April 2019 issue featuring Bhushan Kumar on the cover

ISSN 0974 – 9128

Vol 12 Issue 04 April 2019

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India's National Pan-Genre Music MagazinE

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ON THE COVER

BHUSHAN KUMAR

ARTIST OF THE MONTH

SHAH RULE

QUIRKS AND QUERIES

FALU SHAH

READ ON

PLAGIARISM IN BOLLYWOOD MUSIC READ ON

5 WAYS SCIENCE SAYS MUSIC IS GOOD FOR YOU

STUDIO TOUR

MOUNT ATLAS STUDIO

TECH TALKS

FROM TAPE TO TAPELESS WORKFLOW

THE TEAM Director, Business Development Pragash VM Director, Marketing & Operations Sneha Ramesh Director Ajay Prabhakar Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Creative Designer Manasi Doshi Content Contributors Shreya Bose Mukesh Amaran Amogh Rao Kausthub Ravi Gajendra Puri Goswami Aditi Sarawagi Souvik Chakraborty Cover Photo Credit Ravindu Patil

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GAJENDRA PURI GOSWAMI & SNEHA RAMESH

BHUSHAN

KUMAR

Music is oxygen. Playlists are lifelines. Five minutes of a good song can change your life, reduce stress, make you laugh, cry, get nostalgic, inspire you, lift your mood. Heck, five minutes of good music can even help you shed a few calories!

So, who's making the songs we're grooving to today and what goes into making a hit five-minute song?

The answer : A lifetime of being Bhushan Kumar, Chairman and Managing Director, T-Series and young India's master music conductor.

Born into a musical family, son to a father passionate about music, God-gifted ear for music, commander of a leading music company and over 20 years of making music.

But Bhushan Kumar is more than destiny's child.

He may have inherited T-Series from his late father Gulshan Kumar but he had to start from scratch. It took years of hard work and study, plenty of support and help from family and friends, trust from the film industry, a rocking team, many challenges, some failures and repeated success for Bhushan Kumar to transform into a noteworthy influencer, redefine the Indian music industry, make T-Series the most popular and successful music label in India and YouTube's leading channel.

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In an exclusive interview, he talks to The Score magazine about running a successful music company, business and personal ideologies, and what goes into making hit music that influences new generations, year after year.

Music is a passionate art form, but it is also a cut-throat business. How do you balance these two? Does your personal taste ever come in the way of your businessstrategies?

First of all, from the time I started my business, I have put away my personal taste in music. I have constantly tuned my ears to what the public likes to listen. It is difficult to run a music label in India if you don’t have an ear sense and aren’t hands on. Mine developed as per the taste of listeners and that has helped us grow so far.

Content has always been important and relevant in our business. I keep tuning my ears constantly.

You took the reins of a successful business at a very young age. How did you deal with the pressure of following your father’s footsteps?

The power my dad gave me, till today, has been the guiding force behind this music business. I am just running it on his behalf. I have always told everyone that my father is the actual owner of the business and I am just running it for him. At the age of 19, I was a total newcomer. There was a lot of pressure. I got great support from my uncle, mother, wife, sister and we have very old staff who have been with us for several years. My father ran the company for 15 years but I have been running it already for about 20 years now.

Your father was a walking, talking music machine who was always relentless in his efforts to produce trailblazing music content. Is it safe to say that Bhushan Kumar is a fastidious, workaholic business mogul just like his father?

I just follow my father’s footsteps. The only difference is that I take decisions after much thought while he was very quick in taking decisions. Of course, 90 per cent of his decisions were always successful. You can certainly say that I’m working just like him.

In the post #MeToo India, there’s a growing demand for equal rights for women inworkplace, including stringent policies and rights?

What’s T-Series’ stand on these issues?

We follow all guidelines as mandated by law. There are systems and processes in place to deal with such issues.

Our office is a comfortable and safe environment for women. People who start working with us, never leave us. We have women who have been working with us for 15 odd years. We conduct meetings with associations and do our best to ensure our employees feel safe and secure.

People in the industry claim that T-Series controls a large percentage of the market share in themusic industry in India. How much of that is true?

Does that means that T-Series has a monopoly over the market and no label or producer can become successful without its intervention?

That is not true at all. The percentage keeps on changing.

If I have Bollywood music coming at a stretch in one go, my percentage will increase. It is not fair to

say that we are a monopoly in India. For most films that I am producing, the music is done by me. That does not mean that outsiders are not making music.

There are other music labels buying other music too. I know what my listeners want and make music accordingly. It is all about entertaining people. We make non film music that is stronger than Bollywood music. Today there are no means of calculating market share. If you see our radio play out to see how many T-Series songs play in a day, sometimes, it is 50, and other times it could be 30 or 40 also.

Earlier it was based on how many cassettes we sold and our sales were the maximum compared to other labels. But today, if you are listening on a streaming site like Jio, Saavn and have listened to 15 songs, the probability of T-Series songs being played is only five.

The home-grown music scene has seen surge in the number of Independent music labels these days. What advice would you give young label owners to become as successful as you?

Being a big music label has a lot to do with your catalogue. It is not impossible but is definitely difficult. For a big label also to become profitable immediately or even in five years is difficult. We have made a catalogue in over 35 years. Sixty per cent of your revenue comes because of your catalogue.

I have seen many labels that were launched but had to close as they were not able to sustain.

With the growing influence of streaming services like YouTube, Apple music and Spotify inIndia, how has the revenue model for big labels like yours has evolved?

It is a very good sign! Earlier, we were fighting with websites like songs.pk, who were generating revenues from advertisers. It is a great thing that now we have streaming sites like Youtube, Spotify, Gaana, Wynk etc who are legal and give correct revenues. In the earlier days, we were dependent on distributors and now it’s easy to serve our listeners through these platforms. Music business has grown to a large extent. It is systematic, well-planned and we get proper reports. Now, we just need to concentrate on content across different languages and genres.

We are also making films with all actors present at the moment. We have about 20 releases this year!

Yours is the only Indian label to have paid a great deal of effort and resources into publishing religious and devotional genres of music. Where do these genres fare in terms of revenue output?

Devotional is a great deal for us. My father has made everything possible in devotional music. There is nothing for us to make now as he has made everything! He was the first to make aartis available to people. He came up with a concept for the old people who couldn’t read books, instead made it in an audio form for them. That’s the way Gayathrimanthra, Mrithunjaymanthra came in.

Today, we have them all available online and are listened

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to everyday. We have Gayathri manthra, Ram bhajans, Amrithvani, Dohas that are very big. This is a catalogue that we are so proud of. I cannot remember in the last 20 what new I’ve made in devotional as it has all been done already. Whenever I tried to make something new, I land up making the same with a new tinge to it.

Right now, we are trying to make the same music with newer age singers so youth get excited about it and listen.

In terms of revenue, it is very good!

What does it take for an independent artists to get signed by T-Series ?

Today, the digital world is huge so artists approach us through social media. When artists put up their work on YouTube, we sometimes reach out to them and ask them to come to us. Many people release their song and ask us to later put it in a film. We recently put out two songs of independent artists in a Varun Dhawan film.

Where do you stand on the current trend in the music industry of recreating old Bollywood hits?

We are the ones who literally started recreating songs. Many people criticize it but that is the most successful thing right now. Eighty five per cent of the people love it! I’m really not worried about the rest of the people who don’t like it. We call it recreation of a song. It has a lot of work to it. Very few people are successful in recreating old tracks. I am proud of our team that does this. Our success ratio is 95 per cent in recreating old songs. People are experiencing an old charm song in a new packaging, with new sound that they love to dance to. Recreations are here to stay!

According to me, if 90 per cent of the song is new, why criticize it? Lot of people do not even realize that it is a recreated song.

Tell us about MixTape series and how the idea came about MixTape is a good concept that our music team came up with. The idea was to mix two songs with a similar kind of tone and raag and merge them. We did the first season in Hindi and Punjabi and both were successful. Season two is soon to come out and you will be surprised to hear that season three is already booked by some sponsors who want to be a part of it. This time we have partnered with Amazon Music who have presented it with us.

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T-Series VsPewDiePie is raging subject on the Internet these days. Do you think it is a fair thing to compare a giant music label such as T-Series to a YouTuber?

I am not sure why people are comparing the two but I cannot stop that from happening. He is an independent YouTuber and we are a Music label.

I’ve asked PewDiePie even on record as to why he is taking it so seriously and why his fans are taking it to the next level. We were on a close shave for a long time. We have been growing organically over the years! We recently ran a campaign called ‘Bharat wins YouTube’ with a lot of film stars who tweeted about this. In fact, YouTube does regular audit every week to remove fake followers!

I am happy that this news got us promotions all over the worldJ. Everything had fallen in place for us! It was indeed great PR for us. Now people in every nook and corner of the world know about T-Series, thanks to PewDiePie.

You’re producing a big biopic on your father’s legacy. At what stage is the film currently and when do you reckon it will be ready for release?

The biopic on my father is our dream project! This would be our biggest film which will have a top star that we will announce very soon! We will start shooting next year and will release the film in 2021. I decided to make this biopic two years ago and we have been working on the script.

What can we expect from T-Series in the near future?

You can expect great music and concepts, new songs, and great content driven films. Whatever we do will be related to music and movies. We are getting into web series and talent shows also.

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RAPID FIRE What does Bhushan Kumar prefer being labelled as - Producer or Businessman?

Businessman What’s your current favourite song?

Aank Maare What would you like to do when you’re not working?

To play with my son Where does Bhushan Kumar scour for new music?

I don’t listen to music at all since I am constantly listening to songs under production. It’s all about making great music for listener’s entertainment.

What’s your mantra of success?

To work hard and with dedication, passion and positivity. My father is my mantra!

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Tell is your Gully boy experience Truly a blessing to be a part of such an incredible film. The set atmosphere was super chilled yet everyone was very much in the zone and dedicated to getting the job done. Ranveer is the most energetic human you will meet but is also a very kind and humble person.. very inspiring to be around. Big shout out to Zoya and her entire crew, they really brought this story to life.

You have collaborated with leading musicians in your space over the last couple years. Which has been your best experience so far and why?

Performing with Monica Dogra at the Mumbai Opera House for International Woman’s Day was an awesome experience, but the two collaborations I’m super excited about have to release, one being a track with Raftaar called Me & My Pen, the second being with the entire Gully Gang camp for a cypher, both dropping very soon.

For a person who has never heard you before, how would you describe your music?

Full of emotion and energy. Hard hitting Hip-Hop drums laced with grand global sounds from my worldwide upbringing.

How do you think hip hop scene in India has evolved over the years?

ARTIST OF THE MONTH

SHAH RULE

Artists have taken it more seriously and the fans have taken a serious liking to the music. As the independent music scene has also grown and venues/ festivals/platforms have given more support to the genre, it’s allowed artists to reach global stardom plus inspire future artists from all over the country.

What challenges did you face when you started?

Can’t really pin point when I started because I had different stints in Russia, UK and now most recently in India. But everything an artist goes through, from knocking on doors of labels/venues/promote, countless free shows, teaching myself to produce, shoot/edit videos, design artwork etc.. and then there the creative side of finding your side, figuring what you want to say and the 10+ years of lyrical/ songwriting development. The challenges still come at you at all shapes and sizes but it’s part of the grind!

Tell us about your upcoming projects Two solo singles with Zee Music Company & AK Projekts, one big collaboration with Raftaar called Me & My Pen, and a lot music with Divine & Gully Gang. Exciting times!

Your favorite performance till date and why?

Red Bull Tour Bus Show with Divine & Raftaar last November in Mumbai. Performed the Gucci Gang / Gully Gang Remix with Divine during his set and joined Raftaar for my track Lakhs during his set.. epic show!

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Falu Shah

Quirks & Queries

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You were one of the two nominees from India at the 61st Grammy’s this year. How was the experience and how did you feel?

The experience was truly humbling and I was deeply honored to be nominated. I was representing every Indian globally and I was committed to representing India in its highest form. It was a proud moment for me as I was born and raised in India and felt closer to my motherland more than ever before.

It was very special to have this opportunity to be a voice for upwards of 1.3 billion people.

Tell more us about your album Falu’s Bazaar.. What were your best moments from making of the album?

Falu's Bazaar is a family album made for both kids and parents to enjoy together. It draws from Indian and American cultures and educates children about South Asian food, experiences, and music while having fun. When my 4 year old son Nishaad came home from his preschool with questions like, “why is our food yellow?” or “why do we speak a different language at home?”, I started answering his question by writing these songs. Instead of having a block around his identity, I wanted the album to help him realize he should feel proud of his culture and be happy to speak two languages. The moment my son's curosity at school turned into pride, I realized what a gift making this album was for me as a mother and an artist.

What are some important attributes or criteria one must keep in mind while applying to the Grammys?

Be honest in your submission and make sure you submit your music in the right category, as there are dozens of them. Your music needs to be submitted in the category that it truly belongs to.

What were some of the challenges you faced when you first started out as a musician?

When I first started I had deep culture shock. I wanted to learn the American way of doing business and music while drawing from my Indian traditions, which was truly challenging. Finding a balance while doing this was tricky because music is so subjective.

I had to work odd jobs to monetarily make ends meet.

I was committed to making a name for myself in the American music industry, which I found to be challenging as a minority, first-generation immigrant and brown woman. I had to get in front of the right people at the right time doing the right projects. It all took a lot of hard work and tremendous patience.

You trained under the legendary Ustad Sultan Khan. What were your biggest learnings from him?

Khan saheb taught me patience and perseverance.

He showed me that if I fully believed in something and completely surrendered to that task, I can achieve it - be it riyaz and or passion for making Indian music a household name.

What does Falu’s practice routine look like?

When I was a teenager, I practiced 16 hours of riyaz everyday. Now that I have all these responsibilities of being a professional artist, wife, and mother, I have to divide my time very thoughtfully and strategically. Balancing three hats is difficult for every working woman but I always find time to practice everyday. Even if it is only for an hour. I learned from my teachers, "riyaz ke bina sona nahi".

How was the experience performing at the White House for Michelle Obama? Were you excited?

Michelle Obama and Barack Obama are two of the most genuine, real, and generous people I know. They welcomed us to their home with such love and respect for three days. I truly loved making music with the National Symphony Orchestra and of course the legendary A. R Rahman with whom I sang at the White House.

How do you constantly improve your art form and ensure you’re abreast with the latest happenings in the industry?

Social media is a big tool to keep myself informed with any news happening in the music world. I also use it to network with industry folks on a regular basis. With regards to my art, I have to keep pushing boundaries around what I'm doing and how far I can take my music.

That involves a lot of soul searching and I make sure I take certain days off just to think about all of that.

If there was one song you could pick from the album Falu’s Bazaar, which you think defines the story you had created in its purest sense, what would it be?

"Rainbow" - It's a song in a seven-beat cycle and it is in two languages - English and Hindi. It teaches kids in fun ways about some of the beautiful things that we have on planet earth that revolve around the number 7 (Seven continents, days, colors, oceans, musical notes)

Your message to aspiring artists in your space Dream big never give up

RAPID FIRE

Best performance till date At the White House Dream venue to perform in Stern Auditorium @ Carnegie Hall Artists you’d love to collaborate with - Akon, Madonna, U2, Bradley Cooper, Lady Gaga, Ariana Grande Upcoming projects - 3 new albums If you could fuse two genres of music, what would you pick to create?

- Hip Hop with Indian Classical

INDIE REVIEWS

SHREYA BOSE

MAIN KAUN HOON (KETAN MOHITE):

The most oft repeated artistic themes are the ones that sink their teeth in the deepest.

How often have you heard, in song or poem, “Who am I?” In a world in which salaries keep getting fatter, and our time keeps getting parcelled out in exchange, the question goes from a whisper in our sleep to an unceasing drone invading every waking hour.

You’d think that after all this time, Ketan Mohite wouldn’t have to ask this question.

But he does, and in sufficiently pleasant fashion. There isn’t anything particularly remarkable, but you agree with everything being crooned. The video utilises familiar tropes of about-to-die-but-not-yet romance, freedom from corporate drudgery and abandoning oneself to a life of altruism to drive home an idea that everyone is aware of and does not pay attention to.

The song is an adequate debut, and one can hope that Mohite will continue to keep at representing undismissable truths, but perhaps with more to keep them memorable.

GOTTA SAY THE NEWS (PURPLE PENCHANT):

A man wearing a cringe-and-terror inducing baby mask sprints around India, blinding people and turning them into white-eyed zombies, by virtue of his pointedly phallic pichkari.

This effective dystopia is built in less than 5 minutes by Avik Roy under the nom de plume Purple Penchant. He bares fangs at the Indian mainstream media, at it's worship of the eye-ball grabbing headlines, and it's lack of concern for the suffering of the disenfranchised.

The lyrical content reads more like slam poetry, and takes precedence over the

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musical arrangement. It satirises the state of Indian journalism, which is represented as little more than a sardonic chuckle. The impossibility of pursuing the once revered purpose of journalism with any honesty is touted, with non-negotiable emphasis being placed on counting coins instead of representing human life.

Purple Penchant definitely portrays the potential to become a strident voice of dissent, which is always a welcome addition to the artistic repertoire of any democracy. There is much to untangle in his rhetoric, and one can only hope to hear more often from this incipient firebrand.

TALASH (SPUNK):

THE FANCULOS ALBUM

(THE FANCULOS):

Talash (SPUNK): A band that has been around since 2011, adding flourish to Bollywood covers has finally decided to release original material.

There is cause to rejoice.

Mumbai-based Spunk has etched out a quintessential rock rampage - robust, strapping and very much an adrenaline assault to the drug-dead heart (Pulp Fiction references are never redundant). It expounds upon existential struggle, a search for peace that seems to be talked about with exhausting frequency, but followed through almost never.

The intimidating rasp of Pakistani rock colossus Junaid Khan (of the rock band Call) is the incontestable highlight. Coupled with the electric surge of guitarist Soumik Roy (also of Yonsample), it pins your attention and knocks out your next few breaths. Drummer Abhinandan Mukherjee (also of Gingerfeet) beats out a matrix of exhilaration for the song to built its thrill upon.

Talash achieves a subcontinental collaboration - Indian band (Spunk) + Pakistani rock-rager (Junaid Khan) + Bangladeshi production (Glitch Studios) + the stunning landscapes of Nepal (where shooting occurred). Turns out, in this case, too many cooks sweetened the broth.

The track encourages you, by implication, to tend to the health of your soul. Venture into the painful journey of seeking/building your own peace. Befriend your uncertainty, and snigger at the possibility that you might not find what you are looking for. Look for it, nonetheless.

The Fanculos Album (The Fanculos): To call their sound “niche” is to limit oneself with a bynow-banal word. Perhaps it would be less generic to say that The Fanculos sound like they read P.G. Wodehouse and listen to Benny Goodman.

As with their debut EP, this fiveheaded swing monster bares its claws in the form of ska-reggaesarcasm heavy sonic narrative that asks uncomfortable questions and reveals the sadness of the world while being breathlessly upbeat.

They dangle buoyant compositions that highlight the bleakness inherent in human reality.

Case in point: I Don’t Wanna Leave The Playground. The gentle, often overlooked racism of everyday existence is immortalized in an adrenaline-ridden ditty, drawn from vocalist Ramon Ibrahim’s childhood. A Seriously Good Skankin’ is, in musical form, a hilarious headshake at the Indian economy - forever shining and forever in peril. Can I Ask Your A Rhetorical Question? picks at the plight of “relationships” stuck in emotional limbo, thanks to the modern-day embargo on emotional investment ( “You’re so needy/ You’re gonna fuck it up”).

Ramon Ibrahim sounds, as he tends to, like a wise ringmaster

leading his audience to the riotous absurdity of an unceasing circus.

The only problem is that the circus is simply the ringmarole of fallacy, flaw and self-interest that all sad-eyed humans are known for. But his utterly inimitable word-wielding would be for nought without the intensely elegant-yetsomehow-still-raucous soundmap it fits into.

Despite the apparent frenzy of the album’s composite ethos, the guitar licks are patient, and Ryan Sadri’s saxophone is a veritable siren song, luring listeners to enchantment and the eventual devastation (if you listen to it long enough) of figuring out that they might be living in a broken reality.

The Fanculos have become marked for their behemoth energy.

Metaphorically and literally, they flip their hair in wild abandon, whether they are performing to a crowd of 2000 or 2. The album conducts the exact same energy, stomping, snorting, ululating all with a sheen of captivating sophistication. It’s really good music, made good by virtue of the artists’ dexterity, whimsy and their sense of what matters.

WHIPLASH MOTIF (DEMIGOD):

Whiplash Motif (Demigod): Emerging out of the shimmering folds of Jaipur, Demigod offer a rage-stomper that you can really bite into. While I am not sure what “Life is feeling for” means, the lyrical component is entirely adequate and can deserve no derision.

Musically, the track is straightforward, enlisting the excess and breakdown that the genre identified itself with. Angst and self-introspection is magnified, by virtue of blown-up choral patterns, and you have enough to hook attention and go from approving nod to yowling headbang.

KARISHMA D'MELLO

Lyrical analysis THE EXPLOITATIVE WORKS OF POPULAR MUSIC

What defines the top 40s? Is it incomparable musical genius? Or incomparable musical marketing? Well, my guess tends towards the latter. Marketing within the music industry used to have a certain subtlety to it; it existed for sure, but never quite as explicitly as it does today. While it is prevalent within most genres of music, to varying extents, popular music seems to have taken it to a whole new level altogether!

Pop has grown to become even more exclusive in its focus on themes within its lyrical content. You’ve got the relatable, the we-are-cool-we-like-parties, the I-am-so-rich-look-atme and the utterly braindead (Shawty is an Eenie Meenie Minie mo lover). Of course, sometimes you also have the exceptionally rare and arguably non-existent heartfelt narrative of human experience.

While not a lot of people pay much attention to lyrics of a song, this is changing.

And this brings us to the highlight focus of this article - the exploitation of human insecurity.

Now in general, lyrics have largely seemed to alternate between being extremely relatable or absurdly unrelatable, ie. the i am so rich,

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variety. From the former you have some truly baffling hits of recent times, like the oddly specific “Little Things” by the former boyband One Direction. This is perhaps, one of the most obvious examples of exploiting teenage insecurity that I have ever seen, and incidentally what inspired me to write about it.

In my attempt to paraphrase these lyrics - you are really insecure a lot of things, but I love your greasy hair, your oddly shaped nose, that weird spot on your chin and your misshapen thighs, ANYWAY. The new age epitome of romance. Of course, I’ve exaggerated just a tiny bit, but in a nutshell - that’s how the song goes.

Now most songs are usually not as in your face as this one. On the other end of the spectrum you have songs that pride themselves on being painfully vague. “You’re beautiful. I have never seen you and you may be a mass murderer for all I know, but you are beautiful from within, don’t let the cops tell you otherwise”. Yes, I paraphrased again, but you get the gist. Now, if someone can genuinely draw confidence or develop a healthy self-esteem from hearing something like this - that’s great! Good for you.

However, I genuinely question if its lack of authenticity and the sheer vagueness is going to speak to anyone!

You’ve probably heard it all before, but allow me to reiterate.

People used to look for artists to bare their soul to them and that’s what made songs stand out. It was the combination of heartfelt, poetic verses with music that made you feel things the words couldn’t. It allowed you to escape into the uniqueness of individual perception. You could relate to the sheer authenticity of it all; it felt like a personal experience.

Now you’ve got algorithms designed to put together popular “beats” and not so subliminal verses in a feeble attempt to trick your brain into liking a song.

Lyrics are mere fillers if anything, set to a catchy tune that should last you a few hundred listens or until the next single comes out - whatever comes sooner.

And that folks, is the essence of content marketing, or in this case - lyrical content marketing. That is exactly what pop and hip hop have become. Every element of every song that has worked for a particular audience is recycled over and over again till everything sounds incredibly similar, but not the same, leaving you with the vague sense of familiarity and in some unfortunate cases, the most annoying earworms.

ADITI SARAWAGI

GHAZAL IN THE 21ST CENTURY

Rains pouring, hot tea piping-and all you need is a soulful ballad playing in the background. The romantic in you plays a poignant tune by the Ghazal maestro Jagjit Singh. The wafting notes make you think about the future of ghazals. When you think of ghazals the names which pop in mind are Jagjit Singh, Pankaj Udhas, Ghulam Ali, Talat Aziz, Mehdi Hasan, Begum Akhtar and Chitra Singh. All these names are familiar to the 80’s and 90’s generation, but what about the current generation? Over viral videos and live streaming, this generation is spoilt for choice, but yet ghazal is an evergreen genre and one will find new age singers dabbling in the genre.

Today, new-age musicians are not only singing ghazals, but reinventing the genre with their own new touch. Rashmi Agarwal, trained by Shanti Hiranand who herself was a pupil of Begum Akhtar herself, transforms the ethereal words of a ghazal by merging it with jazz melodies. Agarwal thrives on experimentation and is working on bringing together the improvisation techniques of jazz and ghazals, aiming to create music no one has ever heard before. Her band is known as the Z Factor and she wants to reach out to as many listeners as possible.

Tauseef Akhtar, another young ghazal maverick has created a completely new genre known as ‘ghazalaw’ which basically mixes ghazals with celtic folk music. He has also released an album ‘Ishq Karo’ wherein he has experimented with ghazals, basing his music on western harmony, performing across Britain and India.

Rekha Bharadwaj is another singer who has grown up singing and learning the genre of ghazals. Though she is known for her Bollywood playback, her love for ghazals and her support to Khazana is widely known.

Shruti Pathak, who has sung a number of Bollywood numbers is also seen actively performing ghazals with her band. She even had her own YouTube show ‘Guzzler’s Café’ where she attempted to popularize ghazals amongst the younger generation.

She wanted to present ghazals with a twist and played new age renditions of ghazals. When talking about new age ghazal singers, one has to mention the ghazal singing duo of Raaza Razaq and Imthiyas Beegum, who have been engrossed in this genre since childhood and grew up to become ghazal singers. They came together to form the band Raaza and Beegom in UAE which is now in Kerala. The couple currently performs around the country and abroad.

A milestone event in the ghazal arena today is Khazana, organized by none other than Pankaj Udhas which celebrates classical music and is one of the biggest events in the music scene in India. Khazana always puts the spotlight on young talent and the maestro has taken it upon himself to preserve the rich culture of ghazals. The event is supported by the likes of Anup Jalota, Javed Ali, Rekha Bharadwaj and Pandit Ajay Pohankar amongst others. It has in the past highlighted up upcoming ghazal singers like Aishani Banerjee, Rashi Harmalkar and Varenyam Pandya.

All these young ghazal artists want to promote ghazals but they all stress on one thing. Ghazals are in essence poetry, and poetry can be performed in any way as long as it respects the genre and the words. These young artists are confident of promoting ghazals by not diluting its essence. At a time when ghazal is witnessing a somewhat diminished patronage, these artistes are trying their best to keep the magic of this genre alive and making it more appealing to today’s generation.

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AMOGH RAO

Building Vocabulary

on the Drum Kit The age old Yin Yang in drums is that of groove versus chops. Here I’m addressing the latter, since it’s what most drummers obsess over when starting out. It’s not about blazing fast movements, or about making as many cymbal crashes as possible. In order to develop the tools for self-expression through improvisation, here are a couple of methods for beginner and intermediate drummers to really build vocabulary, creativity and depth as musicians.

Eliminating parts of the kit –

I remember being obsessed with the idea of having plenty of toms and cymbals like Terry Bozio and creating a massive orchestral show while playing. This perspective got flipped on its head when I had the opportunity to play Ranjit Barot’s massive studio drumkit, since I was so swamped by choices and possibilities that I had no idea what to hit and when. I would recommend trying to do practice routines with just a kick snare hat setup, and then eliminating or changing your elements so drastically that you’re forced to think unconventionally. I know people who put the snare drum where the high tom is, use the floor tom as a stand-in for the hi-hat, and replace all their cymbals with stacks. In order to think colourfully, it’s sometimes necessary to redefine your palette.

Applying Restrictions –

By far the most popular method of building vocabulary and improvisation skill, musicians sometimes really underestimate how powerful a tool this technique can be. I like to define this method under 5 broad categories; Subdivision, Rudiment, Orchestration, Dynamics and Time Signatures.

As the names suggests, applying these restrictions during an improvisation or trade-off

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session makes for a very interesting push outside your comfort zone since you’re handicapped and can’t use your familiar arsenal of chops and rudiments.

Restricting yourself to soloing only in eight-note triplets, applying only the six stroke roll and its inversions in fills, changing the orchestration of a single rudiment every bar, modulating the volume of each of your limbs, or playing in different time signature break-ups, this mindset makes for some of the best moments of creative epiphanies.

Paraphrasing Gavin Harrison, if you’re asked to write an essay on any topic in the world, you’re probably going to be stumped by the possibilities.

Repeating Phrases –

This one’s stolen directly from one of Benny Greb’s drum camps that my friend had the privilege of attending. His method states that for 10 minutes, you improvise and solo using all your known and comfortable chops and skills. Then you try to do the same thing, except with the catch that you need to repeat every phrase you play, twice. This might not seem like an issue on the surface, but when you dig into your solo you realise how hard this can really be. What tends to happen when we get into a flow, is that our hands and muscle memory command what we express. We aren’t aware of what we’re saying through the instrument, but rather just rambling through our hands and feet.

By forcing yourself to repeat every phrase you play, you’re cornered into paying extreme attention to every detailed note, subdivision and breakup that you would otherwise overlook and blaze through.

You are required to compose music, rather than play chops. Most importantly, you’re given the opportunity to pace yourself and actually question the necessity and motivation behind playing what you’re playing, drastically evolving your improvisation into more mature and meaningful expression.

NAVYA C

The magical

Madhyamam In the world of music, it is usually said that the tonic (shadjam), perfect fifth (panchamam) and upper octave (upper shadjam) carry the utmost importance. Even during the travel of notes for an Indian aalap, they carry great importance. These are the notes which are unfaltering, and do not change their frequency irrespective of the change in scales. However, there is one magical note madhyamam which actually defines the structure of a particular scale in Indian music.

Madhyamam typically also means the middle of a complete scale. It can also mean the medium which is used to convey an emotion- let it be ecstasy, sadness, melancholy or aggression. Some ragas like Begada are heavily dependent on madhyamam and it is even called “Begada Madhyamam” for the exclusive treatment it gets. But here, we are talking about those ragas which are based on the teevra ma- that is the prati madhyamam as called in Carnatic music.

The presence of this teevra ma actually brings up lot of exciting possibilities and hues to an expression. Even the Hindustani musicians are extremely fond of this particular madhyamam and ragas such as Puriya Dhanasri which was amazingly explored in all quarters.

Raagas with Prati Madhyamam are also greatly used in compositions which are deeply philosophical, magical and also stir an interesting wave of thought to the listener.

One of the greatest examples of such compositions are Gnanamosagaraada in Raaga Purvi Kalyani composed by Saint Thyagaraja.

The beauty of one note in the entire scale is indeed mesmerizing and gripping to showcase a particular emotion.

As per the Carnatic music system, there are 72 full scale ragas which are typically called Melakartha ragas. Out of these, the first half of the ragas (till no. 36) are based on shuddha madhyamam (the ma with lesser frequency). Ragas like Shankarabharanam, Mayamalagowla, Hanumathodi, Gowri Manohari fall in this category. However, the second half comprises of the same notes as the first half except with the change in madhyamam. Isn’t it incredible to see just one note changing the entire structure and feel of a raaga?

Take the example of Nata Bhairavi. This raga is usually quite sober and has lot of melancholic hues with the presence of shuddha madhyamam. But when it’s parallel Shamukhapriya is rendered, the entire atmosphere goes to a dynamic mode.

The halt at the beautiful prati madhyamam makes all the needed difference. In the same way, an entirely happy scaled raga like Shankarabharanam becomes extremely devoted Kalyani just with the presence of prati madhyamam.

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As winter in Delhi reluctantly gave way to spring, the music scene in the city, lying dormant for a few weeks now, too started blooming with a number of fresh gigs. The weekend was chock-a-block with some exquisite acts and we couldn’t have attended all of them even if we wished too and thus, decided to settle for the one that garnered more excitement and thrill than others. We’re of course talking about Bira 91’s April Fools’ Fest.

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The festival was in its second edition this year and the memories from its last episode were still lingering fresh in our minds. They resemblance grew more vehement as we made our way inside NSIC Grounds, Okhla. The lineup for the festival, which included more than 20 artists, indicated that the party was going to be bigger and better this time and all doubts, if there were any, steered away from our minds as our eyes started scanning the venue. Everything, from the stage to the space, seemed amped up than the preceding edition of the festival. The comedy stage had been converted (and pushed back) into the bigger, comfier Room 91, vacating its space for a number of food stalls. Bars were proliferating across all corners of the venue, pillars

embellished with striking visual art, and even some hammocks suspended in a corner for people to hang in while sipping their beer.

We started leaning in towards the stage, but not before getting hold of a Bira from the bar. On the stage, Delhi based femme DJ-collected were spinning their uber progressive tracks to small set of audience dancing superseded to the stage.

The performance was in its last stage by the time we started catching up with the tempo, but the following act -DJ Mo Citykept us engaged enough to intermittently bob our heads and groove along.

Next up on stage was rapper, visual artist, and Delhi-native Sumit Roy performing along with his band, Rolls Roy’s. Roy’s brief set of rap songs, played alongside meditative guitar riffs and soothing percussions, did have brief, coruscant flashes of brilliance, but failed to impress neither the audience nor the nature as it had started drizzling a little by the time his performance ended. For a moment it seemed like the clouds hovering above the Delhi sky were well prepared to mire the party in muddy waters (quite literally) but decided against it to watch Raja Kumari spill her magic on stage. Armed with her raw appeal, overwhelming stage presence, and vivid visuals, the Indian-American rapper enchanted the crowds with a mix bag of songs from her old and new EPs. The day’s most awaited performance - The One Eight Project

by Prabhdeep - was by all means also the most striking act of the day. The rapper is one of the rare find from Delhi’s rap scene who continues to grow with each performance and his set at April Fools’ Fest, barraged with diverse rhythms and soulful solos from each member, remains a testament to this fact. Conceptualised into three stages - struggle, industry, and success - the act traced the rapper’s journey of defiant hustle and grind through songs from his debut album - Class Sikh. It would have been quite fitting had Prabhdeep brought an end to the day’s performances as the closing act for the day - DJ Sa with Shah Rule and Full Power - wasn’t just cut short due to time constraints, but also lacked the impact and bewitchment that the former had showcased. Yet, the crowd kept soaring and jumping to the gamut of uptempo pop and hip-hop hits played by the DJ and we left to refill our glass of beer in a hope to return for more the next day.

Day 2 at the fest, that began with an electronic set by New Delhi based DJ-Producer Nash Jr, was filled with hits and a few misses. After regretfully missing the opening act of the day, we kept our eyes and ears fixed on the next performer, DJ Ishani, who soared our spirits with her succinct set of old school hip-hop mixes. DJ Ishani was followed on the main stage by another female DJ - Monica Dogra - who at one point in her performance missed a step while dancing on the stage and almost tipped over her equipment. Her performance too, was an extension of this incident, as it had great potential to enthrall the crowd but kept missing the mark during crucial moments. So, it was only fair that we went over to the Room 91 to check on comedian Kunal Kamra and see if

he had anything new in his pandora’s box of political jokes.

Sadly, the performance was running significantly late and we sauntered back to the main stage, only to see a sea of seething music fans dancing to DJ-Producer duo Madstar Base’s blend of bollywood-dub-cum-funk mixes. Their performance, accompanied by some imaginative lyrics, was one of the festival’s biggest revelation and accomplished everything that Monica Dogra’s set inspiringly missed. The duo did get some help from MC Soopy and DJ Mo City in pumping up the audience but the credit for getting them dancing in unfiltered jubilance goes entirely to them.

The last end of performances at April Fools’ Fest began with a powerful hip-hop act by local rap-duo Seedhe Maut accompanied by producer Sez On The Beat. The rappers, performing in front of their home crowd after a considerable amount of time, made an instant connect with the audience by the virtue of their raw appeal and verbose rhymes.

Performing songs from their debut album, Bayaan, the duo’s act displayed momentary flashes of everything from provocative, conscious bars to head-bobbing trap hits. The headline act at Bira 91 April Fools’ Fest - Naezy - surprised the audience as soon he entered the stage by bringing out fellow Mumbaikar and rapper Mc Altaf along with him. What followed was another 40 minutes of unadulterated (if not virtuosic) hip-hop music with one ‘hard’ song after another.

The performance did get cut short due to time constraints (10 PM being the closing time), but we and many others left with no regrets and bunch of wonderful memories to reflect on until the next year.

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SOUVIK CHAKRABORT Y You come across as a multi-faceted talent, how would you introduce yourself, an entrepreneur or just an avid music lover?

Thank you! I would introduce myself as an entrepreneur who loves all forms of music. I would’ve introduced myself as a musician before I started IndianRaga, but given that the talent we now handpick, I’d like to leave that bit out  You have sort of proved, that classical can go viral too!

How did you come up with this radical idea?

Being the only kid in my class learning classical, I always wondered why something as beautiful as this does not have a broader reach.

The Indian Raga has been one of the most successful Youtube channel in the genre of Indian classical music. Let's find out how Mr. Sriram Emani, its creator, made classical go viral.

When I joined the National Center for the Performing Arts (NCPA) as its first-ever Marketing and Business Development Manager, I began exploring how our concerts could be curated to suit the broader trends of people. I went to MIT after that and interned with the President of Lincoln Center in New York, and then the head of Global Digital Business at Sony Music to consolidate these thoughts. The first-ever plan for IndianRaga was written by me as a final report for a class on Digital Innovations at the MIT Media Lab. The rest, as they say, is history!

Whom do you credit for your success?

My parents were unbelievably supportive in allowing me time to figure out what the model would be. My mom has performed in our videos, my father has been currently working full time with IndianRaga. And, my sister’s enthusiasm keeps us all up and going, so yes I credit the three of them entirely for our success.

What has been the driving force for you in the journey of maintaining a consistent content and subscriber base over the years?

Our Fellows take the lead in building a following for the content.

Passionate artists like Vinod Krishnan, Mahesh Raghvan, Shraddha Mohan, Akash Gururaja, Sushmitha Ravikumar, Vivek Ramanan, Kartik Raman, and thousands of core audiences just love what we do. Besides, we had great success with our City Chapters in London, Singapore and San Jose which helped in growing subscribers in key global cities.

How do you come up with the idea of coming up with a track?

This is an eclectic mix of personal tastes, data-driven insights, and an obsession with insanity. Once when we wrapped up a Raga Lab in Mumbai, our teenage dancers celebrated with a pop song.

I was intrigued by the beat, so I suggested to Vivek and Mahesh that we do a Raga Cover of it. Both of them thought I had gone insane, but eventually, they obliged, and thus emerged Swalla Jathi Mix. Today its our third most popular track and has about 2500 dance covers on social media!

What is the process, how do you make these collaborations work?

The process really starts when artists apply to join a Raga Lab or the IndianRaga Fellowship. We accept applications throughout the year, or during Fellowship cycles. After the screening, we connect artists with each other remotely. A guided brainstorming of the artists is followed by a draft. Our panel provides feedback on it, and they refine it. Finally, we meet and produce it.

Is there a sort of responsibility that is attached to the kind of musicians you deal with? How do you model the development of these independent artists?

There is a lot of responsibility on us. We wish to see an appreciation for the hard work, and respect for heritage.

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We constantly strive to ensure that the artists' technique and presentation is always tasteful and refined.

In the last two years alone our performers have opened for Arijit Singh at the Gaana Music Festival, the Prime Minister at the World Government Summit in Dubai. Besides performing at TEDx, Lincoln Center, IndianRaga London Festival, Jacob’s Pillow and other iconic platforms.

The music industry is extremely competitive, India, so had it been difficult for you to find a larger Indian audience?

It definitely is challenging. We are constantly working with the YouTube, Facebook and Instagram teams to see how we could develop best practices for our niche. However, the repeat viewership for our channels are high, this is helping us to build a strong core following. We are also launching our music on platforms like Spotify, Apple Music, Saavn, Amazon Music, besides we’ve also launched our own series of merchandise.

As a content creator how motivated are you with the analytics, graphs, and figures from your channel?

We obsess with data all the time. With the explosion of affordable data in India recently the majority of subscribers have shifted from the United States, UK, and Singapore to India. A large majority of our subscribers and viewers are in the 12 to 30 age group.

One of my biggest goals was to take classical music to younger audiences, and I’m delighted that we are being able to do so.

After the digital revolution, there are many independent artists on the internet. Most of these talents believe in doing cover music tracks. Indian raga had also come up with covers in the past. So how do you see this trend?

At IndianRaga we do raga covers to showcase how versatile an Indian classical musician can be. The Carnatic Mix of Shape Of You today drives new audiences to our channel despite being 2 years old. So, it’s a great way to get new audiences to our channel.

What are the kind of problems you have faced in setting up a brand in the mix of the tons of classical indo-folk, fusions etcetera already available on YouTube?

The biggest challenge has been the prevalence of strong stereotypes about classical music. We had a few people discouraging us on the Shape Of You Carnatic Mix. Though, we are grateful that we had other audience responding and convincing them on why this was a great way of introducing classical arts to new audiences.

What kind of music and musicians keep you light?

I listen to music right from viral pop hits to folk music from East Europe, to opera. I’m especially intrigued by how pop music makes one want to listen on loop.

Also, to be honest, running a start-up across multiple countries, don’t leave me with a whole bunch of free time, so inspiration comes to me both from my ‘work’ as well as what I hear outside of it.

How are you planning to take-off from here in the future?

2019 is going to be a crucial year for us. We are planning to expand our Fellowship in many more cities. We are also exploring City Chapter launches in many new countries. Besides doing many live concerts this year like the 4000-seater concert in Muscat this December. The launch of IndianRaga brand partnerships will see us collaborating furthermore. So stay tuned!

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GAJENDRA PURI GOSWAMI

A Brief Catalogue Of

OBTRUSIVE OBTRUSIVE PLAGIARISM PLAGIARISM In Bollywood Music

What’s the first word that comes to your mind when we think about Bollywood music? We bet it’s not originality. Music directors and composers in the hindi film industry are infamous for ripping off riffs from musicians around the world in the name of artistic inspiration. The irony is that the same artists while judging a singing reality or talent hunt show insist participants to focus on originality. Yet, when it comes to their own work they don’t even make an effort to mask their plagiarism. So, in order to celebrate, shame, and laugh at this typical phenomena in bollywood music, we decided to dig up our catalogue of hindi movie songs that are indiscreet and blatant rip offs of some famous international hits. Here they go.

1. Kaho Na Kaho, Murder (2002)

2. Didi, Airlift (2016)

3. Ya Ali, Gangster (2006)

4. Sachi Hai Ye Kahani, Kabhi Haa Kabhi Naa (1994)

Egyptian superstar Amr Diab is one of Bollywood’s most neglected crusaders. It is not even funny when you notice how many of his songs have been rehashed by bollywood composers. Kaho Na Kaho from Emraan Hashmi starrer Murder (2002), copied from Amr Diab’s Tamally Maak, is the paramount example of such plagiarism. The song was first copied by Pakistani singer Amir Jamal for his 2003 album of the same name and then rehashed

by Anu Malik for the soundtrack of Murder.

Three years after Kuwait based Guitara band released their track - Ya Ghali - Pritam failed the plagiarism checker by lifting off the song’s tune for his 2006 release - Ya Ali. The band publicly called out Pritam for ‘ripping-off’ their song and even threatened to follow suit against the composer. Pritam, in return, denied the allegations stating that his version of the song was inspired by an old muslim folk song. Yet, if you listen to both the songs, the similarities are quite uncanny.

The rai music classic, Dedi, by Algeria’s Cheb Khaled has been a Bollywood favourite for a long time, with a new version reappearing every decade or so, yet none have been as famous as Arijit Singh’s Didi in Akshay Kumar starrer 2016 hostage drama - Airlift. The song is a thrilling blend of bollywood and arabic tunes and became an instant hit on the the domestic radio stations as soon as it was released.

It is understandable when composers copy some obscure track made in Korea or Japan and present it as an original, but things become a little more conspicuous when they replicate a track that is incredibly famous all across the world. Jatin-Lalit’s 1994 track, Sachi Hai Ye kahani, was one such example, where the prelude was copied from Boney M’s 1978 disco hit Rasputin - while the rest of the song was picked up from Johnny Wakelin ‘In Zaire’.

5. Raja Ko Rani Se Pyar Ho Gaya, Akele Hum Akele Tum (1995) Bollywood will steal from anything; literally anything. So, it shouldn’t surprise you that they even copied the soundtrack theme of arguably the best movie ever made in the history of cinema - Godfather. We don’t know what Anu Mallik was thinking while ripping off this one, but guess what? It did actually work out.

The song became a famous hit and worked wonders for the movie too.

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MEGHAN KHARSYNRAP

A Place Where Singing and Language meets.

In most languages around the world, vowels and consonants combine together to form meaning, but some languages also requires a person to sing the words for these meanings to form. In fact, the words of these languages are so dependent on the way we sing the alphabet/syllable, that the entire meaning could change if we sang it in a higher or lower pitch. These languages are called tonal languages as they are dependent on tone.

Now, most languages are not monotone, that would be robotic! Even in English when we’re excited or sad we might shift to higher or lower registers. We might sound squeaky when we’re nervous, and dull or lower toned when we’re bored. However, in English, words will be understood regardless of its pitch. If we say “I’m really sad”, regardless of which register we sing it in, high or low, it will always be understood.

To make it easier to understand, try to imagine a world where English is a tonal language. In this situation if you sang a word like small in a low pitch it could mean “something tiny”, but if you sang small in a higher pitch the meaning could change and it could mean “type of species of fungi.”

Tonal languages can get more complicated. While the Athabaskan language of Navajo has only 2 tones high and low, others can have more dynamic ones. These two toned ones are called register tone, because they’re based on the high or low register. The other type is called contour tone. Here, the syllables are dependent on the shape of the sound rather than just the register. The sound could be rising up the or falling down the scale or register. It could be jumping up and down registers, for example: singing a note up and down an octave or interval several times. It could be on the high register or low; it could have a medium register and go up the scale from there and so much more.

Cantonese and Mandarin are contour tones and have 6 and 4 tones respectively. The Hmong language spoken in China, Vietnam, Laos and Thailand has about seven to eight tones.

This could mean one syllable like “ha” could have 7 to 8 different meanings depending on the way it is sung.

A fun example I found on the internet of the Hmong language would be p-a-w. These are some of the ways you can say paw: If In a matter of fact way like a statement, it means “female”;

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f you say it like a question, it means “to throw”; If you say the word in a high and impatient tone, it could mean “ball”; If you say it down low, it could mean “thorn”; Say it in a medium tone between ball and thorn and it means “pancreas.”

A study found that Cantonese speakers with no musical training could process pitch just like a trained musician. The study compared Cantonese speakers with English speakers and trained Musicians on auditory, musical and cognitive tests. It was proven that Cantonese speakers auditory system was so far developed, that it allowed them to detect changes in pitch very quickly just like that of a classically trained musician.The study also revealed that If you are a Cantonese speaker or learning the language you would be able to learn an instrument quicker. This is because your brain has already built up auditory perceptual advantages through speaking your native tonal language.

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MUSKAN GOSWAMI

Ways Science Says Music is Good for You

Music is an integral part of our life and it has a very subtle of sweeping into our lives. Some or the other kind of music is always surrounding us. Various scientific studies have proven that music is good for you in many ways. Here’s how: 1. Boosts Creativity There are certain kinds of ambient sounds that can make the way you work or study a lot more efficient and creative.

According to a study, a moderate sound level promotes abstract processing and thus, leads to a higher level of creativity.

2. Reduces Pain Music has the ability to help in reducing pain. With the presence of various studies, it has been noted by science that music plays a good role in reducing pain. The reason behind it is still unclear but the effects are surely amazing!

3. Enhancing Generosity Listening to uplifting music can actually turn you into a more generous person! Isn’t it cool? A study has shown that people become more prone

helpful towards others, after listening to happy tunes.

4. Aids Memory A lot of people like listening to music while working or studying and researchers are promoting this habit. Studies have shown that music can help in remembering things better. In fact, a significantly recall accuracy can be generated with the help of music and who doesn’t want that!

5. Minimizes Stress and Anxiety Several researches have shown that listening to music, especially music with a slow tempo and low pitch which has no lyrics or loud instrumentation can generate a level of calmness in an individual. Science says, that even in highly stressful conditions, music can work its charm in bringing peace to mind.

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Tell us How did the

about the Train Song. idea come about?

Tapan Raj: Train Song came about in our studio a few years back when Karsh was traveling through Delhi.

We (Midival Punditz and Karsh) decided to write a couple of tracks that had strong folk influences from India juxtaposed with English lyrics. We think we were channeling our long time influences and World music legends Paul Simon and Peter Gabriel. Once we had laid down the composition and English parts which were beautifully sung by Karsh, we decided to send it to Raghu to come up with Kannada parts along with the already laid down English vocals. He wrote a beautiful melody, lyrics and recorded his parts and sent it across. We instantly loved what he had done and that he had got the brief of the song in the first go. After a few minor edits, the song was ready. We performed it at a bunch of festivals including NH7 and a few other shows and saw how well the crowd responded with singing the chorus parts and we knew we had a memorable song, but it was never released officially.

What’s your take on the electronic music scene in India?

Gaurav Raina: The scene is growing and its awesome to see that its inspiring a lot of new artists to produce original music.

Earlier the scene was looked upon as a big risk for an aspiring artist to get into. But now, a lot of artists look at it a genuine career and to see that change is amazing.

If you had to describe your music to someone who has never heard you guys, what would you say?

Tapan Raj: We make Indian electronic music.

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I N C O N V E R S A T I O N W I T H

GAURAV

RAINA

AND

TAPAN

RAJ

Tell us about your upcoming projects Gaurav Raina: Right now we are focused to put together our 5th studio album. We are looking at bringing together folks music from a few parts of India and treating it in an interesting fresh manner.

Tell us about your collaboration with Karsh Kale Tapan Raj: We have collaborated with Karsh on many occasions over the past 2 decades.

He has been our friend and co-conspirer on many musical adventures and is our record label mate from Six Degrees Records, San Francisco. Its great that we all have similar musical inspirations and spend many many evenings listening to artists that we love - Paul Simon and Peter Gabriel are two such artists.

We subconsciously were paying a tribute to them when we were writing Train Song.

We always knew that Karsh is a genius multi instrumentalist but what a lot of fans may not know that he is a great singer as well. Train Song is a great example where one gets to hear his singing prowess.

Best moments from making the song.

Gaurav Raina: The part where we got Raghu Dixit to collaborate and he got it immediately over a quick brief on the phone. He send back a beautiful melody and it fit immediately.

We of course didn’t understand the Kannada Lyrics and had to ask him to translate it.

STUDIO TOUR:

Mount Atlas Studio Tell us about the space The studio is primarily meant to be a Production/Mix/ Master setup with a live-sounding but small booth to do vocals and also instrument recordings. I also see it as a space available to musicians and producers to come and feel at home, work on their music, where there is a nice hybrid of top quality in the box and analog gear. It is not necessarily like a typical studio where its hired by the hour with an in-house engineer, but more like a self service space.

Take us through the process of setting it up The space belongs to the Playback singer Anuradha Sriram.

The acoustics are designed by me and executed by a lowcost acoustical solutions provider called Jugaad Factory.

The goal is to make the space that has a very homely/ chill vibe that feels accessible and not intimidating (as studios can get sometimes). There is a large control room with ample seating, a small booth for quick recordings and an entrance lounge with board games, foosball and an Xbox for gamers to take a break during sessions.

What are some of the Studio Essentials you would recommend?

Good acoustic treatment, good pair of monitors, a good audio interface, quality microphone and a powerful computer.

What Equipment do you use?

Studio monitors - Barefoot Footprints 01 and Neumann KH120a

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Audio Interface - Universal audio Apollo 16 + Apollo 8 + Apollo twin Control Surfaces - SSL Nucleus, Softube Console 1 Midi Gear - Native Instruments s61, Maschine 3, Launchpad pro, Roli Seaboard block, Hot hands, Launch control XL and several others.

Analog Outboard Gear - SSL Super analogue Preamps, Focusrite Clarett PreAmps , Neve 8816 summing mixer with 8804 Faderpack, SSL Fusion Microphones - Extensive mic collection with Everything ranging from Neumann TLM 103, Townsend Labs Sphere, Advanced Audio CM48 to Line audio small diaphragm condensers and fathead ribbons.

5 Pieces of Gear You can’t live without For me it's all about portability without loss in production quality.

Apollo Twin - Incredible Portable with top quality preamps and analog emulations for incredible sound on the go. I travel a lot so this makes a world of a difference to me ATH m50x headphones - My trusted pair of affordable, comfortable for long term use and incredible translation of mixes Macbook Pro 15 inch with 4 TB external Ssd that has all my VSTs Native Instruments Maschine Mk3 - for portable beatmaking and performance

Townsend Labs Sphere - My choice microphone - because In conjunction with my Twin - I can emulate with incredible accuracy any one of a 100 different microphones and get a wonderful variety of tonality recording on the go

Describe your work day I like to come in and listen to music for a half an hour at least before I get started on work. It helps me get the juices flowing and re-adjust my ears. This will be a combination of music that I know very well (so I know how it sounds everywhere) as well as compulsorily at least one track in any genre I have never ever heard before. Work wise, I like to get Mixing and Mastering done before my ears get too tired. As my ears start to fatigue, I take a break (maybe read a book - I have a vast collection of music / production related books) and then switch over to production/beat making or recording. I tend to find peace of mind to work either very late at night or early morning - so that's when I do most of my mixing. A set of my tablas are always left open for me to take regular breaks and just play. Breaks are very important as a mix engineer.

Philosophy or reasoning behind gear choices I'll make it very clear - For me - There is a charm and joy that comes with working with analog gear that ITB can never create. A part of that lies in the fact that often times great analog gear never functions the same way twice, something blows up, something adds crazy harmonics while malfunctioning, but that pushes you creatively to do things, and commit to ideas. In the box, you don’t commit often enough (there’s always going back and changing it ) and that influences the way you build your

music as well. Nowadays we strive too much for technical perfection and in that pursuit we sometimes let go of the organic quality of how sounds interact with each other musically. ITB technology has progressed incredibly and no doubt, you can recreate anything an analog device can do in the box today. But the essential word here is recreate. Your whole thought process and work flow is different in the analog realm and I love to experiment.

In terms of conveniences and the way I have to deal with clients and constant changes between multiple simultaneous projects, its a lot more efficient to do most of my work completely in the box. So, Universal Audio plugins are a life Saver for me in that workflow. They have emulated with incredible likeness several of my favourite pieces of gear.

In the box is also an asset for when im on the road to make quick changes to projects etc. Once im back in the studio though, I like to run my final mix/master through a little bit of outboard gear just for some overall color, saturation and harmonics. In this neat and clean digital world, sometimes even incredibly dense musical arrangements don’t sound full because all the harmonics have been filtered out with over-precise technical workflows. So its nice to come back to the analog at the end of it all and resupply that color.

So, I have the Neve summing mixer and the new SSL Fusion which are both essentially full of character and harmonic color, that gives a nice rounding off to mixes.

What’s your next buy for your studio?

A dog.

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KAUSTHUB RAVI & SIVANESH NATARAJAN

TOUCHÉ EXPRESSIVE E

Hardware Controller

The Expressive E Touche gives you a brand new way to physicallyi, intuitively interact with and control your software and hardware instruments adding an entirely new dimension to your perfor-mance. At the outset, this is one expensive controller to add to your synths and programming workflow. Is it worth it though?

The Touche Expressive E is a small rectangular unit about the length of a shoe box. The soft touch finish along with a wooden touch surface on top gives the whole thing quite a premium feel. Four independent sensors detect these vertical and lateral movements. A slider concealed under the control surface sets the physical ‘sensitivity’ of the lateral movements via a pair of steel springs.

Expressive E call these vertical and horizontal motions ‘Shiftings’ and, since the wooden control surface is suspended at either end, a Top Shifting describes a tilt down at its far end and a Bottom Shifting a tilt at the near end.

Depending on where and how hard you press it along its length, you can produce either subtle or extreme Shiftings of either type. A Left or Right Shifting moves the wooden surface in the horizontal plane, and a combination of the two types of shifting produces that which you’d expect.

The unit can be operated as a standalone unit with hardware instruments via MIDI/CV. Or in Slave mode where the functionality is in the control of their own VST/AU plugin called Lie. Lié not only al-lows you to create Touché hardware presets for any external MIDI or CV controllable hardware, but can also host any VST instrument plug-in, enabling you to create and save Touché presets for the parameter controls available for that VST instrument.

It must be noted that the sounds contained within the Lie software sound pretty great and of really good quality.

More importantly, it's insanely fun to play around with. We haven't had this much fun testing something in a long time.

The parameters are mapped quite cleverly to the functions of the controller to make it extremely intuitive to use. The two buttons on the unit help you cycle through the presets and the knob allows you to set the sensitivity in terms of the velocity. Lié v1.2 also in-cludes 50 templates covering a selection of synths and other hardware from Arturia, Behringer, Dave Smith Instruments, Elektron, Hypersynth, Korg, Kurzweil, Meeblip, MFB, Moog, Nord, Nova-tion, Oto Machines, Roland, Strymon, Studio Electronics, Waldorf and Yamaha. You can also download a file of instrumentspecific presets from the Expressive E web site, although not every unit with a template is covered at the present time.

We tested the unit with a Waldorf Blofeld desktop synth. The hardware preset comes with mapping for specific patches on the Blofeld. The rest can be manually mapped. The manual

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mapping can get quite tedious and difficult to figure out with the endless list of options for each control parameter.

We also tested it with various VST synths including synths from Arturia, Native instruments, Spire and U-He. It works remarkably well once you’ve got it all setup. If a parameter is available to be controlled, it can be mapped to the Touché, enabling you to create control layouts and to ‘play’ them in a very intuitive and musically satisfying manner. Stacking a number of parameters on one Shifting gives you the possibility of creating subtle combinations of concurrent changes with the smallest of hand movements or of hitting huge crescendos with a bit more force.

In conclusion, It is an extremely fun piece of gear to have especially if you've got a nice collection of VSTs or Synths that map to the unit. It completely changes the way you interact with your sounds and adds a new three-dimensional approach to playing them. Setup can be tricky and in our experience, the software was quite buggy at times. But that's something that can easily be fixed with the large number of updates that the company continually puts out.

CLA MIXHUB Plugin

MIX EFFORTLESSLY.

While most may dismiss it as an unnecessary new gimmick, upon working with this piece of software, it seems to really help. When running large sessions, I found myself mixing them down to the manageable “console fit” number of tracks and mixing the stems. It helps when you want even compression, eq settings over several groups. It's quite easy to mix within the window, you never need to close it and access the DAW screen. It is a new workflow change and in some cases, when you are stuck in a rut with the mix it really brings some fun back into it.

The latest offering from the Waves-CLA partnership promises a lot, but does it deliver? At first, it seems like another console emulation gimmick. But there's more to this plugin. You start by running the plugin as several instances in your mix window. And then you can continue mixing within the one plugin window.

The plugin is split into 4 sections - The preamp stage, Dynamics, EQ, and faders. The channels (supports up to 64) is split into 8 “buckets” as they like to call it. Each containing 8 tracks. You can easily swap between the bucket view and single-channel view. The sound is of course modeled after CLA’s own SSL console. The Input section features high and low pass filters and a control for switch-ing harmonic distortion. You can add some sweet SSL style drive with the mic pre. The dynamics section has the built-in console comp along with a CLA Bluey mode. The gate at this section is quite versatile too with a lot of hold and side chain options built into the super easy to use layout. The EQ is classic SSL and performs as you expect it to. There's a VU meter, a stereo imaging tool and of course, a fader at the end. It also features an addi-tional insert point to add more waves plugins.

SONIBLE SMART EQ 2 Plugin

A FRESH TAKE ON EQ If you’ve been following our previous reviews, you may notice our interest in “smart” plugins. With Gulfoss, Soothe, etc the new generation of plugins promises to make life as a mix engineer a lot easier than it used to be. This is the latest

offering from Austrian-based developer Sonible, known for their intelligent filter plugins. It claims to be “a state-of-theart linear phase EQ with a built-in A.I. smart: filter band.”

It promises to help you achieve tonal balance on something quickly using several existing instrumental profiles for what the developers refer to as “content-aware processing.” They have profiles for things including drums, strings, brass, winds, piano, bass, guitars, etc. In addition, the plugin will learn and adjust filtering based on whatever content you feed it, allowing you to save cus-tom profiles for repetitive EQing tasks. It basically works by the user selecting a mode from the preset menu that is closest to the instrument that you use it on and then letting the plugin analyze a section of the track.

The plugin then draws an extremely detailed eq curve to tame harsh resonances and issues. It aims to provide a good starting point for the user to then carry on with additional processing if necessary. There is also Mid/Side capability for enhanced width and the plugin works quite well as a traditional EQ. The newly added Tilt filter is a welcome feature as well. The company also says it will help beginners develop their ears as they see the plugin achieve something that is close to “correct”.

In my personal experience, the plugin does indeed do what it says. The EQ curve is drawn is quite detailed (you can choose the number of nodes you might need) and tweaking it does indeed get you close to a good start point. However, having to analyze each time may be a little annoying but this can be solved by having set user profiles. The thing is, with something like this, a lot of times you end up with something that sounds too cleaned up and sterile. I do agree on how it might help beginners develop their ears as they see the plugin shape the sonics. But we’re a long way off from software mixing on their own.

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FROM TAPE TO

TAPELESS WORKFLOW. Let me give you some of the old school recording methods for recording your music or band etc., The TAPE was the key storage medium in those analogue days. Lots of analogue gears would be seen in big studios which are very expensive and a massive investment. Well, analogue has got it’s own charm and beauty. Of course today we have fully moved to the Digital domain and things have gone far beyond than what we think. Let me explain the analogue workflow in a typical professional recording studio.

Usually the studio is well equipped with a large format analogue console like the SSL 4000G /E series or the 9000 series or the vintage NEVE 8068 or a 8078 etc. This is connected to the Multi-track Studer 24 Track or Studer 16-track or even a 2-track tape machines. Even Tascam was very popular during that time and few other brands.

Tape machines were the final recording machines to record an album or a song etc. Generally the band arrive at the studio and all the microphones are setup according to their need and lots of time is spent in tracking session until the engineer finds all the sweet tone of each instruments captured live. Then the dry tracks are recorded using the Direct out Connections on the consoles straight into the Tape Multitrack machines input after which all the songs are recorded and the band leaves the studio.

Next day, the engineer loads the Multi-track tape and then plays the tape. From the machine the outputs are fed directly into the console line-in, So now he can do the real Balance or so called the Mixing process for that song.

Usually the EQ, Dynamics and Effects sends and returns are all managed within the Console itself. As they have in-built EQ and Dynamics section. But the Effects like REVERB and DELAY and MODULATION are processed using the External

Hardware boxes and are connected to the console and if they want to use apply the effects they use the Patch bay to use the desired channel for processing. Then the Final 2-track STEREO is sent back to the 23rd and 24th Track of the same tape as Final MIX input to the Tape or they have a separate 2-track Tape machine to do the Mastering .

In today’s modern digital technology, our Hard disk is the Key storage device for recording our song. Since we all work in the Digital Audio Workstation (DAW), technology has become a great advantage for us to speed up our workflow. But those days, the maintenance was very expensive and also the numbers of Cables used were plenty as you needed physical cables to patch each and equipment! But now all you can do with a click of a mouse button!

So the current workflow in Digital Domain has become from RECORDING ->MIXING -> MASTERING or RECORING -> MIXING -> EDITING -> MASTERING Or RECORDING -> MIXING -> EDITING -> RECORDING -> MIXING ->MASTERING etc.

So the workflow has completely changed depending upon the music producers need, and is done very quickly because of multiple file format and files exchange between the DAW. Now our DAW supports huge amount of track counts and its like having a big recording console and a multi-track tape machine in our LAPTOP! I don’t want to argue about whether Analogue is Best or Digital is. Finally its the Music which speaks at the end of the day. I suggest many to watch analogue recording videos on YouTube etc so that this generation will appreciate the art of Microphone techniques and the art of mixing on the Analogue console. Today there are lots of Videos to watch and hope this article helped in understanding the old vintage school method or recording arts. Happy Recording & Mixing!

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

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ROLAND ANNOUNCES

TD-1DMK V-DRUMS Inspiring Entry-Level Electronic Drum Kit with Roland’s Acclaimed Double-Mesh Pads and Education Features

Roland announces the TD-1DMK V-Drums, an entry-level electronic drum set with legendary V-Drums sound and playability. The TD-1DMK offers a variety of great drum sounds, authentic acoustic feel with Roland’s famous dualply mesh pads, and access to powerful skill-building tools with onboard coach functions and free Melodics for V-Drums training software for Mac/Windows. This makes it an ideal choice for beginning drummers and practicing students, as well as adults who want to get back into drumming later in life. Delivering a fulfilling drumming experience in a compact kit that can be played quietly with headphones, the TD1DMK is an infinitely inspiring instrument that will launch a lifetime of drumming satisfaction and enjoyment.

For Beginners: Start Playing Drums Now For players who are just starting out, the TD-1DMK is a hassle-free drum kit that’s easy to set up and intuitive to use. With just a few simple steps, users can start playing an authentic-sounding collection of 15 preset kits and enjoy a realistic and engaging drumming experience right away.

And with onboard coach functions and Melodics for V-Drums software, they’ll learn essential skills and experience improvement with every practice session. Weighing just 15.5 lb./7 kg, the TD-1DMK is convenient to move around the home and to other performance locations as needed.

For Parents: Help Develop Your Child’s Sense of Rhythm When a child learns a musical instrument, they build discipline, determination, and many other essential life skills.

Accurate timing and keeping a solid beat are fundamental elements of drumming, and the TD-1DMK’s onboard metronome and 10 coach functions motivate successful development with a game-like experience that keeps every playing session fun and engaging. Melodics for V-Drums takes learning even further with interactive drum lessons that build a sense of rhythm without it seeming like hard

work. The TD-1DMK’s pads are quieter than other electronic drums too, allowing children to practice for extended periods without limitations.

For Students: Become a Better Drummer With its great feel and natural response, the TD-1DMK supports developing all the traditional techniques needed to be a top-level drummer. Thanks to the fast processing and authentic acoustic sounds of the kit’s module, the TD-1DMK faithfully responds to the subtle nuances of the user’s playing, with every dynamic nuance detected and faithfully relayed.

Compared with other mesh heads, Roland’s dual-ply mesh heads for the snare and toms feature adjustable tension, and also provide authentic natural rebound that’s as close as possible to the feel of playing acoustic drum heads. The TD-1DMK’s kick pad is compatible with standard single and double kick pedals, and features a soft rubber surface that absorbs noise from the beater while maintaining natural acoustic feel and response.

For Past Players: It’s Time to Start Drumming Again The TD-1DMK is the perfect solution for bringing drums back into anyone’s life. From onboard songs across a variety of genres to connecting a smartphone to the module and playing with favorite tracks and web lessons, users can drum along and quickly reignite their musical passion. And with the ability to play quietly with headphones, they can fully immerse themselves without disturbing family members and neighbors. The durable TD-1DMK is infused with renowned V-Drums reliability, providing playing confidence for years to come. As skills and ambitions are renewed, there’s even room for expansion by adding an extra crash cymbal or upgrading the sound module.

To learn more about the TD-1DMK V-Drums, visit Roland.co.in The

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Sennheiser XS Wireless 1 DUAL Wireless means no obstacles, no distractions, just effortless audio, every time. Building on Sennheiser’s heritage and extensive experience developing wireless systems, Sennheiser has expanded XS Wireless I series with two channel receiver, for those who want to go all wireless and are ready for the next step. As a liberating solution for the DJ’s, school, or any other venue where people are moving on a stage, or have multiple speakers, XS Wireless Dual empowers your inner creativity by allowing you to roam free. Lose the cables but keep the connection.

Further Expanding its XS Wireless 1 series with the addition of a new two-channel receiver, the EM-XSW 1 DUAL. The receiver will be available separately or as part of two XSW 1 DUAL Sets that combine it with two wireless microphones using either the e825 or e835 capsule.

XS Wireless 1 DUAL is a 2-channel wireless system for singers and presenters. Designed with ease of use in mind, these analog UHF systems feature a sleek dual-channel receiver with built-in antennas and the streamlined interface from Sennheiser's popular XS Wireless 1 series that offer excellent

live sound, stunning design and have been created with users such as weekend DJs, schools, house of worship and hospitality venues on a budget in mind. The EM-XSW 1 DUAL two-channel receiver features automatic frequency management with one-touch synchronization, antenna switching diversity for reliable reception and intuitive, icon-based controls. Each receiver has up to ten compatible, preset channels in eight frequency banks, and provides balanced XLR and unbalanced jack outputs.

Sennheiser’s XS Wireless 1 Series can be expanded with the new EM-XSW 1 DUAL two-channel receiver. It is available as a separate unit or included in the XSW 1-835 DUAL and the XSW 1-825 DUAL Sets The EM-XSW 1 DUAL two-channel receiver is an ideal fit for users that prefer to work with two mics and require a neat, one-unit set-up. Like other systems in the XS Wireless 1 series, the DUAL sets offer fast set-up straightforward user operation and great sound.

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MUKESH AMARAN

ALBUM ARTicle:

ASHWYN WARRIER Now there are varying perspectives on this. There are musicians who take the visual identity seriously and there are those who don't. But the bottom line is that whatever art form you are working with, the inspiration always comes from some other art form. Like Photographers are inspired by music, musicians are inspired by cinema, etc.”

A Photographer, Film Maker and Graphic Designer – Ashwyn Warrier is our artist of the month. Currently based out of Mumbai, Ashwyn has categorically achieved his way up to where he is and what he does. Surrounding himself with the right people, music and visual art merged to give way to some really interesting collaborations; ‘ItniJurrat?’ being one which we have absolutely loved as an album art. Channeling music into his life has proven beneficial for Ashwyn across his peaks and valleys. He’s built himself with a lot of direction and guidance through the music he listened to.

With a workflow set, Ashwyn seems to tackle the job strategically. Hours of research and experimentation culminating in a result that hits the mark in terms of the concept as discussed with the musician, Piyush Kapoor of Daira in this case. With Ankit Gupta’s “Scarred Monkey” as the key element, Ashwyn brings out what Daira has to say in a visual form. A gateway to what is to be heard.

“With respect to the music scene an Album Cover is just considered as something that needs to be made along with the album so that it sells. Like a visual face to the music.

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It wasn’t an easy gig for Ashwyn to take up and create. He says “The font was inspired by 'Sholay' and all old film posters that gave this 'earthquake-y', 'We mean serious business' feel. The monkey had to be completely 'photoshopped' to match the feeling of the background and font. This was done by the process of blending using the various tools available in photoshop. I looked up various effects and ended up creating it myself after a ton of trial and errors. Not perfect but works I suppose. The process took about three months of creation, fine-tuning, reviews, typography changes and after a final approval by the whole band we were good to go. All of my efforts to reach the final result happened on photoshop and it would be terribly boring to anyone who is ready to listen.”

Ashwyn has chosen the visual element as his genre of creation like all our artists and seems to have found a niche in it that reflects the voice of another artist and not himself. His relationship with Piyush and the band gives him a much deeper emotional access to create freely, allowing him to create a piece that definitely will make people pick up the album.

Bose Professional forges beautiful melodies at Hammer & Song, Mumbai For the beautiful people of the magnetic city that never sleeps (read Mumbai!), there’s a new dining and nightlife destination in town, and it’s already singing tunes that locals just can’t seem to get enough of! The venue – Hammer & Song.

When the music takes over, Hammer & Song turns into an even more attractive delight.

With genres ranging from soft comfortable lounge music, to Deep Electronic to Hip-Hop and Commercial; Hammer & Song lives up to the hype as Mumbai’s premium destination that dishes out some of the best music in the city.

But what makes the music even more stunning is the quality of the sound experience thanks to the club’s awesome, amazing and comprehensive audio system from the world’s leading professional audio brand – Bose Professional!

The massively effective and efficient Bose Professional scheme at Hammer & Song involves a carefully designed system comprising products from the brand’s famed line of install products which have been chosen specifically to meet the venue’s aural requirements that were derived from commissioning a detailed acoustical analysis of the space.

Each of loudspeakers across both levels of the venue have been are strategically placed, and meticulously aligned and calibrated to ensure even distribution and optimum coverage of Bose’ signature crystal clear and impactful sound performance throughout the venue.

The all Bose Professional loudspeaker scheme – designed and integrated by reputed Mumbai-based consultant Milind Raorane with key support from Bose Professional’s technical team – involves the deployment of multiple units of Assymetrical RoomMatch modules as the primary FOH reinforcement at the ground floor level, with multiple numbers of the RoomMatch RMU108 multi-utility loudspeakers distributed as fills. Critical low frequency fidelity here is derived through RoomMatch RMS 218 dual 18” subwoofers used in tandem with Modular Bass MB24 dual 12” subwoofers. The mezzanine level, on the other hand, features multiple numbers of the RoomMatch RMU208 and RoomMatch RMU108 multi-utility loudspeakers along with the Modular

Bass MB210 compact dual 10” subwoofers, delivering the full-range of Bose’ signature top quality sound. The loudspeaker setup is powered through the ever powerful and efficient PowerMatch PM8500 amplifiers, with a unit of the ControlSpace ESP4120 control unit shouldering the complete loudspeaker processing and management gamut.

Precise positioning of the speakers allows us to cover the entire space, and, also effectively solve aural issues arising due to the ceiling height of the venue. Plus, with Bose’s Powermatch series of amplifiers powering the loudspeakers and the ControlSpace ESP unit taking care of end to end processing and loudspeaker management – this comprehensive Bose system has created a lasting positive impact that’s left the venue’s patrons enthralled and the management extremely pleased!”

Amrish Arora – owner of Hammer & Song talks about the venue asserting its mark in Mumbai as a place that delivers the complete experience, saying “Hammer & Song is all about the experience, and I’m proud to say that’s exactly what we deliver. The place sounds brilliant with our new Bose system – it warms our hearts and gives me goosebumps!! And we’re overjoyed to hear compliments that pouring in from our patrons about how lively the place sounds and feels.”

Vibhor Khanna – Country Manager – SAARC, Bose Professional expressed his thoughts about the brand’s association with Hammer & Song as he asserted, “Hammer & Song is so elegant and beautiful yet so refreshing and fun as a venue, and it is an absolute honour and privilege for Bose Professional to be a part of it. Sincere thanks and appreciation to the entire management at Hammer & Song for investing their faith in our brand; and a a big mention of commendation to the audio commissioning team including our partner Mr Milind Raorane and our in-house technical team and regional sales & support team members, for concluding a great job with the audio solution at Hammer & Song. We are proud to deliver world-class audio to a truly world-class destination like Hammer & Song.”

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Gig Calendar APRIL 2019 DELHI

BENGALURU 07-Apr

Fandom presents Paspatou by Parra For Cuva (LIVE)

Fandom, Bangalore

07-Apr

Chaar Hazaari : A Matinee Special

The Pianoman Jazz Club, New Delhi

12-Apr

Fandom presents Thakara

Fandom, Bangalore

09-Apr

Akash Gadamsetty

The Pianoman Jazz Club, New Delhi

14-Apr

Zone Out with Final Surrender & Space Is All We Have

Fandom, Bangalore

11-Apr

Aeon of Lanzark

The Pianoman Jazz Club, New Delhi

20-Apr

Catharsis with Blank Planet, Rocazaurus & AGO

Fandom, Bangalore

16-Apr

Aditi Malhotra

The Pianoman Jazz Club, New Delhi

21-Apr

Jayda G (Ninja Tune)

Kitty Ko, Bangalore

18-Apr

Thursday Live ft. Sharad & The Sinners

Hard Rock Café, New Delhi

25-Apr

Thursday Live ft. The Lightyears Explode

Hard Rock Café, Bangalore

26-Apr

Karan Mahajan Band

The Pianoman Jazz Club, New Delhi

28-Apr

Lethal Thrash Fest ft. Suaka (USA)

Fandom, Bangalore

28-Apr

Tyesha & Friends : A Matinee Special

The Pianoman Jazz Club, New Delhi

GURUGRAM

HYDERABAD 07-Apr

Shiv Menon - Sunday Unplugged!

Hard Rock Café, Hyderabad

10-Apr

Single Malt Sinners Night with Rigmona

Saints N Sinners, Gurugram

07-Apr

Moonshine presents - Agam

Moonshine Project, Hyderabad

12-Apr

Coldplay & More Dedicated Night with Chizai

Saints N Sinners, Gurugram

25-Apr

PipeDreams - Thursday Live!

Hard Rock Café, Hyderabad

13-Apr

Popbusters ft. Simple Truth & DJ Maddy

Hard Rock Café, Gurgaon

28-Apr

The Asli Gully Boy Ft. Naezy and Dj Kan-i Aafat Waapas Tour

Moonshine Project, Hyderabad

PUNE 11-Apr

Thursday Live ft. Malang

Hard Rock Café, Pune

25-Apr

Tribute to Metallica by Muya

Hard Rock Café, Pune

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

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

highonscore

13-Apr

Kitty Su Mumbai presents Jeremy Underground (France)

Kitty Su, Mumbai

26-Apr

Kitty Su x sLick! present Gioli & Assia

Kitty Su, Mumbai

Loud and Clear The S360 combines main monitor performance with compact size, delivering a true reference even at high sound pressure levels. And with our GLM software, the S360 will intelligently adapt to your acoustic environment.

So if you need to really feel the energy in your music – or are working with large scale immersive film production – it is no longer a choice between power and precision.

Find out more at www.genelec.com/S360

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

YAMAHA MUSIC INDIA PVT. LTD.

P – 401, JMD Megapolis, Sector – 48, Sohna Road, Gurgaon Haryana – 122018, India Tel: +91-124-4853300 Fax: +91-124-4853301 Email : support_in@inquiry.yamaha.com

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