional expression, and one must not consider this to be a superficial experience of psychedelic or recreational drug. The experience is additive in nature, and often leads to open

Since these experiences are personal and mostly involuntary it is needless to say that such qualities can be used for creating higher art or could be used purely for some self-discovery. Scientifically, it lies in an area of “normal and adaptive perceptual processes, implying a close interrelationship between the different sensory systems”. Studies have found that brighter colors are mostly attributed to the trebles and darker shades signify bass. Likewise, a person with synesthesia sees bigger shapes

when the music is loud and vice-versa. Some studies have found that these cases are mostly hereditary and find their manifestation in the same family. However, many have taken it to a level where they want to experience and live the life of a synesthete. Thus, they have taken up mediation and self-coaching to achieve the state. Scientists have hypothesized that music is perhaps the truest and easily manifested amongst all other experiences of a synesthete. Thus the feeling of images, memories, and deep seated emotion of a regular music lover can be further enhanced through such qualities. It is interesting to note that the same instruments may find different colors and different speeds of melodies could mean different perceptions altogether. Incidentally, the word “Timber” in German when transliterated means: “color of the tone.” The

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NAVYA C

Usage of Legendary Compositions in Popular Music- Is it Correct?

Carnatic Music is inherently present in every household, and become a culturally significant aspect in India and even at global arena as well. Whether a family hails from a musical background or not, the influence of Carnatic Music creeps into every household with its suave aspects, melodious feels and lyrical brilliance. The greatest form of music is part of every happy and sad milestones including birth and leading to death. Out of some millions of brilliant compositions penned by legendary composers, some compositions have become a tad even popular because of its instant lyrics, tune and appeal. As a result, popular and film music composers adapt some of the songs from these popular compositions such as Yendaro Mahanubhavulu (Sri Raaga), Marugelara O Raghava (Jayanthasri Raaga),

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Saamajavaragamana (Hindolam), Bantu Reeti Koluvu ( Hamsanaadam) in film scenarios. While these improvised versions are beautiful to listen to, some of the music critics think otherwise. The musical connoisseurs feel that adaptation of these compositions may not be entirely suitable for a film related scenarios for various reasons: 1. The composer’s intent behind writing a composition such as Samajavaragamana was to hail his deity Lord Rama. But in the film perspective (Telugu film Ala Vaikuntapuramlo) , the scenario is being changed to romance instead. This particular aspect has been heavily criticized because the Carnatic Music’s compositions have a certain sanctity to it and it shouldn’t be applied in random scenarios. 2. Some Indipop composers such as Colonial Cousins (Hariharan and Leslie Lewis) taken up Krishna Nee Begane Baro (Yaman Kalyan Raag) and made a fantastic masterpiece in fusion style. In fact, this brought more popularity towards the composition. This adaptation doesn’t tamper with the original theme of the composition (devotion of Lord

Krishna) and this brilliant duo brought the universal harmony aspect to it- thereby leading to a masterpiece. Such scenarios in usage of legendary compositions is a good step. 3. The influence of Carnatic Music on film/Indipop music is inescapable and that can be understandable . However, the lyricists go a step ahead by tampering the purity of the words used by the original composer. This has been heavily criticized by the listeners as well as music experts. In short, it is even called a horrible blasphemy. As they say, inspiration is quite different from imitation- but it cannot be used for Carnatic Music which is known as a pristine form of music. While the idea of experimentation and innovation is welcomed, it must be confined to digging into raaga experimenting and usage of contemporary and novel themes. To conclude, adaptation of Carnatic Musical themes might be a novel idea to get into film music/ Indipop/ Contemporary Rock, but the inspiration must be stopped at the versatility of the melodic structure and the usage of lyrics.

ADAM Audio S3H (Three-way Active Monitors) The S Series is the combination of many years of advanced inhouse engineering innovation at ADAM Audio and the latest computer aided design techniques. The range offers more bass extension and critical mid-range information, with a raised overall maximum output level but reduced distortion as well as forward-looking digital connectivity alongside its analog connections. The drivers in ADAM Audio’s S series monitor speakers benefit from years of in-house research and development and take advantage of the latest advances in technology and materials science. Newly developed for the S series, ADAM’s Extended Linear Excursion (ELE) bass drivers employ the Symmetrical Magnet Assembly (SMA) to deliver optimized low-frequency reproduction with extended dynamic range and freedom from coloration. The ELE driver incorporates a rigid, yet lowmass honeycomb driver cone; a highly efficient, self-cooling linear magnet assembly; linear suspension and damping systems with a low-loss speaker surround; a vented symmetrical voice coil; and an optimized driver chassis/basket design. The S3H’s two 7” woofers extend response down to 30Hz, making the speaker suitable as a main monitor in medium-to-large control rooms, without the use of a subwoofer. The ART (Accelerating Ribbon Technology) tweeters and mid-

range drivers incorporate a new approach to the Air Motion Transformer concept originally developed by Dr Oskar Heil. ADAM Audio has refined the original, innovative design, employing superior geometries and materials to achieve unprecedented audio fidelity. The newly developed tweeter design has become the embodiment of the transparent, highly defined, accurate audio for which ADAM Audio is now respected.For the S Series, the manufacturing process for each tweeter has been undertaken to an even higher standard of precision, with a more stringent post-factory testing regime. The S-ART tweeter is the result. Utilizing the latest SHARC processing technology, the S series’ custom DSP optimizes the system’s loudspeaker crossovers to deliver linear response over the entire frequency range and provides user sound-tailoring EQ as well as room tuning and voicing functionality. The DSP also handles limiter-based highfrequency driver protection, processes the signals from the AES3 digital inputs, and allows for various expansion options. Software updates can be executed easily via the system’s USB port, which also allows you to connect to computers and control DSP functions via software.

precision professional reference monitors that flawlessly reproduce any signal presented to their inputs. You can expect outstanding transparency, dynamic response, and flexibility in placement and operation — and an open, natural, and non-fatiguing sonic presentation that will continue to please your ears and allow you to effortlessly make wise decisions throughout lengthy recording and mixing sessions. ADAM Audio’s substantial cabinet construction is scientifically designed to minimize undesirable vibrations and their attendant coloration, while its rounded edges reduce diffraction distortion. Generous mathematically sculpted bass reflex ports on the front baffle help deliver bass reproduction with very low compression and allow positioning close to walls. ADAM Audio’s monitor range has garnered rave reviews from audio experts and recording engineers worldwide. If you’re considering an upgrade to world-class monitoring, you’ll be in good company with ADAM Audio monitors.

S series monitors were designed without compromise to be highThe

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Score Indie Quickie Congratulations on your debut EP. Talk to us about the making of it Thank you! :) Where do I begin. This EP is special. Every song is so deeply personal and integral to my story. I have had such a good time making the records- the process, ideation, and execution. All of the songs are recorded in a bedroom so it translated well in terms of the comfort and the rawness.

Tanmaya Bhatnagar Name artists, you are inspired by in the Indie scene Currently, Faye Webster, Fenne Lily, Arooj Aftab, RANJ

Describe your songwriting process as a singersongwriter It’s all emotions. That is what drives me to write something. I find it very freeing and therapeutic to write about how I feel and the melodies just come. What is the music you write based on? It’s based on experiences, relationships, life, and death. I write my feelings and it’s beautiful to be able to make tangible versions of your pain, wonder, and joy.

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How do you handle a creative block? I let it take time to phase out. You can’t force yourself to be inspired. What is the maximum number of times you have changed a song before releasing the final version? Hahaha well, we go through multiple mixes but nothing too major. I’m a sucker for rawness and imperfections. So I try not to ponder too much when something already sounds lovely. Name 3 artists you would love to collaborate with and why? Finneas, Faye Webster, A.R Rahman, Doja Cat. Because they’re bloody brilliant.

Your most cherished performance till date and why? The first one. At Piano Man Jazz Club in New Delhi. It’s always going to be a sweet memory of trembling and singing my songs to an actual audience for the very first time. It was the beginning of a journey and I just felt it. If there is one thing you would like to see a change in the Indie scene, what would it be and why? More support. A stronger community. More women. Upcoming project I’d like to be more secretive about this. hehe. But I’ve been working on some special projects. For now, stream my EP

In conversation with AMARTYA BOBO

You have released a few singles over the last few months. Could you talk to us about them? Shaam Simti, Kaisi Ho, Thikana and a few others were released over the last year. I have done a few film scores before, but concentrating on building my artist profile as a singer/songwriter now

Could you talk to us about your songwriting process? I try to keep it simple, sometimes if i am lucky, a good melody comes naturally, otherwise I try n think of a word (for example, Noor) and construct a melody around it

According to you, what makes a perfect song? Anything that is pleasing to the ears but also has an underlying complexity in the arrangement, without it sounding too complex.

What is your process of production of a song? That would depend on the song itself, currently I am trying to keep it very organic with the basic acoustic instruments. But if it is a Film song or a score then the script would determine the production to some extent.

What inspires you to write music? Well, have been a musician all my life since the age of 12, so don’t need much inspiration, making songs just makes me happy, the process, the recording, everything

Name a few artists you draw inspiration from and why? The Beatles because they challenged everything and changed most of it, and AR Rahman because he elevated the bar of musicianship and production inspiring millions like us to make better music in this country

Take us through your tech set up for music making I work on Cubase, use Apollo Twin X, compose on my Taylors and mostly use my Neumann U87 for my vocal dubs

What is the importance of lyrics in music according to you? Lyrics and composition go hand in hand, so it’s very important. If either is weak, then the song becomes weaker

Tell us about your upcoming projects. After “Noor-Kasauli” my next single will be out by Feb end, and then a Collaborative EP of around 3 songs with a few fellow musician friends of mine

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NAVYA C

DIVINITY IN MUSIC- IS IT AN ESSENTIAL COMPONENT? Whether it is Indian Classical or Western Classical Music or even folklore, devotion Is a prime part of relishing it. People find It energizing by offering the prasadam, gifts, or expensive luxury goods – and calling themselves a staunch devotee. The ultimate path towards enlightenment is through music and every sage agrees to it. However, the social conditions were also responsible for making Carnatic music a devotional celebration. Most of the legendary trinity as well focussed on their favourite deity and wrote wonderful compositions that would even till date. Ancient composers like Annnamayya and Kshetrayya surrendered themselves towards God and dedicated all their compositions to the lord. However, the thinking with changing times has given some new ideas to Saint Thyagaraja in particular. His interesting kriti “Entha Nerchina” says that no matter how much you learn, how much you see, how much you enjoy a stream of pleasures, you are a slave to a woman.

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With new composers emerging in the past century such as Bharatiyaar, Muttaiah Bhagavatarm Dr. M. Balamurali Krishna, Carnatic compositions that mean social lives, the atrocities, and contemporary issues can also be expressed vividly. These composers focused on the basic atrocities that have happened around them. And it all started with Annamayya with his amazing composition “Brahmamokkate” which talks about the caste system and questions why can’t they learn in school. Indeed, this is a beautiful way to show God about what all atrocities are happening in our planet, with a hope that a savior would come to clear all these problems. In fact, Thyagaraja Pancharatna Kriti Dudukugala has ripped apart many such notions. He speaks vividly and in-depth saying, “ When you have Lord Rama on your side, what is the purpose of going behind unnecessary and temporary pleasures. The lines really hit the listener and starmaking us think twice when we

go to the next temple and donate in the hundi! The ultimate path of enlightenment comes through devotion for sure. But if this valued form of music is used for throwing light on contemporary issues as well, the scope of Carnatic Music expands even more beautifully. As every art changes with changing times, even the perception and metamorphosis of Classical Music has led to new waves. Carnatic Music keeps divinity and devotion at the top level of the pedestal but with lyrical emphasis on social message, introspection, and the way of living in life- the form of music has undergone a fantastic change. Saint Thyagaraja’s Swara Raga Sudha is another fantastic rendition that lays emphasis on human introspection and leading the journey towards spiritual eternity. With the dawn of the new year 2022, let us dwell on the appreciation of Carnatic Music and its versatile emphasis on social awareness, spirituality – a myriad of topics along with devotional music.

SHAURYA SINGH THAPA

DIVINE AND NAEZY’S MERE GULLY MEIN PUT “GULLY RAP” ON THE MAP: SCORE INDIE CLASSICS “Mumbai 70”. That’s the geographical location that rappers Naezy and Divine proudly proclaim in the intro of Meri Gully Mein. Born and brought up in the streets of Mumbai, the two rappers are mainstream names in Indian hip-hop now. But it is this street anthem that proved to be a major stepping stone for the two MCs. While some listeners might associate the song with the Ranveer Singh-starrer Gully Boy, Meri Gully Mein was first released back in 2015. Shot in the slums of the city, the video shows a nostalgic glimpse of a pre-fame Naezy and Divine as they merrily flaunt their rapping skills and the place where they come from. Naezy was already building hype as an underground rapper with songs like Aafat (which he had recorded on just his iPad). On the other hand, Divine was similarly gaining fans with his 2013 single Yeh Mera Bombay that caught the attention of Sony Music. The two soon became poster boys of the then-emerging “gully rap” scene in Mumbai. While the scene already boasted of talents like Ace and his crew Bombay’s Finest (of which

Divine himself was once a part), it is this ultimate collaboration that put Mumbai rap on the map. The so-called “gully” sound was unheard of back then and for non-Mumbaikars, it was Mere Gully Mein that introduced them to terms like “ek number”, “boht hard”, and “shooter”, Interestingly, the Mumbaicentric song was actually produced by Delhi-based Sez on the Beat aka Sajeel Kapoor. Today, Sez has become synonymous with Indian hiphop considering his work on albums like the debuts of Prabh Deep (Class-Sikh), Seedhe Maut (Bayaan), and Ahmer (Little Kid Big Dreams) along with the discography of his own project The MVMNT. Sez’s contribution to Mere Gully Mein just shows that production can go way

beyond the general binaries of the “Mumbai sound” and the “Delhi sound”. Mere Gully Mein blew up instantly after its release, eventually turning Divine and Naezy into household names. Even the two rappers didn’t collaborated again, their lore became a part of Indian pop culture thanks to the aforementioned Gully Boy. Naezy released a few singles since then while Divine has succesffuly helmed two full-length albums while also founding his own company called Gully Gang Entertainment. The two “gully boys” are well settled now in the industry but fans will always cherish Mere Gully Mein as the song that established their careers. The

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NAVYA C

How important

is notation in Carnatic music? India is a country where learning (whether it was arts or sciences) was taught through gurus, directly transforming the knowledge and blessing vibes. The student had only chance to carefully remember the teacher’s rendition and that making nom mistakes. However, western classical music is completely opposite to Indian Classical learning. All the western classical musicians found it difficult to sing a page and pages long composition just with memory. Say the example of “Maathe Malayadhwaja” set in raga Khamas has a lot of twists and turns -giving a great challenge to the singer. It would be next to impossible for a young 7-year-old to perform “Kamakashi” swarjathi set in Raaga Bhairavi. But with a notation that is universally followed by all the Carnatic musicians, it becomes a great sigh of relief.

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How much can I depend on notation for Carnatic Music? Having a notation book is a live savior especially for students who prefer to see and sing. But the biggest disadvantage with this practice is : They will lose connection to aesthetics and beauty. In the name of discipline, the vocalist is compelled to follow the notation. There are some singers who are in the midrange thinking-feeling that having a book will make them perfect performers. However, learning a composition just doesn’t revisit the composition. The vocalist needs to completely get into the form of the raga and what the lyricist is actually and it is a challenge with a doubleedged sword. Leaving the notation book will set you free from these obstacles and keep you completely focused on the composition.

The vocalist has more than to present: the expressivity, going into the character, understanding the lyrics, and understanding the graph of the composition is also important. The “getting in the grove” in Carnatic music is nothing less than Classical Rock as music is all about bringing people together. Known for its utmost discipline, Carnatic Music is heavily dependent on the notation but here is the good news. Once you get hold of the lyrics and understand the composer, you can see an actual difference in the way you sing! As part of the new year resolution for 20222, let’s sing without notation book and even if you forget some phrases and fill them with a different one. Take up smaller compositions and edge your way to legendary western classical musicians.

Indeed, this is a beautiful way to show God about what all atrocities are happening in our planet, with a hope that a savior would come to clear all these problems.

Divinity in Musicis it an Essential Component? Whether it is Indian Classical or Western Classical Music or even folklore, devotion I s a prime part of relishing it. People find It energizing by offering the prasadam , gifts, or expensive luxury goods – and calling themselves a staunch devotee. The ultimate path towards enlightenment is through music and every sage agrees to it. However, the social conditions were also responsible for making Carnatic music a devotional celebration. Most of the legendary trinity as well focussed on their favourite deity and wrote wonderful compositions that would even till date. Ancient composers like Annnamayya and Kshetrayya surrendered themselves towards God and dedicated all their compositions to the lord.

However, the thinking with changing times has given some new ideas to Saint Thyagaraja in particular. His interesting kriti “Entha Nerchina” says that no matter how much you learn, how much you see, how much you enjoy a stream of pleasures, you are a slave to a woman. With new composers emerging in the past century such as Bharatiyaar, Muttaiah Bhagavatarm Dr. M. Balamurali Krishna , Carnatic compositions that mean social lives, the atrocities, and contemporary issues can also be expressed vividly. These composers focused on the basic atrocities that have happened around them. And it all started with Annamayya with his amazing composition “Brahmamokkate” which talks about the caste system and questions why can’t they learn in school.

In fact, Thyagaraja Pancharatna Kriti Dudukugala has ripped apart many such notions. He speaks vividly and in-depth saying, “ When you have Lord Rama on your side, what is the purpose of going behind unnecessary and temporary pleasures. The lines really hit the listener and starmaking us think twice when we go to the next temple and donate in the hundi! The ultimate path of enlightenment comes through devotion for sure. But if this valued form of music is used for throwing light on contemporary issues as well, the scope of Carnatic Music expands even more beautifully. As every art changes with changing times, even the perception and metamorphosis of Classical Music has led to new waves. Carnatic Music keeps divinity and devotion at the top level of the pedestal but with lyrical emphasis on social message, introspection, and the way of living in life- the form of music has undergone a fantastic change. Saint Thyagaraja’s Swara Raga Sudha is another fantastic rendition that lays emphasis on human introspection and leading the journey towards spiritual eternity. The

Score Magazine

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Compositions in Popular Music- Is it Correct?

from a musical background or not, the influence of Carnatic Music creeps into every household with its suave aspects, melodious feels and lyrical brilliance. The greatest form of music is part of every happy and sad milestones including birth and leading to death. Out of some millions of brilliant compositions penned by legendary composers, some compositions have become a tad even popular because of its instant lyrics, tune and appeal.

O Raghava (Jayanthasri Raaga), Saamajavaragamana (Hindolam), Bantu Reeti Koluvu ( Hamsanaadam) in film scenarios. While these improvised versions are beautiful to listen to, some of the music critics think otherwise. The musical connoisseurs feel that adaptation of these compositions may not be entirely suitable for a film related scenarios for various reasons:

Carnatic Music is inherently present in every household, and become a culturally significant aspect in India and even at global arena as well. Whether a family hails

As a result, popular and film music composers adapt some of the songs from these popular compositions such as Yendaro Mahanubhavulu (Sri Raaga), Marugelara

1. The composer’s intent behind writing a composition such as Samajavaragamana was to hail his deity Lord Rama. But in the film perspective (Telugu

With the dawn of the new year 2022, let us dwell on the appreciation of Carnatic Music and its versatile emphasis on social awareness, spirituality – a myriad of topics along with devotional music.

Usage of Legendary

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film Ala Vaikuntapuramlo) , the scenario is being changed to romance instead. This particular aspect has been heavily criticized because the Carnatic Music’s compositions have a certain sanctity to it and it shouldn’t be applied in random scenarios.

2. Some Indipop composers

such as Colonial Cousins (Hariharan and Leslie Lewis) taken up Krishna Nee Begane Baro (Yaman Kalyan Raag) and made a fantastic masterpiece in fusion style. In fact, this brought more popularity towards the composition. This adaptation doesn’t tamper with the original theme of the composition (devotion of Lord Krishna) and this brilliant duo brought the universal harmony aspect to it- thereby leading to a masterpiece. Such scenarios in usage of legendary compositions is a good step.

3. The influence of Carnatic Music on film/Indipop music is inescapable and that can be understandable . However, the lyricists go a step ahead by tampering the purity of the words used by the original composer. This has been heavily criticized by the listeners as well as music experts. In short, it is even called a horrible blasphemy. As they say, inspiration is quite different from imitation- but it cannot be used for Carnatic Music which is known as a pristine form of music. While the idea of experimentation and innovation is welcomed, it

must be confined to digging into raaga experimenting and usage of contemporary and novel themes. To conclude, adaptation of Carnatic Musical themes might be a novel idea to get into film music/ Indipop/ Contemporary Rock, but the inspiration must be stopped at the versatility of the melodic structure and the usage of lyrics.

Relevance of Theory in Learning Carnatic Music The theory is an inevitable part of any learning- not just arts or sciences. In fact, every subject or learning of skill needs theoretical knowledge for sure. Carnatic Music, in particular, is very disciplined and structure when it comes to theory with elaborate scale structures and a plethora of raaga styles. The rhythm patterns in Carnatic Music are also very versatileand require the student to learn Music theory mandatorily. Whether a vocalist or an instrumentalist, learning music theory has great advantages and an edge over the students who are not aware of it. Learning music theory leads to paced up notation reading, and perceiving a raaga through the composition’s structure. In the initial stages of learning, Carnatic Music Theory becomes a boon for the students to progress faster in learning and thereby become superior performers. It becomes an

essential roadmap to success as a vocalist or a musician. Until the stage of learning kritis, there is absolutely no harm in following Carnatic Theory as a guideline for learning complex compositions. It makes things easier for the student to perceive the raaga , understand the tala patterns and establish strong fundamentals in Carnatic Music as a form of music. It also makes the student progress in a swift pace from earlier swaras to complex compositions like Ata Taala Varnas and Kritis. But the big debate begins when the transformation the student to a performer- when the musician has to think versatile ideas on presenting a composition on stage. Here’s when the musician needs to develop independent thought and perceive the composition; without tampering the sanctity of the composer. This can be a big challenge because being too theoretical in approach will not help the performer to go further. Therefore, taking the step of theory as a building block, the musician should make an own canvass of painting with his/her own understanding of knowledge will ensure greater realms of art. Theory can be a building block and an important aspect of Music, but not the only aspect that leads to eternal music.

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Sennheiser emphasizes importance of reliable radio frequencies for entertainment industry Be it a theatrical event or a music studio, Bluetooth headphones have become a necessary equipment for the Entertainment Industry. December 1 pronounced the beginning of the “Alliance for Broadcasting and Cultural Frequencies”. This German institution works on reducing the frequency for its present operators. The initiative for the 2023 World Radiocommunication Conference targets to monitor the spectrum usage and needs which is known as ITU-Region 1. This covers a frequency range of 470 – 960 MHz and tracks the continent of Europe, Africa & Middle East. This panel discussion hopes to bring in regulatory alteration to the frequency of 470 – 694 MHz’s. This span is currently being utilized by wireless microphones and few other audio devices. In context of further spectrum loss (for theatre production & LIVE Events), more development requires to be tweaked-in as the officials

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are already challenged with a shortage of radio frequency. Hence, global availability for a microphone in the range of 470694 MHz is necessary as this is what the Organization is aiming upon. Since past many years, cultural frequencies have been used by various departments such as weather track, Culture, Radio Astronomy and Broadcasting. Also, it has been considered trustworthy and has achieved a great recognition Internationally. One major concern towards this sound frequency is that few devices demand for the allocation of 470-694 MHZ which is co-primary. This can definitely ascertain a flexible usage of the frequency Range. But a Live Broadcast doesn’t require that amount of MHz as it requires authenticity. Also, a sufficient number of free frequencies should be available at each venue. In the discussion panel of the World Radiocommunication Centre, there was a clear

consensus of opinion between the German Federal States and the German governing parties about the continuation of the existing and successful use of cultural frequencies. In addition to Sennheiser, other manufacturers, users and broadcasters are also actively involved in the discussions at the ITU-R and in the national preparatory groups. For broadcasting and culture, it is about reliability in the use of the last remaining global frequency resources. It’s not about “flexibility”, which here would be synonymous with an ongoing debate at a wide variety of levels in favour of the cellular mobile industry, which is already served far beyond its needs.

KRIPA KRISHNAN

In Conversation with

Lavita Lobo

Her name is rather ubiquitous - as a live performer, recording artist, playback singer in films of many languages, western classical and soon to be carnatic singer, teacher, a band member and to put the icing on this delicious cake, an actor com performer for a musical theatre group. Not to mention, she is such a genuine, kind, down to earth soul and a great friend. Lavita, or Lavi as we all like to call her, is a multifaceted, talented artist who is breaking paradigms and setting precedences in the industry for many to follow. Originally hailing from Mangalore, she is now settled in Chennai with her husband Jerry Vincent, another force in the industry to be reckoned with.

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Lavi’s calling for music was quite gradual albeit being exposed to music at a very early age. ‘I used to play the keyboard and also sing at church choirs back in the day’ she says. Little did she know then about the powerhouse she would become. Music has always been in her blood yet was never explicitly apparent to her. Her epiphany about pursuing music as a fulltime career came during her stint as a radio jockey. Yes! RJ Lavita- Another feather in her rich cap. She was a radio jockey for the prestigious Khilaadi no.983 FM, an afternoon game show, which had musical segments wherein she got to perform. It was here she came head on with her heart’s true passion - music and performing! ‘I was so passionate about it so it was a no brainer so try and pursue it full time’. That is when she decided to scout for opportunities to undertake formal training, which ultimately landed her in ARR foundation’s KM conservatory of Music, Chennai. ‘The rest of course is history’ she says.

We then zoomed out a bit and conversed about the industry that she has now established herself in. The film industry, to be specific, has always been accommodative to female singers. There are ample opportunities as a playback singer and the ratio isn’t as skewed as it is for music creators. ‘There should be more female creators, music directors, composers etc.’

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Lavi claims. In fact, the whole bifurcation of male and female composers is evident that there is this divide most often pushed under the covers. Things have definitely changed especially with the advent of social media models and easier access to technology, which allows one to independently showcase their talent. Whether this translates to a financially viable opportunity is unfortunately not always in the hands of the creators themselves. ‘These new roles will inevitably open up as we spread more awareness about the different workings of the industry’ Lavi states. The music industry is not limited to playback singers and instrumentalists but a myriad of other ‘jobs’. There is a huge value chain with proponents ranging from music composition, to production, score-writing, conducting, music video making, and even promotions/marketing to say the least. The other aspect to note is that none of these are mutually exclusive.

Now, zooming back into her personal involvement, evolution, learnings, future aspirations and growth prospects! “100% - I have changed after becoming a student of music both personally and professionally” she says. I can guarantee it’s for the better! Whilst the journey filled with twists and turns as one may expect may be extremely humbling and rewarding, there are definitely those days. Those days of extreme frustration, anxiety and selfdoubt. She alludes to the

infamous metaphor of hitting a wall, which perfectly sums up such days. ‘Breaking this wall, or rather, finding a way around the wall warrants patience, perseverance and discipline.’ These obstacles can manifest as anything from creative to self imposed roadblocks. It is sometimes, or most often, the case of the Imposter Syndrome wherein you find yourself trapped in this vicious vortex of self doubt and neglect. As such, it requires a sense of constant and relentless self-acceptance to really break the wall and essentially not give up or give in! She feels that this is something which she is really learning to imbibe and internalize, nevertheless, acknowledging her efforts and strides she has made till date. She keeps reiterating how she considers herself as a forever student of music where learning just does not stop!

Interestingly enough, the lines between her personal and professional aspirations are quite blurred. ‘My professional and personal aspirations are quite similar in that I have completely dedicated my life to music. I eat, drink, and sleep music.’ The fact that she is either practicing, teaching, recording or performing at any given point if the day is a testament to that statement. She is constantly trying to better herself, reinvent herself and challenge herself. Having already given her the tagline of a versatile singer, she surprised me when she stated that versatility is something she is striving towards. She wants to learn and master new genres, new techniques not only in the realm of playback singing and performing but also in the space of music compositions and production! Yes - she has already begun her ambitious and unabating pursuit of finding her own expression and making her own music. ‘I feel confident as a playback singer, covering other songs and singing for other composers as well as performing on stage but I am still trying to find my ground in terms of self expression and composition’. She aspires to find who she is through music and maybe even release her own album at some point!

As for challenges in the industry, she reckons that the inception is always a struggle with directors asking for long and odd hours. Of course, it is sometimes at the expense of mental and physical health since one wouldn’t want to miss an opportunity. ‘You have to be prepared to be called at any point in time’ she says. Additionally, this unprecedented pandemic has had many implications on the industry as a whole with gigs and recording sessions getting cancelled and/or postponed. ‘There is not much we can do but just hope for the best’ she says.

Rapid Fire A song you never thought you’d like but happened to devour “Raatan Lambiyan” (Film: Shershaah)

An artist in India you look up to

There are many but if I have to choose one: Bombay Jayashri”iWhat did you grow up listening to? “Bollywood music, 90s pop music, regional music”

What is your strength? (Music + personally) “Adaptability”

What is a weakness? (Music + personally)

“I hold an accent when I sings indian music’ and I also hold back on a lot owing to my shy and reserved nature”

Favorite independent artist / song

“Hide and seek (imogen heep)”

Who would you like to collaborate with?

“Bruno mars, the weeknd, jessie J, jacob collier”

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In conversation with Darshan Doshi Trio A trio that consists of three amazing artists from India featuring Darshan Doshi, Rhythm Shaw and Avishek Dey. We got to chat with them on their latest album “Live on Tour 2021” that featuring amazing tracks and artists on them. Read on to know more.

Q&A

In conversation with Darshan Doshi Collective

We absolutely loved the Live on Tour 2021 album. Could you tell us more about how it came about? Thank you so much & I’m so glad you dig the Jazz-Fusion genre. As the album name suggests, my band The Darshan Doshi Trio ft. Rhythm Shaw & Avishek Dey did a 5 city tour in October 2021 & I managed to record & shoot video of all the gigs. After the tour I was going through some of the recordings & felt that it would be a great idea to share some of these tunes as an album & thats when Live On Tour 2021 happened. Its a completely live album & has 7 songs which also feature stellar vocalists Vasundhara Vee & Varijashree Venugopal.

2. Talk to us about each of the tracks in the album and the making of it The album kicks off with the track ‘Insrhy Master’ which is an original, composed by Rhythm Shaw. This song has great interplay between the trio. The 2nd track is ‘Night in Tunisia’ which is a cover of an original, composed by Dizzy Gillespie. This track has a lot of odd time signatures which is great fun to play live, as Avishek has to hold down the bass line while Rhythm has this crazy improvisation running. ‘Four For One’ which is a band original which was released in 2019. It’s a song that has head bang inducing riffs, with a powerful chorus lead & a bridge that will leave you in utter awe of Rhythm’s skills as a guitarist.

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The 4th track on the album is ‘The Shadow’ which is again a cover, originally composed by the band Garaj Mahal. This is one of my personal favourites & I enjoyed playing a Drum Solo on this one. The first vocal track ‘Run’ is originally composed by Vasundhara Vee & Dhruv Ghanekar. I was very excited when Vasu said yes to doing a live version of this song. She sounds phenomenal on this one. ‘Triple Threat’ is the sixth song on the album, another band original, which is very popular among musicians. I had released it in 2017 which also featured bass prodigy Mohini Dey. The final song on the album is ‘Bandish Blues’ another absolute favourite original, that originally had Parthiv Gohil on vocals, but this time, it features the amazing Varijashree Venugopal who joined us for the Bangalore concert.

3. Each of you are extremely good at your own craft. How did the trio come about and how did you three meet? I met Rhythm & Avishek both around 4 to 5 years ago. I had heard of both of them through common friends & social media. I knew they were really good at their instrument & I could see their love for jazz-fusion. Over the years we have performed for several artists such as Amit Trivedi, Farhan Akhtar, Diljit Dosanjh & many

more. When I was thinking about forming this Trio, I was very clear about working with these two incredibly talented artists & believe me, we had a blast on this tour.

6. You had two powerful voices lending their vocals for the album. How did the collaboration happen?

4. Tell us about the tech used in making of these tracks.

I have been very fortunate to have these two stellar vocalists on the album. I’ve known Varijashree for over a decade now & I’ve been a big fan of her music so when our Bangalore gig got confirmed, I was very clear about collaborating with her. With limited time to rehearse, she did an exceptional job learning Bandish Blues & killing it on stage. I have been a big fan of Vasundhara’s voice & music. I took a chance calling her when our Delhi gig got locked, & turns out she was available & extremely excited to join the band for a couple of tunes. Initially, she wasn’t sure about doing a live version of her original ‘Run’ specially with a trio, as the original version is well produced. But during our rehearsal at my studio, after hearing the Trio, she couldn’t believe how big it sounded. I’m grateful to both of them for adding so much magic to the album.

There is no special tech used to record this album. Mainly good equipment going through great mics. I would like to specially thank Ayush Malik & Pranav Raj for doing a great job with multitracking the band. Lastly, the amazing sound engineer Abhishek Ghatak, has done a phenomenal job with the mixing & mastering of the album.

5. What were some of the challenges you faced in creating this album? The real challenge was to get good backline equipment & sound equipment as per our rider. I was very clear to not compromise with gear, as I wanted to put out the best quality while we were recording all the gigs. Dealing with small clubs can be quite a headache, which is why I’m so thankful as to how things turned out despite any challenges! I would like to thank our manager Rani Kaur, gear partner Furtados & Gladson Raj for helping us out on this tour.

7. Upcoming projects Currently the band is looking forward to perform at various jazz festivals across the country & across the globe. I also plan to come out with a live studio album with the trio featuring some international guest artists.

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AKARSH SHEKHAR

Be A Gigmeister:

How To Land ore Gigs It’s safe to say that it’s almost impossible to make a career as a music artist without playing gigs. However, when you are starting off, getting an audience seems to be like an incredibly difficult task. However, that isn’t always a bad thing. Starting small and playing in small venues in front of a small crowd will also help you gradually build confidence to play in front of larger crowds. Getting gigs is very important for you to promote your music (and yourself). Here are some ways for you to land gigs: Be ready to play gigs

No need to look for a concert if your performance borders on disaster. Focus on practicing until you are sure you can take the stage and showcase the best side of your project. Be patient and take the time to master your instruments and your playing in a group. Remember, live performances add new layers to the musical experience. While listening to an album is primarily an auditory experience, your fans will have the opportunity to see, smell, touch and savor your music when they attend your concerts. So think about your outfits, your scenography and don’t hesitate to suggest new versions of your songs, interactions with the public,

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special guests, covers/medleys and other unexpected surprises. All the attention will be focused on you, this is the ultimate moment to launch your career.

Start small

You won’t be filling out the Wembley on your debut gig, even Oasis and Ed Sheeran

didn’t. In the meantime, take a look at what’s going on around you. In the street (Tones and I was busking for a long time before her break out hit “Dance Monkey”), in open mics, open stages or by participating in

springboards, there are many places for artists who want to get started. Start with small scenes and examine the audience’s reactions and enthusiasm. This is an opportunity to test your songs, your stage presence and to evaluate your playing. It is with experience that you will feel more and more at ease and will be able to aspire to bigger venues. Find out about the artists around you and keep in mind that it is by exchanging with other enthusiasts that you will be able to build your network.

Build a strong social media presence

Here are some steps you can take to get more fans online: •

•

Create an artist page on Facebook, Instagram, Twitter (or even a website) for your group. Ask everyone in the group to invite their friends to like your pages. This will allow you to start with a solid and faithful foundation. Share your news, upcoming concerts and new tracks, and respond to people who interact with you. And don’t forget to optimize your Spotify for Artists profile as much as possible. Get in touch with similar local artists. Share their posts and comment on the posts. Establishing relationships with other similar groups can help you broaden your fan base and build you as an artist.

Get in touch with promoters and concert organizers

Here are some key things that will help you get a positive response: •

Be concise and professional. There is no point in telling your life story. The stake here is to sell the project. It’s up to you to find the right words and make an impression with your authenticity.

•

• •

Precise information: duration of your set, your stage configuration (equipment and instruments) and your availability. Personalize your messages: show that it is particularly important to you to perform in the room you are approaching. Build a good press kit. Include a promotional video (live session) of your live band.

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AKARSH SHEKHAR

Push The Tempo How To Shake Your Mix Up

If you just look back a few years into the music industry, clicktracks didn’t reign supreme. A lot of the most popular songs composed earlier used to have tempo changes that added quite a lot of drama and flair to the songs, letting the song “breathe”. And what’s more, these changes in tempo weren’t done to scratch some dynamism itch or put there just for the sake of putting it. Most of the popular music earlier, across all genres, pop, soul, R&B, rock, etc. sped up toward the end of a verse and then decelerated into the chorus. These small things added a lot of character to songs and made them sound less sterile. While your DAW can change tempo quite easily, it can prove to be a hassle at times. There are quite a few advantages of playing to a click as well. However, in this article, we will take a look at how you can introduce tempo changes to the final stereo mix. We will take a look at using it through Studio One’s Song Page and Ableton Live (this can be done in other DAWs as well and you should check your specific DAW’s manual for more info).

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Preparing For The Process •

•

Live displays the tempo of an imported track as BPM sec in the Sample section. Set the global tempo to match, then enable Warp and choose the Pro algorithm for the best sound quality. With Studio One, open the Inspector and enter the tempo of the song in File Tempo (for example, 120 bpm). If you don’t know the tempo, it doesn’t matter: calculate the tempo and just add relative changes instead of working with an absolute tempo. While in the Inspector, choose Tempo = Timestretch and Timestretch = Sound (highlighted in orange). For the best extension fidelity, also select Options> Advanced> Audio and check “Use cache for audio files with time extension”.

Executing The Tempo Changes • •

•

• •

With either DAW, then change the tempo track. In Live’s Master section, choose Mixer from the drop-down menu, then Song Tempo. In the two number fields under Song Tempo, enter the minimum and maximum tempo range. The pitch of the tempo track reflects these values, so when you add small variations in tempo (for example, 120 to 124), you can make precise changes. The Tempo Track is a node-based automation envelope - double-click the line to place a node, then drag it to the desired tempo and position. You will see a “tooltip” that reads the tempo. With Studio One’s tempo track, click to create a node, then drag it to the desired tempo and position. Another option is to place the playback cursor on the timeline and click on the + button in the tempo section to add a node below the cursor, as well as enter a specific value.

•

This same field also displays the tempo at the playback cursor position; additional fields for the Min and Max values define the graphics resolution, with a minimum deviation of 20 bpm. Like other Studio One automations, hovering the mouse over the line between two nodes displays a “ghost” node, which you can then click and drag to add a convex or concave curve to the tempo line. As to whether you can hear artifacts, for the relatively small tempo changes that help a song breathe, that’s okay with either of these programs. So free your song from the monotony of the click track and let it “breathe” and flow like the music did before - and still can.

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Cymbals Made Simple: How To Buy The Right Ones Cymbals go a long way in determining the sound of your drum kit. The choice is so great that it is difficult for almost any drummer to quickly find the right model. It gets even more complicated with personal taste and the style of music being played. Here’s a quick guide to help you out.

Weight = Strength

Weight is a very important factor in playing feel, volume and presence. Terms such as Heavy, Power, Rock or Metal correspond to the heavy versions. The terms Medium, Medium-Thin, Thin or Jazz suggest moderately light to light weight models. A heavy cymbal tends to sound metallic and louder than a light cymbal of identical construction. At the same time the response is slower and the resonance longer. The “load” must first be set in motion, and take longer to stop. Therefore, heavy cymbals are more suitable for aggressive drummers playing in loud, heavy metal bands. Heavy cymbals are also more audible on large stages. But be careful: don’t go overboard with the weight, you run the risk of the overall sound being too heavy

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and annoying everyone sooner or later. If you are a Rock, Pop, Funk, Soul or Hip Hop drummer, you will certainly be more satisfied with midweight models. The current trend for these musical styles includes very thin models that respond quickly and fade out just as quickly. If you play a lot in small venues, accompany a singer-songwriter, or consider yourself a Jazz drummer, thin cymbals that require little impact energy to achieve their full sonic fullness will be more appropriate.

What is the cymbal made of ?

The alloy used to make a cymbal has a major influence on its sound. Most professional models are made with a bronze alloy with a 20% tin content (B20). Most cymbal manufacturers across the world use this. The B8 alloy

cymbals made of 8% tin visually differ from the B20 models in their reddish tint. The B8 versions produce a bright, clear sound and the B20s a warmer and softer sound. While manufacturers such as Zildjian and Sabian produce their middle and upper class series in B20 bronze, Swiss manufacturer Paiste is renowned as a pioneer in the use of B8 bronze. Brass is used only for entry-level models. This material is cheaper and can be fabricated with little effort.

For whom the bell tolls

Even if you don’t play the bells often, they have a significant impact on the sound of the cymbals. They add harmonics which ensure the presence and the possibility of imposing a cymbal. Drummers who’ve played on Flat-Rides know what we’re talking about. Compared to normal Wrinkles, these

models are more passive and less powerful, and fade quickly. You can hear a similar effect if you put your hand on the bell of your Ride while playing it. A heavy cymbal with a big bell is more powerful, with more “ping”, and is richer in harmonics than a thin cymbal with a small bell.

Diameter makes a difference

Is a 14″ Crash more appropriate for your music than an 18″ Crash? Once again the question arises: what type of drummer are you really? If your playing is powerful, cymbals smaller than 16″ may not be the best choice, as they overload quickly and sound less full than the larger versions. Sound diffusion

is best with a large cymbal, this is important when the environment is loud and large. On the other hand, drummers who play soft generally prefer thin cymbals for their round and soft sound. If you play a variety of styles, you can’t go wrong with 14″ hi-hat cymbals, 20″ Ride and Crashes between 16″ and 18″. The

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AKARSH SHEKHAR

HOW TO UNPLUG YOUR EARS AND HEAR BETTER WITH MUSIC? Music is awesome. A few seconds into your favourite song and you already start feeling happier and your stress levels come down. Now, researchers have found out that listening to music can actually enhance our hearing.

Relation between singing and speech

According to some researchers, in people of comparable hearing and of equal age, musicians seem to have a superior ability to distinguish speech in a noisy environment. It is possible that musicians have innate abilities, but it could also be related to their training. Their working hypothesis is that singing would develop a perception of weak sounds, which in turn would enhance the perception of speech in a noisy environment. To test their hypothesis, the researchers contacted some elderly people with hearing loss within their database and offered to join a choir no musical experience being necessary. Participants signed up for a 10-week session that included singing lessons, choir

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lessons, computer homework, and, just for fun, a performance at the end of their training. The first group was formed in 2014, the most recent completed their vocal training in the first week of July 2017. In addition, the researchers set up two other groups, called control groups. One was just listening to the music, while the other had no musical intervention. Periodically, the researchers used electrodes, applied to the scalp, to track the brainstem hearing performance of participants in the three groups. This allows the team of researchers to measure how well the brain encodes sound, especially how it responds to specific speech patterns such as vowels. The result? Studies have determined that the choir group’s brainstem response improves with vocal lessons. The other two groups showed no improvement.

The power of your voice

One of the advantages of musicians is that they can follow the contour of the voice. The voice is an instrument whose pitch is variable. When producing a sound, you need to have a very fine tonal perception to tune it perfectly. Few instruments allow it. String instruments are an exception. However, it would take years to train an older adult to play the violin. Singing is something that can be learned quite easily at a later age. This is why the researchers chose this discipline for their experiment. Besides, most people have singing experience, even if it is just the music lessons they received in school. And, there

is a great chance that everyone will be able to sing along even those who have stated otherwise during their journey.

long the benefits would last and exactly why this activity would improve speech understanding in a noisy environment.

A lot of us can sing relatively well naturally, which means we’re relatively close to the key we’re trying to achieve. Most of us can adjust to a key - and with practice, we can improve our performance and sing in tune.

Social benefits of listening to music

The main complaint from older people is that they have difficulty hearing speech in a noisy environment. And while hearing aid technology has come a long way, it doesn’t completely solve the problem. In the future, researchers hope to expand the study to people with hearing aids. They are also interested in studying how

Participating in a group activity (like singing in a choir) brings cognitive and social benefits, according to the research. Right now, we only know that something beneficial is going on in the brain. In addition, singing is a discipline that fits very well into the lifestyle of many people. There are several ways to improve your singing without joining a choir: you can download an app to check your pitch and key and sing by yourself.

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AKARSH SHEKHAR

Heavy Metal Thunder: The Best Guitars For Playing Metal The guitar is an integral part of metal music. You can’t really think of any great metal song without a great guitar part in it. In this article, we will tell you about the best guitars for playing metal and how you can go about choosing them.

How to choose the right metal guitar? Design Design can be the most personal aspect when choosing a guitar. For extroverted designs, Dean offers sublime machines, while Schecter offers more subtle and refined silhouettes. Whatever your affinity with a particular design, still prefer a design that you are comfortable playing with. B.C. Rich Guitars tend to have the most outrageous designs so if that’s what you want, you should probably look there. Pickups It goes without saying that you will need Humbuckers on your Metal guitar, as they deliver the thick, warm, and heavy

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tones that Metal music is built on. If you like powerful high gain, which retains its clarity at high volumes, active pickups are certainly the smart choice, especially for lead guitars. Passive humbuckers can also impress in all volume ranges and sound a bit more natural than their active counterparts. Type of Bridge The type of bridge depends on your personal preferences. If you like Dive Bombs or use the vibrato occasionally to spice up a solo, go for a tremolo bridge (Floyd Rose/Ibanez Edge Tremolo etc). If this is not necessary for your playing style, a stationary bridge will generally offer more stability and sustain, and changing strings will be easier.

Here are some of the best metal guitars for you to pick from: Ibanez X Series Ibanez is generally considered to be an axe of choice for metal players (especially the “shred” kind). So when it introduces a range with the aim of building the “ultimate metal guitars”, you know that the Japanese manufacturers are on to something. The series called Iron Label was eventually discontinued but it has recently been relaunched under the “X” moniker. Designed with metal and nothing but metal in mind, the X series guitars use hot Dimarzio and EMG pickups. The wizard neck makes them

faster and more durable and the all black appearance is just so metal. ESP Snakebyte This ESP Snakebyte was designed by James Hetfield himself, replacing his legendary 1984 Explorer, to meet his specific needs in the studio and on stage. For the well-stocked wallet, this ESP signed Hetfield will delight metalheads with more thrash trends in their music and style of play. Dean MAB 1 Michael Angelo Batio is one of the craziest guitar shredders in the history of the instrument. Also known as

MAB, he started his career in the 1980s with the first wave of shred metal. Renowned for his ambidexterity and his ability to play on two guitars at the same time, MAB has developed a range of sublime shredding machines in collaboration with Dean Guitars, in particular this magnificent MAB1 ArmorFlame. Schecter Hellraiser C-1 To put it simply, the Schecter Hellraiser is an extraordinary instrument. Since the model’s release in the mid-1990s, it has always received excellent reviews. Its most impressive features are the beautiful, easyto-access 3-piece mahogany

neck and EMG 81TW / 89 active pickup combo that sends out a bewildering amount of aggression and power. Charvel Pro-Mod DK24 HSH 2PT The Charvel Pro-Mod DK24 HSH 2PT, with its trio of Seymour Duncan pickups and unique wiring configuration delivers a wealth of stunning vintage and modern tones. It has tonal firepower and high performance features that make it an electric guitar designed for virtuosos. Even if you’re not, you’ll feel like it won’t take long to get there when armed with this axe.

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Watts The Right Way: How To Power Your Mix Correctly? Economical arrangement Bob Katz was able to bring the Many hit-parade songs these days are written from the start to be heard flawlessly on your speakers. These songs often have one thing in common: they are very economical arrangements. If your song consists of just a kick, vocals, and a few synth beeps, all of these take up a lot of space, making them sound powerful even on small speakers. This type of arrangement is also easier to compress and limit during the mastering process.

No power without sweetness

If you go all the way from start to finish of a song, you lose the attention of your listeners in thirty seconds. The best pop songs therefore make intelligent use of dynamics. There are always a few points in a song where you need to be gentle and then build up in intensity again. Thanks to the volume automation function in your DAW, you can emphasize these explosions. You can do the same with the stereo image.

Peak level

The most difficult album that greatest mastering engineer Bob Katz ever made wasn’t metal, or a classical music recording. It was a CD with… panpipes. At low frequencies there is relatively more energy than at high frequencies. These frequencies occupy a large part of your dynamic range. As a flute produces very little bass,

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tracks to a level very close to 0 LUFS (more on this later) without touching a compressor or a limiter. So you can create a lot of space by filtering out the excess bass with a high pass filter. Be careful though, because before you know it your mix may lose liveliness and depth.

Peaks

Mute all drums and percussion and you can suddenly turn up your mix much louder without clipping. If you don’t want to sacrifice drums or beats, then compression is a must-have tool. It allows you to control peaks by adjusting the attack time. You can also sustain notes for longer with a short release time. This will give you the impression that your drum sounds are more powerful, because long sounds are felt to be louder than short ones. Be careful that this extra sustain doesn’t get in the way of the rhythm. If there is a very strong peak in your song, it can make your song play very soft. You can use a limiter to tame this peak, but it’s often more subtle to do it manually in an audio editor.

LUFS

For a few years now, all major streaming services, such as Spotify and iTunes, have been using perceived volume normalization. This means that they use a standard for reading volume. If your song is louder than this standard, the playback volume will be lowered. To measure the sound level of your production, most streaming services use the brand new LUFS which stands for Loudness Units Full Scale. The upper limit is 0 LUFS, so measurement results are always expressed as a negative number. LUFS meters give a much better picture of the sound level as peak or RMS counters. Most DAWs these days have an LUFS counter. If you want to stream your tracks to a streaming service like Spotify, iTunes, or YouTube, it doesn’t make much sense to upgrade your track to more than -12 LUFS. Otherwise, it will be softened anyway.

GENELEC AURAL ID:

THE ULTIMATE IN TAILOR-MADE HEADPHONE MONITORING. Have you ever been frustrated that your headphones can’t produce the accurate, truthful mixes that your studio monitors are capable of? Then you’ll really want to explore Genelec’s Aural ID®, and the new Aural ID personal plug-in for workstations – which provides a completely tailor-made headphone listening experience. At last, you now have the confidence to switch between monitors and headphones freely, and deliver mixes that translate consistently to the outside world – whether they’re stereo, surround or immersive. The

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How does Aural ID work? lets you compensate for the Simply submit 360-degree video footage of your head, ears and upper body using the free Genelec Aural ID Creator app, and Genelec will then analyse your Head-Related Transfer Function (HRTF), which is the way your physical features colour the audio that you hear. Genelec experts will then model your features to calculate your own personal HRTF, which can then be applied to your DAW headphone monitoring feed via the Aural ID plug-in. After some careful calibration, you’ll achieve a really neutral headphone mix with a natural sense of space and direction, with sounds moving from ‘inside’ your head to their correct position in the mix. Aural ID also allows you to create and adjust ‘virtual monitors’, to closely mirror the layout of your in-room monitoring system, and also

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sound colouration that your headphones introduce. Most importantly, Aural ID is totally personal – and doesn’t rely on the less accurate generic HRTFs employed by other headphone monitoring systems.

The Ones + Aural ID Offer. Aural ID is the perfect partner to Genelec’s The Ones series of precision three-way coaxial monitors, since it provides the ideal bridge between monitors and headphones. This gives you a smooth, uninterrupted workflow, and allows perfect translation between the precision of The Ones and a neutral, truthful and accurate headphone mix. And because you can fine tune Aural ID for both sound localisation and colouration, and also import files directly from Genelec’s GLM calibration software, this creates a monitoring solution

which provides unrivalled and seamless integration of in-room and headphone monitoring - in either direction. So to celebrate this combination, if you purchase and register a brand new pair of The Ones monitors (8331A, 8341A, 8351B or 8361A) between Jan 1st and December 31st 2022, you’ll qualify for your own free 12 month subscription to Aural ID, worth €490. Simply register the monitors at www.genelec.com, and Genelec will be in touch with you to arrange the creation and electronic delivery of your very own Aural ID. They’ll provide all the support and guidance you need, and they’re confident you’ll quickly start to see the many benefits of this unique monitoring combination. For more details simply visit www.genelec.com/offer

Unleash your creativity Introducing GLM 4.1 loudspeaker manager software For 15 years, GLM software has worked with our Smart Active Monitors to minimise the unwanted acoustic influences of your room and help your mixes sound great, everywhere. Now, GLM 4.1 includes the next generation AutoCal 2 calibration algorithm and a host of new features – delivering a much faster calibration time and an even more precise frequency response. So, wherever you choose to work, GLM 4.1 will unleash your creativity, and help you produce mixes that translate consistently to other rooms and playback systems. And with GLM 4.1, both your monitoring system and your listening skills have room to develop and grow naturally too. Find out more at www.genelec.com/glm