The Score Magazine July 2017 issue!

ISSN 0974 – 9128

Vol 10 Issue 6 July 2017

thescoremag

@highonscore

highonscore.com

India's National Pan-Genre Music MagazinE

50

`

MEET BROS ENZY STUDIOS NISSCHAL ZAVERI TAKES US TO HIS MASSIVE STUDIO

SPLITTING OF THEIR TRIO BAND, UPCOMING MUSIC PROJECTS AND MORE.

HARI AND SUKHMANI THEIR LATEST SINGLE: PROMISES, AND MORE

HISTORY ON KARAOKE, DESI HIP HOP REVOLUTION, WOMEN IN THE INDIE SCENE AND MORE.

musee musical

since 1842

CELEBRATING

17S

1,,1,,,1,,1,,,1

YEARS 0/MUSIC

Musee Musical Private Limited Chennai : 73, Anna salai, Chennai - 600 002 Ph: +91 44 28522780, 28516474, Fax:+91 44 28585447, E: info@museemusical.in Hyderabad : Opp. Old Airport, Begumpet main road, Hyderabad - 500 016 Ph: +91 40 66101535, 66201535, 27762229, E: info@museemusical.in Pondicherry : Door. No.129, Saint Theresa Street, Pondicherry 605001 Ph: +91 0413 2223533, M: 9600009989, E: info@museemusical.in

www.museemusical.in

YOUR PERSONAL BACKUP BAND

NEW INDIAN TONES

Perfect For Solo Entertainers And Hobbyists

250 Rhythm Styles (Including Indian beats)

More than 850 Powerful Tones

Free additional Indian Tones and Rhythms

Direct recording in WAV format through USB Pen Drive

Center Cancel Function (Vocal Reduction)

Play WAV, MP3 SMF and Karaoke Files

I NSIDE

MEET BROS

12

Talk to us about their music, splitting of their trio band, their upcoming music projects and more.

INTERVIEW WITH JASHODA MADHAVJI 40

STUDIO TOUR : ENZY STUDIOS

26

This gorgeous celebrity publicity and event organizer talks to us about the other side of the music business, challenges faced while organizing massive events and a lot more exciting stuff.

ONLINE MUSIC CLASSES

18

We give you a list of websites available online from where you can learn the theory behind music sitting at the comfort of your room.

HARMAN LIVE ARENA 32 This year, we saw a whole variety of bands ranging from Rock to Folk at the Harman Live Arena. Here is a glimpse of what some of the artists we spoke to had to say.

ONLINE MUSIC ARCHIVES

Nisschal Zaveri takes us through the entire set up in his massive studio in Mumbai as a part of their fourth anniversary.

INTERVIEW WITH HARI AND SUKHMANI

38

42

Yamaha Live Arena showcased some of the top bands from the country. We spoke to a few and here is what they had to say.

YAMAHA ARENA AT PALM EXPO 46 Find out what went down the Harman Live Arena this year and the artists that set the stage on fire.

This duo talk to us about their journey, about their latest single Promises, their inspiration, upcoming projects and much more.

DIRECTOR'S NOTE Director, Strategy and Planning Ajay Prabhakar Director, Business Development Pragash VM Director, Marketing & Operations Sneha Ramesh Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Creative Designer Manasi Doshi Content Contributors Pramita Bose Aditi Sarawagi Shreya Bose Souvik Chakraborty Amogh Rao Sreyoshi Guha Thakurta Sanchana Krishnan Sinjini Ghosh Suparno Saha

brand partners

It was great to be the Exclusive Music Media partner for Palm Expo, India’s largest Sound and Light expo at Mumbai, India for the seventh year running.

This year’s Palm expo deserves an applause for the quality and the execution of all its segments: The shows, the dedicated demo cubes, the live arena, the conference, and the exhibition area. Yamaha’s exclusive hall and live acts, Bose Demo cube, Palm DJ Soundscape and the Harman Live Arena were all unmissable highlights of the expo.

We would like to thank all our subscribers for the great response. It was very challenging to search for one stall amidst all the other distracting splendor; so we are grateful for your show of strength at our stall! The Magazine made far more subscriptions this time around, indicating that a more succinct crowd attended the show this year! We are also thankful to our sponsors, and the industry pioneers who visited our stall and spoke with us about the industry and the market.

On another note, we want to tell all our subscribers and readers that we have had our ear to the ground and know of your overwhelming request is to integrate more Music Technology in the Magazine. We have made some progress in that direction, but we will take bigger strides to incorporate ProAudio, Sound, Light and Event Technology. In addition to this, Music Education and Career content will also feature in our pages.

We are incorporating extended/interactive content to our digtal version of the magazine and website. While we make these changes, we look to you, our readers, for feedback. Please feel encouraged to tell us whether you like what you see!

PRAGASH VM

Director - Business Development

thescoremagazine.com thescoremag

www.highonscore.com

@highonscore

highonscore

contactus@highonscore.com +91 95000 12975

DISCLAIMER: Reproduction in whole or part of any text, photography or illustrations without written permission from the publisher is prohibited. The publisher assumes no responsibility for unsolicited manuscripts, photographs and illustrations. Views expressed in this publication are not necessarily those of the publication and accordingly no liability is assumed by the publisher thereof. Advertising copy and artworks are the sole responsibility of the advertisers.

http://www.motherteresafoundation.org.in The Score Magazine is proud to support the Mother Teresa Foundation and urge our readers to join us in giving back a fraction of what we have been given.

PRAMITA BOSE

MEET BROS It’s a no-brainer that they are brothers since they look alike. But beyond this simple similarity, the common thread that inseparably binds the two is their unswerving penchant for music. Manmeet and Harmeet Singh have quickly scaled the popularity charts with their effective dosage of music in Bollywood. Natives of the royal, historical city of Gwalior in Madhya Pradesh, these 30-something, hardworking siblings grabbed all options with both hands that life threw at them only to survive the struggle for music.

12

The

Score Magazine

highonscore.com

How did music happen to your life?

We were struck by the lightening of music at a very early age. The exposure came to us when we were pretty young.

Our mom was an avid listener of the yesteryears’ golden old songs. She would make sure to get a prized collection of all the ‘superhit song’ records. She had her own compilation, a treasure-trove of sorts. She would play that music all day long in our house. Subconsciously, we would keep hearing the numbers and knew them well enough to hum along. So that’s how music was instilled in us. It’s our root of origin.

As far as our memory could be rewound, we remember to be in the first standard when we had taken part in an inter-school kirtan competition and stood second over there. It was a very big achievement for us at that point of life. We continued to do the devotional genre, although we weren’t earnestly hooked onto it to approach it like a true professional. We just did it for the lark and casually started singing in school and performing on stage. We kind of went with the flow.

In a way you may say that we are used to entertain people since childhood.

We made a song in school called ‘Jogi Singh Barnala Singh’ and it really got us famous right through our college years as well. That song is our debut single which became a huge hit and earned us our moniker ‘Meet Brothers’.

Looking in retrospect we guess, we were born to be who we are today. Music had walked into our lives much before we could realize that it would sweep us off our feet and is here to stay forever.

What significant changes have you noticed in musical production and composition over the years?

Music has undergone a drastic change in terms of sounds. It’s more electronic now. Earlier, it used be all analog. Everything was very live and tangible. People would record most of the songs by live instruments. But today, only four to five percent of the sounds and beats in the song is live, while the rest is all digital. These days, music is by and large available on the digital platforms and we are consuming that only. Even in terms of composition, there would be long verses earlier than in the current-day’s lyrics. They fell on the ears more melodiously and soothingly, because they were made with much effort, time and patience. People would tune in to the songs multiple times and the melody would penetrate their senses and linger on for long. But today’s supersonic age is tech-driven and is devoid of that relaxed leisure. People are always on the go, managing hectic schedules from pillar to post. We have fast food, fast relations, fast jobs etc. all over. People are used to these rapid changes every day. So music has to be served that way as well. The notes are much simpler and catchier now to harp on. It may not be that ornate with soulful strains, poise and depth but is highly rhythmic and pulsating to the core. People like it on the move.

Many old school critics despise dance numbers and racy tracks. But your discography shows some runaway hits in these genres. So what do you have to say?

Music you know, is a very personal matter. Say for example, if you create a song and you or anybody else starts listening

Hits by Meet Brothers Satyagraha — Janta Rocks Boss — Boss Ragini MMS2 — Baby Doll Bhoothnath Returns — Party Toh Banti Hai Hate Story 2 — Pink Lips Kick — Hangover All Is Well — Nachan Farrate Hero — Dance Ke Legend Hate Story 3 — Tu Isaq Mera Singh Is Bliing — Dil Kare Chu Che Mastizaade — Mastizaade Ki & Ka — High Heels, Most Wanted Munda, Pump It (The Workout Song) Baaghi — Girl I Need You, Cham Cham Junooniyat — Nachenge Sari Raat

to it, it immediately becomes yours or the other person’s inherited property. At least, the feeling comes across like that.

But music is independent, free of all bounds. It is not like you live in a rented house and start believing that it’s your own area or premises. However, the irony is that in music, you actually tend to start internalizing your favorite song and think it to be your own. You attach a sense of belonging to it.

When somebody is playing it, you’re like ‘wow I love it.’ You take pride in it.

When it comes to the old school critics, I presume that they have been brought up with a very different kind of music to listen to. Obviously it’s very human for them to unable to accept or understand our kind of music or more precisely, today’s brand of compositions. What you grow up being catered with, becomes an inbuilt habit or your staple diet for life. However, the new generation is different; they live life on a fast lane. Whether it’s a job, food, or relationships, it’s all very speedy now. By that logic, music too follows suit. It ought to be for-the-moment, swift, vibrant with a tempo and prompt on demand.

In the past, people would seldom battle the stress. Today, there are too many distractions. Earlier, most people would finish off their jobs at 6 o’clock in the evening and go home.

Now work from home concepts and late nights are keeping every professional 24x7 busy. So there is a tremendous amount of pressure on the mind and body because of the daily chores with their backbreaking deadlines to meet and deal with. As a result, the listeners reasonably need something to go easy on the ears. They want songs to lift up their mood with feel-good factors that bring a smile upon their faces. So this music is for the next-gen and the new world.

The

Score Magazine

highonscore.com

13

I do regret the fact that our elderly lot or the senior critics don’t much get to hear their choice of music. But we have many erstwhile geniuses like Naushadsaab, Ravi, Laxmikant-Pyarelal, Khayyamsaab, Kalyanji-Anandji, RD Burman, et al to woo their tastes and preferences, who swear by the retro era. Enough music has been created for the aged audiences to enjoy and take a walk down their memory lane.

On the flip side, the current-day critics must also accept the contemporary idiom and learn that the times they are changing. It is in a constant flux. See, it’s the rule of the universe that man’s likes and dislikes alter from decade to decade. Music is who we are. It bears an authentic reflection of the socio-political-economic culture we represent. It is a correct identity, so it cannot be different. If the millennials and the Gen-Z progeny like their music in a certain way, so be it.

14

The

Score Magazine

highonscore.com

How did you guys professionally foray into the mainstream Bollywood music?

Oh, this goes back a long time. Actually, when we were working at an FM radio station in our hometown Gwalior, we used to have a lot of free time in hand while programming the shows. Hence, we started making songs. In fact, it was our first-time stint with the song making routine in life.

We realized that we can actually make music. Right from our colleagues to everybody else at our workstation would appreciate our songs and would ask us to lend them in films. So when we finally moved to Mumbai, we just met a few good people who had genuinely showed a keen interest in our songs. We perhaps had enough confidence in what we had created at that point of time. And after garnering appreciation from whoever we had played our songs to, it made us somewhat feel that we are on the right path. We could never ever imagine that our songs like ‘Babydoll’ and

‘Chittiyaan Kalaiyaan’ would be lapped up so widely across the board and that our music would go this far. ‘Do Dooni Chaar’ and ‘Isi Life Mein’ were our first movies as music directors. It was our maiden break and both the flicks I remember, had happened to release together. So our journey somehow kicked off with these two features.

Do you subscribe to the present-day trend of actors doing their own playback? Which actor do you think has done most justice to his/her assigned song?

We are delighted with the fact that actors are taking a shine to singing. Why not! We are nobody to judge or decide who can sing and who can’t. If actors are lending their vocals with good responses in return, then that’s certainly wonderful.

It is open to the people’s court and the verdict tilts towards actors making a difference over the microphone. For there are numerous people who are embracing this idea which is discernibly on a rising graph. Fact is, we are a nation of billion people, so we can’t restrict anyone from taking the plunge into something hatke. There are a lot of people who like the way Alia Bhatt sings or love the way Salmanbhai has sung our Hangover track inKick. Also actor Riteish Deshmukh did a Marathi song with us. People hero worship the stars and actors, who they consider their idols. So if they are liking this quality of their favourite performance artistes, what’s the harm!

Many singers have taken to acting and they have been applauded for their performance skills. Singers like Himesh Reshammiya and Honey Singh have been accepted when they took to acting. See, this is a period of multitasking. Therefore anyone at free will may explore the varied options at his/her disposal. Today all are hell-bent to step out of their cosy shell and prove their mettle to the world. I mean who would have fancied Salman Khan’s Hangover to gain so much popularity everywhere, albeit the actor has superbly done full justice to the song. It did turn out really well.

Tell us something about your forthcoming Bollywood scores?

We have already done one movie with Tiger Shroff in which Kanika Kapoor has sung a song. Our whole team has been revived once again with this film called Munna Michael. You will hear it as soon as it releases. There are many projects in the pipeline but we would like to talk about only those that are nearly on the verge of seeing the daylight. In Bollywood, you are either contract-bound by a project or not sure until it matures and you get to sign on the dotted line as things keeping shifting very fast. You can’t take far-fetched ideas for granted over here. And honestly, we don’t believe in divulging the details unless something concrete pans out.

Your trio with music director Anjjan Bhattacharya broke after 13 long years of successful jointventures. Any specific reasons for parting ways with him?

Anjjan is still a brother. It is very rare that you opt for separate routes and yet remain on good terms. We bade goodbye to him on a healthy note with sheer positivism.

We remember having joined hands together in 2010 and ever since, forged a strong bond. Our first movie as music directors was Do Dooni Char and then we split in 2015. So it’s been five long years of musical partnership and a beautiful journey together.

Anjjan is a very sweet guy. And he had his solid ground to move on as a soloist. Everyone wants his own entity, characteristic traits and individuality to come through his music because each has his own style. And Anjjan was no different on this score. We totally respected his decision in the way like your own sibling comes and tells us you that he wishes to have his own business and leave behind his mark on it. We don’t think anybody should have a problem with this or even attempt to spark unnecessary controversies surrounding it. We did let him go but not before a happy farewell and a bear hug. We promised to be always there for him and vice-versa. And that’s how it has been.

Did you undergo any technical tutelage in music?

Is it necessary for every musical aspirant?

No, we didn’t learn anything formally as such. Professionally, we would assimilate all the subtle nuances on the field itself.

You see, our life is totally driven by passion with which I perceive, you can absorb almost anything on the earth.

During our preparatory time, say 20 years ago, when we were seriously shaping up as future music scorers to translate our dreams into reality, there were hardly any good music schools available or proper career counsellings to guide us all the way. We were clueless about our forthcoming pursuits.

And choosing music was not a lucrative job avenue for us then.

When finally the craft took us into its fold and we started getting work, climbing the steps of a music school or enrolling for a course was way too late in the day for us.

But we stuck to our guns and had very quickly imbibed what was required of us. We opened up our own studio and have realised that the best way to learn is via practical experiences. However in today’s time, the scenario has visibly become very competitive. So it definitely pays off if you are well equipped with some form of training or the other. This is because there is no excuse for errors and one must stand a step ahead of others to lead the charge. It’s good that people are starting early these days and so most come ready to face the volatile nature of this industry’s ways. Thus, there will be less wastage of time if one enter the sector as a young fresher as the early bird catches the worm.

Do you find the concept of multiple tunesmiths toying with the same movie comfortable? Or does it hinder one’s creative space and individual sensibilities?

Multiple tunesmiths aboard a single project are working wonders. It kind of commenced with us with the movie Boss.

(A.R.) Rahman sir’s song was there and ours too. Even some other music directors pitched in with their scores. We think this is a great concept as it churns out a colorful album with different flavours and aromas. We also love the idea that our name gets affixed with different brands. I think it’s a far better proposition if your name flashes out in 10 different films, instead of you doing 10 songs in only two films. Instead of a couple of banners and two posters, the number burgeons to a dozen diverse ventures. The work-base also amps up as you get to contact different directors, producers, stars and technicians. This is truly satisfying for us. You see, right balance is the key to life and variety on one’s graph adds more spice and dimensions to it. If this was hampering the composers’ creative liberties, then they wouldn’t be really hogging for it. The trend is definitely working and the proof lies in the concept’s prosperity.

The

Score Magazine

highonscore.com

15

Bose Professional introduces interesting line of products this year This year, Bose Professional India has launched a range of interesting products with new technology that you need to check out.The products launched are: 1. EdgeMax™ In-Ceiling Premium Loudspeakers with PhaseGuide® Technology 2. MB210 Compact Subwoofer 3. Panaray® MSA12X Modular Steerable Array Loudspeaker EdgeMax™ InCeiling Premium Loudspeakers with PhaseGuide® Technology Combining the superior coverage patterns typical of larger surface-mount loudspeakers with the visually appealing aesthetics of in-ceiling loudspeakers, EdgeMax™ represents an entirely new product category.

Key features of EdgeMax in-ceiling premium loudspeakers: • PhaseGuide technology, which provides unique asymmetrical vertical coverage pattern designed for room-filling sound when mounted in-ceiling near wall boundaries

MB210 Compact Subwoofer MB210 compact subwoofer, designed for background/foreground music and small soundreinforcement systems that require low-frequency extension down to 37 Hz. The MB210 subwoofer features two 10-inch highexcursion woofers, derived from the award-winning Bose Professional F1 portable powered subwoofer, in a compact Baltic-birch plywood enclosure optimized for fixed-installations. Featuring outstanding performance-to-size ratio, the MB210 is designed to complement Bose Professional FreeSpace®, Panaray®, and RoomMatch® Utility loudspeaker models with additional bass impact.

Key features of the MB210 compact subwoofer include:

• 1.3-inch diaphragm compression driver for best-in-class audio quality with superior frequency response and coverage consistency versus typical dome tweeters

• Two 10-inch high-excursion woofers

• Eight-inch woofer with wall-boundary loading, which provides extended bass impact

• Low-frequency response down to 37 Hz

• Two-way passive crossover with 8-ohm or 70V/100V transformer taps

• Baltic Birch plywood enclosure optimized for fixed installations

• New mounting-clamp system for fast, easy installs • Magnetically attached grill for quick access to wiring and tap settings • UL1480 listing for air-handling (plenum) space installation

• 500 W long-term power handling

• 123 dB SPL continuous with 129 dB peak SPL (half-space loading)

• Compact 26” x 11.5” x 18” (660 x 292 x 457 mm) dimensions • 41 pounds (18.6kg) • Scuff-resistant polyurethane paint with black or white finish • U-bracket included for easy horizontal or vertical mounting

• Easy installation, saving integrators time in the field

Panaray® MSA12X Modular Steerable Array Loudspeaker The self-powered Panaray MSA12X features a slim, unobtrusive acoustic design with twelve full-range 2.25inch transducers (with 75 Hz – 14 kHz response) in a columnar line array configuration, to provide consistent audio levels with outstanding vocal intelligibility and full-range music reinforcement in acoustically challenging spaces.

The MSA12X model includes 12 internal power amplifiers (50 watts per channel; total 600-watt rated power) and onboard DSP to allow digital control and beam steering of array vertical coverage patterns. Proprietary Articulated ArrayTM configuration allows wide, 160-degree horizontal coverage. Independent level and EQ control is supported for two separate beams per array, and onboard memory stores up to 10 user-selectable presets. The MSA12X features both Dante™ network connectivity and line-level analog input.

The modular design allows up to three MSA12X units to be vertically arrayed to increase coverage distance and low-frequency pattern control. The slim, low-profile elegant enclosure mounts close to surfaces, blending in with the visual aesthetic of a space, and its digital control eliminates protruding pitch brackets. An integrated mounting bracket allows up to 90-degrees of pivot away from surfaces. Design, setup, and control of beam coverage is provided by Bose Professional Modeler® and ControlSpace® software. The MSA12X is available in either black or white finish and is paintable.

Designed for use in houses of worship, auditoriums, museums, transportation facilities, lecture halls, conference facilities and theaters, the Panaray® MSA12X Modular Steerable Array Loudspeaker will be previewed during the 2017 InfoComm show and are scheduled for Fall 2017 availability.

For more information on the above products, please visit http://pro.Bose.com.

16

The

Score Magazine

highonscore.com

GT-1 - PREMIUM TONE FOR PLAYERS ON THE GO

Ultra-portable and easy to use, the GT-1 delivers pro-level tones everywhere you play. Driven by the powerful BOSS GT-series engine, it gives you access to a huge selection of world-class amps and effects for all types of music. A streamlined interface enables quick and intuitive sound creation, while an assignable control switch and expression pedal provide dynamic realtime effects adjustment. And by connecting to BOSS TONE CENTRAL, you can download free pro patches, editing software, and more. Equally suited for beginners, weekend warriors, and traveling players, the GT-1 packs premium sound in a compact and rugged package.

Exceptional Sound Thanks to its flagship-class GT sound engine, the GT-1 provides tone quality and sound-shaping ability that far exceeds typical compact multi-effects. A history of BOSS processing is at your fingers, from classics such as the OD-1 Overdrive to modern effects powered by innovative MDP technology. There’s a huge selection of COSM amp tones on tap too, including vintage legends and BOSS original amps optimized for ideal tone and response. Specialized effects like Acoustic Simulator, Guitar Simulator, and others provide numerous tonal options, and there’s even a looper to enhance your practice sessions and stage performances.

Portable tone partner The GT-1 was designed for musicians on the move. It’s surprisingly lightweight and compact, yet still delivers the rugged durability that BOSS is famous for. AC or battery power provides flexibility for any performing situation, and up to seven hours of battery life is available for street performing and other mobile gigs.

Easy Patch Selection and Sound Creation The Easy Select function allows you to choose patches by genre, distortion, or effect type, while Easy Edit lets you tweak drive, modulation, and echo tones to perfection with

little effort. Dedicated panel buttons provide quick on/ off switches for effect groups, and also unlock deep-dive parameters for microscopic fine-tuning.

BOSS Tone Central and BOSS Tone Studio At BOSS Tone Central, you’ll find tons of free patch collections for playing all types of music with the GT-1.

Created by pro guitarists, these patches are dialed-in and ready to use, and make great starting points for advanced players who like to create their own custom sounds. The free BOSS Tone Studio software provides a full-featured editor/ librarian for the GT-1, as well as integrated access to all the patch collections at BOSS Tone Central.

Maximum Control in a Small Space The GT-1’s three footswitches are smartly designed to provide patch selection, tuner access, looper control, and more in a minimal footprint. The dedicated CTL1 switch is freely assignable to functions like tap tempo, effects on/off, and numerous others, while the expression pedal and toe switch are assignable to volume, wah, and various effects parameters. If you crave more control, there’s even a jack for connecting up to two external footswitches or an expression pedal. And in addition to providing access to BOSS Tone Central and BOSS Tone Studio, the GT-1’s USB jack lets you record and re-amp tones with your favorite DAW. The

Score Magazine

highonscore.com

17

ADITI SARAWAGI

Online Music Classes in India Music is all pervading and crosses all barriers. Learning music is a creative vent and more and more people are choosing to incorporate some form of musical learning in their lives. People of all age groups are coming to realise that music can be a great form of recreation and can be a fulfilling hobby. With today’s busy lives it is difficult to resort to traditional forms of learning like going to music school or private tutors. Fast paced lives have resulted to people turning to the internet for all the solutions and online learning is not far behind. Many premier musical institutes and educational sites have come up with courses in musical learning be it playing an instrument, programming or even theory. It is a wonderful way to accomplish music learning in the comforts of one’s own time and own pace. There are prestigious online music classes at both Indian and international level and one can study from ivy league schools as well.

Udemy- Udemy is one of the most popular sites for online learning with a global outreach and students across the globe are benefitting from its huge myriad of courses available.

There are several courses for studying music online as well which are taught by expert instructors. Some of these courses include learning to play musical instruments like guitar, piano, drum, trombone, ukulele, flute, harmonica, bagpipe; musical theory, song writing, singing techniques, and mixing for music producers amongst others. One can learn from experts in the field at their own convenience at Udemy.

MasterClass- MasterClass is an online portal with courses taught by the greatest masters in the world. Stalwarts best at what they do come together to impart online video lessons to which one has lifetime access once enrolled. There is also provision for assignments and direct feedback by the master themselves. There are several classes on music taught by music greats like Hans Zimmer teaches film scoring, deadmau5 teaches electronic music production, Reba McEntire teaches country music, Usher teaches the art of performance, and Christina Aguilera teaches singing. There is an active community of all students which make studying from a remote location more interactive. New courses are constantly being added and MasterClass is a great way to learn music online.

18

The

Score Magazine

highonscore.com

Shankar Mahadevan Academy- A well renowned name in the Indian music industry and a global name, Shankar Mahadevan started his online music academy to make learning music convenient, easy and fun and his courses are of international standards. The academy has more than 11,000 students from over 47 countries which is a feat in itself.

One can pursue their passion for music from the convenience of their homes. The academy offers numerous courses and virtual classes to help students achieve their goals. There are instructor led online certificate programs in Indian Classical music including Carnatic and Hindustani. It also offers self-study online programs in Hindi music songs, devotional music and other popular forms of Indian music as well.

Students also get access to a student portal, the OM Book, a week-by-week study guide, unlimited singing practice with recording tools, and expert feedback on recordings.

Berklee College of Music-When a university of international repute sets up school online, one sits up and takes note. Berklee Online offers a bachelor degree program and is an affordable and flexible option for earning a music degree from the reputed Berklee College of Music. There are degree programs on music production, guitar, music business, song writing, interdisciplinary music studies, writing and producing music, electronic music production and song design, music composition for film, television and games. There are also tuition and financial aid available and the courses are taught by Berklee faculty itself so this is a great option to learn music online.

There are several other online resources to study music and its nuances. Alison.com offers an introduction to music theory class. You can learn fundamentals of music theory with an online class from the University of Edinburgh.

University of Michigan offers an introductory class to classical music and Yale has a unique course in listening to music which aims to develop aural skills towards Western music. If your interest lies towards jazz music, there is a course on Composing for Jazz Orchestra at Massachusetts Institute of Technology. There is no dearth of learning resources online and one just needs to pick one to suit their interest and their musical journey can begin right at home.

8

SANCHANA KRISHNAN

PRODUCERS

WHO STORMED THE ELECTRONIC SCENE

It is not as easy to neatly categorize music into genres like it once was, several decades ago. A new brand of musicians has harnessed the gifts of the technological age to their advantage. Using consoles and turntables, mixers and synthesizers, they produce a wide array of electronic tracks that change the way you now experience music. What these tunes lack by means of lyrics, they more than compensate with fluctuating beats and an array of sounds - from instrumental and vocatronics to hiphop, dubstep, trance and house. The minds behind such creations are more often than not youngsters trying to experiment with and express themselves through music. And they have gotten us absolutely captivated. So who are the producers driving the electronic scene by a storm?

1. Oceantied The alter-ego of producer Ketan Bahirat, one of Bangalore’s top upcoming electronic music talents. Oceantied’s music dances along the spectrum of lush, dance-worthy, upbeat or other moods in between.

His tunes reflect two sides of the spectrum; he has created downtempo tracks as well as those with fast-paced footwork & jungle music.

2. Praveen Achary

3. Worms Cottage

The producer of intense beats that often feature long trance sequences, Praveen Achary’s music has the capacity to transport you to another dimension! This talented producer creates his tunes under his very own record label, Juicebox Music.

This exciting new sound comes from musical genius Rishabh Iyer. He is a multitalented producer who also sings and raps. Rishabh is a student of Srishti Institute of Art, Design and Technology in Yelahanka, Bangalore. His soulful beats feature instrumental beats and lush nature involvement all blending into an addictive melody.

Watch out for: Juicebox’s monthly mixes on FRISKY radio.

Watch out for: His collaboration with RedBull Music Academy.

Watch out for: ‘To Each Their Own’, an epic new album.

4. Spryk Tejas Nair is the person behind Spryk, which began as a playground for ideas across various mediums. Always up for collaboration, he has worked with likeminded artists like Sickflip to create some unusual, pleasurable music.

Tejas maintains that Spryk is a strange concoction of all his influences strung together with daily influences. He loves the fact that his music cannot be straitjacketed into one specific genre - and that’s our favourite part about his music, too!

Watch out for: SLOW/FAST, an EP that you cannot listen to sitting still!

5. Disco Puppet Bangalore-boy Shoumik Biswas initially played as the drummer for two bands before launching his very own solo project. Disco Puppet features a tantalising mix of lyrical jams and funk.

His electronica music consists of the lush tunes you should be listening to at a poolside on a perfect Sunday afternoon.

Watch out for: Keeeeen - a track with a trip beat and foreign accents, best accompanied by swaying hips and moving feet!

6. Paraphonics Siddhant Shirodkar and Shatrunjai Dewan came together in Mumbai to create the magic we now know as Paraphonics.

Certain parts of their synths are reminiscent of 80s mixes.

The duo has managed to cover a wide range of moods through continued exploration on synthesizers.

Watch out for: Yarns, their latest synth-pop EP with elements of trance and electronica with healthy mixes of dance

7. Zokhuma

8. _RHL

This groovy, moody music comes to us from Arman Menzies. The 24 year old with an ear for the zany and an infectious energy to match has already taken his music across the world. His talent lies in together elements like vocatronic blends and tribal African beats into an energetic, enjoyable fusion.

Known as Rahul Girl and performing as _RHL, this Bangalore musician has been an integral part of the city’s alt-electronica scene for several years now. He creates energetic soundscapes featuring elements of bass and tings coupled with deep house trance states that has listeners tripping in their own mind.

Watch out for: Homgrownin - Zokhuma Mix for a trip experience!

Watch out for: Lost Again, a summer mix that strikes right at the heart The

Score Magazine

highonscore.com

19

Built in Britain

HIGHLY RECOMMENDED

No.25, Casa Major Road, Egmore, Chennai - 600008 | Tel: 044-28193445/28193607 | vivin@promusicals.com | www.promusicals.com

Discover the super microphones Ashton Origin and Ashton SPIRIT Aston Origin The Aston Origin is a high-performance cardioid condenser microphone utilizing one inch (1″) gold evaporated capsule. It is versatile enough to use with most instruments and excels on acoustic guitar and vocals. Its hand-selected capsule is teamed with high-end Transformer-less circuitry using only the best components.

Aston SPIRIT The Aston SPIRIT is a switchable pattern, microphone utilizing a 1” gold evaporated capsule. A switch on the mic body selects from Omni, Cardioid or Figure-of-Eight polar patterns. It is versatile enough to use with most instruments and excels on acoustic guitar and vocals. Its hand-selected capsule is teamed with high-end transformer balanced circuitry using only the best components. The Spirit is designed to deliver a beautifully open sound with sparkling harmonics. This highly accurate microphone gives a stunningly natural and transparent recording, capturing all the detail in the high range but without adding the harshness that some condenser microphones seem to.

Features: Built-In Pop Filter Aston’s vocal condenser microphones have an exclusive mesh-knit pop filter built into the wave-form head. The random weave allows sound to pass while virtually eliminating unwanted plosives at the source. It also shields against multiple wavelengths of electromagnetic radiation making our microphones ideal in critically sensitive electronic applications. This completely encapsulating, single piece, mesh cage is formed of stainless steel, so won’t rust with use, and can even be removed and washed.

Wave-Form Mesh Head The Aston Origin has our signature waveform mesh head.

This unique design not only looks great but delivers an unprecedented degree of protection for the heart of your microphone, the capsule. The shock resistant waveform design allows the head of the mic to distort if given a heavy knock, and then return to its normal position, without any damage at all. It also offers a degree of off-axis rejection, helping to eliminate unwanted artefacts from your recordings.

Chassis Part of the beauty of our microphones is the custom finish of each chassis. There is no mass-produced paint job finish. Instead, each chassis is individually tumbled for up to 4 hours to give it a very hard-wearing, and extremely beautiful, finish. To perfect the look, each microphone is separately engraved with its legends and our brand mantra… ‘The art of performance’

The

Score Magazine

highonscore.com

21

SREYOSHI GUHA THAKURTA

WOMEN IN THE INDIE SCENE

Change is the only constant and the ever expanding music industry in India is no stranger to this. The indie music scene in India may have finally found its right chord. There has been a number of fresh talents entering the arena of independent music over the past decade.

Usha Uthup

Monica Dogra

Vasundhara Vidalur

Mohini Dey

It is simple how the entire indie music scene in India started. It is essentially due to the lack of an organised network for musicians. Thus, this resulted in musicians playing independently in various parts of the country. This eventually pushed them to experiment with the existing normative structure of Indian and Western music, and thus led to a warped music scene which as very refreshing to the ears. Although, only a few musicians have been able to step out of their own comfort zone with respect to showcase their unique talent.

Women in the Indie scene The music industry from its inception is inherently quite dependent on women. Starting from Classical to Bollywood, women have, and is still playing a major role in changing the industry’s landscape. While hip-hop, jazz, rock, and electronic are still male dominated sections of the music industry as a whole , women in indie music, and especially pop and it’s kind , are the ones taking over, and that does not look like it is going to change any time soon.

Usha Utthup in the early 90’s made a break through with her unconventional covers of famous Hollywood music. We could say that that was where it started. Indie music obviously took its own course and with time it became a whole new den for music lovers all over the world. Kolkata based band, Skinny Alley, with their lead vocalist Jayashree Singh has also made its mark on the rock culture that was starting to develop around the late 90s in Kolkata. Their music is essentially a homage to Pink Floyd and Led Zeppelin with their own authentic touch of jazz.

Monica Dogra, soon, entered with her fresh beats and in 2005 she formed the electronic rock band named Shaa'ir+Func, along with guitarist Randolph Correia. In 2007, the band released their debut album New Day: The Love Album, followed by Light Tribe in 2008 and Mantis in 2010.

Moving away from the mainstream pop and rock, there was

22

The

Score Magazine

highonscore.com

a fresh voice in the industry yet again. It was Vasundhara Vidalur, the funk, RnB and jazz vocalist, who brought back all these genres in the limelight once again. Her popular cover of John Lenon’s Imagine is still one of the best jazz covers of all time. We can find a lot in common with Suman Sridhar as well. Her voice will make anybody hold their heart out in their hand and offer it to her. It is very different and feels like Broadway all over again. She's one such artist who has experimented with almost all the genres, and aced them all.

When the topic of discussion revolves around women kicking ass in the indie music scene, we can never refrain from mentioning Mohini Dey. She is a child prodigy who has played with almost all the top artists in the world, including Roger Waters! Her music is inspired form the early Beatles and the Mamas and Papas. When she starts playing, she is sure to hold one’s attention with her effortless strumming on the guitar as she reaches to strike the farthest chords ( even in our hearts!).

Gone are the days when Bollywood music ruled each and every household in India. Any music that was different from the mainstream Bollywood beats was considered foreign and too western for one’s musical taste. It is a completely different story now, genres such as jazz, trip-hop, blues, RnB and funk have paved its way into the Indian music industry and has given a platform for many young artists to show case their talent, and India, is happily welcoming the change with open arms.

It is now time for you to update your playlist!

AMOGH RAO

INDIE REVIEWS We’ve seen a whole new wave of musicians coming up in the music scene this year. Here’s a quick review of a couple of very fascinating EPs and tracks that have come together in the past few months featuring some prominent and some relatively new artists from the indie scene.

Mixtaped Monk and Cousin Silas Indian music producer Arka Sengupta aka Mixtaped Monk and British ambient music legend Cousin Silas have put together a 9 track fulllength concept album called Urban Lonesome that has been critically acclaimed. This work is probably some of the best in the genre this year, with every track masterfully creating a post-rock atmosphere that is very hard to get right. The best thing about it being a split album is that there’s a whole spectrum of sounds covered within the ambient and experimental environment with two unique yet very similar perspectives.

Rainburn Another band from Bangalore that has made a significant impact on the progressive scene this year is Rainburn. They released their debut EP Canvas of Silence in 2015 that created a pretty big stir in the global prog scene. Merchant of Dreams is their first release since going through some line-up changes. According to the band, “The song embodies the spirit of a dreamer as he puts forth his mind’s fruits for the world to reap, (it is about) his hope and desire to rise and grow beyond. The shackles of reality as he takes on the larger-than- life persona of the Merchant of Dreams.”

The song is available for download on iTunes, cdbaby and SoundCloud

Parvaaz You’ve probably heard of this Bangalore-based contemporary rock group before, with their fascinating blend of psychedelic and progressive elements coupled with Kashmiri and Urdu vocals. In 2012 the band released an EP called Behosh, followed by the full length, critically acclaimed album Baran in 2014 and a live DVD called Transitions in 2016.

Their latest release is “Colour White”, a single that depicts emotional turmoil and human struggle, aptly exemplified through an intense composition. A brilliant video was shot for it and we highly recommend checking it out.

Tanya Nambiar New Delhi-based singer-songwriter who left a corporate job in sales to pursue her passion has taken the indie scene by storm, steadily leaving her mark with simple, powerful and relatable music. An icon for women across the country, her determination to make it big and strength to manage not just her singing career but also a host of other jobs has created quite an impression. Experimenting and working with all sorts of music styles and genres from jazz and pop to soul and RnB, she has infused her own uniqueness into each of them. She is now out with her EP titled "Good Girls Gone" which she dedicates to all the women around the world. "If doing things my way makes me a bad girl, I rather be a bad girl for life”, she says.

The

Score Magazine

highonscore.com

23

SUPARNO SAHA

Human Psychology behind Music Why do everyone tune in to music? In the course of recent decades, researchers have proposed various capacities that tuning in to music may satisfy. In any case, different hypothetical methodologies, distinctive techniques, and diverse specimens have left a heterogeneous picture with respect to the number, nature and purposes of music.

Music listening is a standout amongst the most puzzling human practices. Most basic practices have a conspicuous utility that can be conceivably followed to the useful thought processes of survival and reproduction. Also, in the variety of apparently odd practices, not many practices are similar music for engaging so much time, vitality, and cash. Music listening is a standout amongst the most famous recreational exercises. It is a universal companion to individuals' regular day to day existences.

The eagerness for music is not a current advancement.

Unmistakably melodic activities seem to have been available in each known culture on earth, with antiquated roots stretching out back 250,000 years or more. The pervasiveness and relic of music has motivated impressive hypothesis with respect to its beginning and capacity.

Numerous researchers have talked about potential elements of music solely from a hypothetical perspective. The most conspicuous of these methodologies or speculations are the ones that make unequivocal evolutionary cases. In any case, there are additionally other, non-evolutionary methodologies, for example, the experimental or the uses and gratifications approach. Elements of music were gotten deductively from these methodologies and speculations.

Music, however it seems, by all accounts, to be like elements of dialect, as it is more established in the primitive mind structures that are included in inspiration, reward and feeling. Regardless of whether it is the well-known notes of The Beatles' "Yellow Submarine," or the beats going before

24

The

Score Magazine

highonscore.com

AC/DC's "Back in Black," the cerebrum synchronizes neural oscillators with the beat of the music (through cerebellum enactment), and begins to anticipate when the following solid beat will happen.

For the most part, many individuals think musical inclinations reflect qualities, for example, age, identity, and qualities. A recent report distributed in the Journal of Personality and Social Psychology discovered individuals who are interested in new encounters have a tendency to lean toward music from the blues, jazz, classical and folk types of music. The individuals who are extroverted have a tendency to lean toward outdoor music, for example, pop, soundtrack, religious, soul, funk, electronic, and dance.

Music can be thought of as a kind of perceptual figment, similarly in which a collage is seen. The cerebrum forces structure and request on a grouping of sounds that, basically, makes a totally new arrangement of meaning. The valuation for music is attached to the capacity to prepare its basic structure — the capacity to anticipate what will happen next in the melody. In any case, this structure needs to include some level of the unforeseen, or it turns out to be emotionally destitute.

Be that as it may, to put it plainly, music can make us feel good. People are a voracious pack, and given an essence of something great we hunger for ever higher highs. It has been demonstrated that music conveys endorphin surges which makes us euphoric.

SINJINI GHOSH

e k o a r ? a g n o l A K g in Care to S

We all know what fighting over the mic, belting out wrongly timed lyrics and anticipating our turn with the karaoke machine. Karaoke songs are typically music reproductions of songs without the singers’ voice Who doesn’t love karaoke?

Originating in Japan, the word is composed of ‘kara’ from ‘karappo’ meaning void and ‘oke’ from ‘okesutura’ or orchestra. It’s said that it started in the 1970s, with a certain Daisuke Inoue who recorded his songs and sold it to people to sing along with. This is when the first karaoke machine was created, and started cropping up in hotels and bars. Before the world knew it, it went viral.

Karaoke became something between a sport and a gimmick, a way to have more fun while ordering another round of drinks. In the 80’s karaoke boxes came into existence- now people could sing to their hearts content in a small private room- this now meant singing loudly and badly, without the embarrassment of performing for strangers, bringing all they shy bathroom singers out into the bars.

By the end of 80s, laser discs became hugely popular, and with it came the advent of lyrics on a monitor. This revolutionized the karaoke fever, reaching heights in the ‘90s. This simple idea of singing to a soundtrack in front of a live audience became an irrefutable part of the American bar culture in the 1990s, so much so that there are karaoke music awards in San Francisco. From booths to bars to a distinct culture, the rhetoric of karaoke reached manic pitch in the USA, and then-like everything else, it spread to the metropolitan and suburban world of everywhere else. In India karaoke has been popularised in bars in the ‘80s, with Indian karaoke songs being enjoyed by people all over the world.

Most Karaoke machines for home come equipped with an extensive list of music. The old world charm of classics mingles seamlessly with contemporary Bollywood, and now housewives have the opportunity to relax after a long day throwing their arms up and just singing without a care. Type

‘Sunidhi Chauhan’ in your YouTube search and be amazed by the multitude of karaoke instrumentals that will pop up- a singing sensation in one click, sounds appealing doesn’t it?

Now in the today that we know, the karaoke bar is a culture singularly by itself.

It’s a niche industry of the tightrope walk between art and commercialisation. Karaoke can also be seen as a replication of generations and generations of the human race indulging in oral tradition and keeping folk and oral tradition alive.

Keeping aside the fact that it is in fact a sociological and anthropological phenomenon, karaoke is simply a Good Time.

It means an evening of eclectic, participatory and liberating well, ‘masti’. (Besides being the only space you can publicly scream badly sung Kailash Kher unabashedly) Karaoke is that one shot for everyone to be star, even if just for five minutes- as Nickelback says, we all do really just wannabe rockstars after all.

Wish-fulfilling, entertaining and engaging, that’s karaoke. It gives full grown adults a space to escape to and be silly. You have nothing to lose but your inhibitions! (And you may get heckled for being terribly off-key, but if you’re willing to take a few gleeful insults, you’re okay) The people watching too get live entertainment, so it’s a win-win for everyone passive and participatory alike. Not only is singing fun, it’s an actual stress buster- some say it has corporeal benefits of improved health because of continual singing. and karaoke is an ingenious creation for the enjoyment of literally anyone. Why, even famous stars and singers like Adam Levine and Lana Del Ray, are known to enjoy some light-hearted karaoke.So go ahead, buy that Shaan and Falguni Pathak Karaoke CD’s you’ve been eyeing- there’s no shame. If you’re feeling trendy and particularly brave- maybe risk an Arijit Singh sing-along.

Training or no training, whether you are any good at it or notlife with a microphone in hand is just better than without.

Karaoke is here to stay, care to sing along?

The

Score Magazine

highonscore.com

25

MUMBAI

ENZY STUDIOS

About ENZY Studios ENZY is a state of the art recording and music production facility, located in the heart of Mumbai. It is a sound house which provides high quality environment for musicians to create magic along with state of the art acoustics and pristine sound. Founded by music composer Nisschal Zaveri, the studio has catered to more than 300 musicians and eminent personalities of the Indian Film Industry.

Spanning over 5500 sq ft, it is one of the largest recording facilities in India. It has two studios, Studio A and Studio Y along with Isolation Room A and Y. The heart of the studio is the massive 900 sq ft Live Recording Theatre that sits between the two studios. In a short span of four years, this studio has emerged as a leading music production facility winning two IRAA Awards in consecutive years; Best Equipped Recording/Mixing Studio 2015, Studio of the Year 2016.

Nisschal’s vision is to provide an international recording experience to his clients. The Studio is designed by Jerry Steckling from JSX Audio, California and the execution was done by Kapil Thirwani of Munro Acoustics, UK. ENZY’s equipment outfitting/ design and logistics for cabling was done by Westlake Pro, Hollywood. Design and system integration in Mumbai was executed by Robin Monterio and Remo Lobo. Nisschal, a music production graduate from Los Angeles, handpicked the equipment finding a right balance between Analogue and Digital.

How Nisschal organizes, plans, and prioritizes his work He is a composer first, and his main focus has always been music.

The studio was also created with an idea that he would use one room and the other room will be available for artists and other musicians

26

The

Score Magazine

highonscore.com

Celebrating four years of ENZY Studios We take a tour inside one of the biggest recording facilities in India. Nisschal Zaveri talks about recording, production and more.

to rent out. ENZY Studios has a great team; they have people who are responsible for studio bookings, planning and recordings.

The studio strives on excellence! They make sure that the setup is done before hand, and no client has to wait or spend extra money on setup. According to Nisschal, Recording studio business is a hospitality business, in a way, basic etiquette such as offering tea coffee or assisting people with parking and greeting them when they first enter are all equally important aspects for client satisfaction.

All these factors add to the vision of providing a serene and hygienic environment to all the musicians.

Challenges faced by him while setting up the studio According to him, challenges are often feared upon by many people.

He looks at challenges as an opportunity to grow and improve. There are lots of challenges that come up every now and then, such as some equipment suddenly crashes or one odd day, the air-conditioning is not functioning. These are problems which are easily tackled by thinking ahead and pro-actively. There is always a way to overcome challenges. Initially, they had a big task of who will execute Jerry's highly technical designs. Eventually found the right person in Kapil and it was only a matter of inquiring and asking people. It took a little research time but things were smoothly completed on time. As a musician, he says he faces many challenges on how to write a new melody. More than challenges, insecurities come in; there is a long wait for a song to click with directors and producers. Until then it’s a struggle period, one gets filled with emotions such as self doubt or frustration. The best way to overcome that is keep working, keep on working with perseverance, success will eventually come.

10 Recording studio essential according to Nisschal Zaveri 1.

2.

3.

4.

5.

6.

7.

Comfortable studio environment Clean power supply to avoid hums and buzz Efficient and friendly staff Good bathroom Good coffee or green tea/ chai.

Different kinds of adaptors, EP to TRS, RCA to XLR etc etc UPS in case power goes, enough to save your session and shut down.

8. Lights for reading stands, (as some musicians require the reading light.)

9. Good headphone monitoring.

10. No threat of water leakage- especially important in Mumbai Monsoons

Suggestions on Headphones, cables, studio Monitors, DAW software, Mic, and Audio interface He says “Sennheiser headphones are always reliable and studio friendly. We use them at ENZY. As a team building exercise, we had a workshop on how to solder wires and make cables. All the cables in the studio are handmade by me and the team. Everyone from the accountant to the receptionist knows how to fix and troubleshoot or make new cables if necessary” They have Dynaudio and Adams as their in house monitors, and also have reference monitors Avantone. “The choice of monitors was my personal preference and also a suggestion which was given

by Westlake pro according to the room size and specifications” says Nisschal. ENZY works on ProTools as its main DAW and also have an option for Cubase and logic but the recording are all done according to ProTools I/O.

Do's and Don’ts while setting up a studio • • • • • • •

Must have passion/love for music Proper backups of all sessions is a must Proper acoustics room measurements are required Right team to carry out vision Proper designing team or a consultant is required Key is in the detail Air-conditioning, Proper HVAC systems so they don't interfere with recording • Machine room should also be air-conditioned • Proper inventory of equipment, microphones, should be always maintained

ENZY has mix of analogue and digital equipment, using both mediums, and get the best of both worlds and ultimately the best final product. Some of the equipments are legendary vintage that are costly. But, there are many emulations and plug ins that are cheaper than the actual unit, like a 1176 emulation plug in. Nisschal strongly opposes the use of pirated softwares and plug-ins, and has made sure that each and every plug ins and softwares are 100% genuine. He says “As a part of the music industry we should join hands against piracy and do our bit even if it is buying songs”.

What you need to know about ENZY Studios • Some of their clients include, A R Rahman, Pritam Chakraborty, Shankar Ehsaan Loy, Visha Shekhar, Amal Malik, Anu Malik, Rochak Kohli, Jeet Ganguli, Sivamani, Ranjit Barot, Space NAtives(Los Angeles), Ricky Kej(Winds of Samsara), New York University, Coke Studio, MTV, GIMA, Farhan Akhtar Band, and many more.

• Clients have access to 2 control rooms (2.1, 5.1 and 7.1), a 900q ft live recording theatre that can fit up to a 35-piece orchestra, and two additional ISO rooms (Isolation Rooms) which can collectively hold up to 65 musicians at the same time for one recording session.

ENZY Studios also offers a private lounge, conference room and café-lounge • They have over 22kms worth of cabling that runs in and around ENZY Studios.

• Recording facility in their bathroom to capture the natural reverb from the tiles. This also enables to actually take the microphone anywhere around the studio to record various sounds and various areas. This was a key added feature especially upon Nisschal’s request.

• Houses different properties for musicians such as Live with the Legends, Behind the Sessions at ENZY Studios, Independent Fridays, and more.

For more details, log on to www.enzystudios.com

EQUIPMENT AVAILABLE

They have a wide variety of equipment in the studio and also have a big selection of microphones and in house instruments for clients to enjoy.

Digital Audio Workstation and Convertors Protools 10 HDX2

Monitoring Dynaudio

Program Equalizers Manley massive passive

Effects Processors Eventide 7600 Lexicon PCM 90

AEA ribbon pre x2

Beta 52 x2

Tabla

Ssl xlogic x1

Seinheisser 421 x2

Microphones

Seinheisser 441 x2

TC Electronics Bass Amplifier

Microtech Gefell x3

Akg 420 x1

Roland JC-120 Guitar Amplifier

Pearlman tm1 x2

Earthworks x3

Pearl Drum-set

Royer 121 x1

In-house Instruments

Manoj Sardar Harmonium

Motif XF-8 Keyboard

A variety of Pedals and percussion instruments

Adam s3v

Microphone Preamplifiers

Avantone

John hardy M1 x4

Akg 414 x2

Dynamic processors

Api 512 x2

Crown PZM x2

Distressor el8 x4

Great river x4

Sm 57 x5

1176 x1

Grace design x32

Sm 58 x5

Tubetech stereo compressor

Summit audio x2

Sm 7 x1

Mojave ma300 x2

Moog Voyager Korg SP500 keyboard Korg TR keyboard Meinl Percussion Cajon

The

Score Magazine

highonscore.com

27

SOUVIK CHAKRABORT Y

The Desi

Revolution

Though the term desi hip hop is often credited to the alternative rhythm and poetry movement in India, it has by its sole merit emerged into one of the most intriguingly remarkable revolution for the youth of our generations to revel in. In the west, rap as an art form was largely an African American oriented pop music that came to the forefront with their quirky turn table effects and their amazing cadence in witty deliveries and of course the unconventional rhymes.

While the black rappers for a while had enough of the market share, the white rappers like Eminem, stole millions of hearts with their killer performances in epic rap battles and other record setter competitions.

In India, rapping rapping also meant a lot of risk taking and an enormous amount of guts to stand tall in a market that was selling merry go lucky journey songs of Lucky Ali, and newbie wonders like Palash Sen's Euphoria . Neither internet nor Television formulated a communication model that would suffice enormous amount of exchange of ideas to brainstorm and be an emulative reference point to the pre-motioned 'conservative' South Asian communities.

However, our market was flooded with different MNC brands ranging from FMCGs, to automobiles etcetera and that resulted in a host of new ideas and brainstorming in the market. And, the synthesis of all that resulted in an amalgamation of hybrid jingles and spots.

This was certainly not enough a sparkling reason for something of the stature of 'rhythm and poetry ' to start altogether. However, fashion and music married together for a consumerist and new born generation and that meant that the pop dancers, singers and artists' attire (from their ponies till their boots) were followed to the core.

People with half knowledge about the genres of music had come about to picking up shoes, belt and collectibles of the big names from the music industry (much before their music arrived the scene).

Something big was about to happen.

Then, globalization glocalized the industry and the air was filled with the love of music, passion and love for everything across the world.

But, the tectonics were still not that alive to import the beat boxing and acapella movements from the west, though it had otherwise certainly set the stage for the rap and hip hop stars of India to flourish under this avant-garde movement.

So, while Apache Indian in UK was busting all charts with his unconventionally peppy rap, here it was the quirky number by Baaba Sheghal: Thanda Thanda Paani. It sold a million copies and bludgeoned the closed doors to a closet movement that got initiated with the songs of Michael Jackson and the likes. And, when MTV dropped into the scene, the floodgates opened to a wider choices of pop music. This resulted in an increased influx of anglicized lyrics and tunes in any oriental songs especially the ones from the North India. So, Bohemia in 2002 launched his rap album and the kids got crazy like a wildfire.

28

The

Score Magazine

highonscore.com

A later generation of rappers including the rapsters like Yo Yo Honey Singh, Hard Kaur and Badshah gave the young and plump movement its best mileage in class.

Rap turned into a sensational phenomena that resounded in every other Bollywood track and successfully pulled up many films from being utter blockbuster failures.

The shift from albums to primary Bollywood numbers was so seamless that the mainstream melodious playback singers of the day were pushed to the fringes. There were lies and calumnies thrown in the air (on the rapsters), but the dirt and specks were not enough to shy away other rap stars of the country to join the movement from different corners of the country.

Brodha V, Divine, Tazzz, Raga, Raxxter, and Lazarus are the bye-products of this neomovement, to name a few.

However, all has not been too sweet for the men and women of rhyme and prosodies, this means that while many artists have flourished as a result of the digital revolution. YouTube has partially paralysed 'the art of song creation' for a devastating stretch. Auto loops and MIDI tones have filled in the spaces in between, thus demeaning the requirements for any experiments on compositions or fine tunings.

Along with the issues of technicalities, there exists an increased amount of stress when it comes to the propaganda behind the songs. There has been an increased amount of allegation against the intonation of the songs that the rap stars have made over the years. From promoting sexism, misogyny and objectifying women, the rap gods of our ages are scarred to the core.

Unfortunately enough we are shifting to a time where we would largely hate loving the rap songs, because of the amount of negative baggage that is now attached to it. This is predominantly true with scandalized drug addicts and alcoholics posing as wannabe bling stars of the future.

With the amount of grit and depth that our country has, it hardly matters if we give in so much of slack to the rap stars and the entire b-byoing generation, but the fact of the matter is every civilization thrives and grows with the gives and takes from others, so why should we not?

7

Steps to record great Vocals in your home Studio!

Recording good vocals at home is a challenge. Here are some guidelines to achieve great results at a home recording studio.

1. The Room The room should be treated with acoustic panels. Place the acoustic panels behind the DAW (Digital Audio Workstation)- two bass traps in the corners of the room, and on the side walls to cut unwanted reflections in the room.

2. Your Vocal Mic Choosing the right Vocal Mic is the second most important factor for recording great vocals. You can choose a dynamic or a condenser mic. Shure SM58 and SM7B are great options for a dynamic mic. RODE NT1-A and SE Electronics X1 series are best picks for Condenser mics. For a slightly costlier but long term investment, Neumann TLM 102 or AKG C414 are great picks! The quality of recording depends on your room and placement of mic. Place the mic in the centre of the room because reflection is less at the center of a room as compared to the corners or elsewhere. Use a POP filter to remove unwanted P’s and B’s in your recordings.

3. Your Audio Interface I recommend audio interface like Focusrite Scarlett 2i2 series or Audient ID22. These interfaces are affordable and the quality of AD/DA converters are good.

4. Setting your Gain Level Most beginners think that recording at higher levels is good in digital audio, It simply doesn't work that way. Digital Audio interfaces are very sensitive therefore they could clip your audio if the levels are too high. It is better to record in between the of range -20db to -10db when the vocalist sings the loudest part. You still have 10db of elbow room to play with plugins during your mixing. The bit depth and the sample rate are also important factors.

Nowadays, the default standard for Music recording is 24-bit / 44.1KHz and for Video it's 24bit / 48KHz, as most of the audio interfaces support till 96KHz!

5. Using EQ for vocals Use a High Pass filter and roll off at 70Hz -80Hz to remove unwanted room ambiance in your mix. Also, try to find any nasal tone in the vocals by sweeping using the ‘Q’ value. The bad spots can be identified between the range 400 Hz to 600 Hz. You can then subtract that hollow sound in your vocals. Try to dip down around -4db to 6-db if possible then check all tracks again. Now do a little bit of boost in the higher frequency around 4KHz to 6KHz for 2db or 4 dB boost to get that sizzle in your mix! This should sound great in your mix!

6. Using Compression for Vocals Using compression in vocals is to maintain the dynamic range for the track.

There are no rules that you should insert a compressor in your vocals, if it's already sounding good. But if there are too many dips and highs in your volume range, you can insert a compressor with a standard setting of Ratio 2:1 or 3:1. If the output is very loud, then set the threshold at around -15db to -10db depending on your mix with reference to other tracks. But see to it that you have a gain reduction meter showing around -3db to -6db, because if it's too much, you will lose the original details in your mix. Also, set the attack to be less than 1 ms and the release about 30 ms.

Finally, adjust the Makeup gain according to your song.

7. Using Reverb and Delays for Vocals Effects like reverb and delays play a great roll in your mix. Using reverb in your vocals will create an ambience space in your mix. Generally I use Reverb with default plate settings and modifying the Pre-Delay from 15ms to 40ms depending upon the song. Also, using a High Pass filter removes any muddiness in the reverb which makes your mix sound great! Delays can also be easily applied to the track to create a rhythmic feel based on the tempo.

These tips will definitely improve your vocal recordings sound great. Happy Recording and Mixing!

Author: L. Baba Prasad. He is the Owner and Chief Sound/Mix & Mastering Engineer at Digi Sound Studio. He also teaches Sound Engineering & Music Production courses. For more details visit: www.digisoundstudio.com / www.digisoundacademy.com The Score Magazine highonscore.com

29

Tanya Nambiar

Singer-Songwriter Tanya Nambiar spoke to us about her latest EP, her music routine, the gear used by her, journey so far and more.

Quickly tell us about your latest EP and what you are working on right now.

I released my debut EP titled "Good Girls Gone" on 7th june across all platforms. Currently been working on its promotions.

What inspired the making of your latest number and how long did it take to finish?

Well my debut EP " Good Girls Gone" is the latest release. Three tracks make up this EP. I can't really slot it under one genre but it's a mix of pop, blues and rock. We blocked ourselves in the studio and recorded all three tracks in one day! This EP is dedicated to all the women around the world. "If doing things my way makes me a bad girl, I rather be a bad girl for life"

Tell us about your band, members, and your greatest influencers.

Currently my band comprises of Abhishek Lal on the guitar, Vishal Dixit on the keys and Arko Ganguly on drums. I am influenced by so many artists across different genres.

Madonna was my greatest influence when I was growing up. And then Amy winehouse was someone who left a deep impact on me.

What was your first number and when was it released? Tell us about your journey so far.

2012 -2014 I was the vocalist of a band called Gravy Train. The band split up and it left me quite lost. I spent the whole of 2015 songwriting and working towards a new direction.

2016 I released my first single as a solo artist. The song was a simple acoustic song called “Life as you know it” and it received a wonderful response. It’s been 8 years overall in the music scene and there have been so many ups and downs but I don’t slow down for even a bit. Music is all I know and want to do.

Your favorite musicians and bands?

This would be a really long listSheryl crow, Amy winehouse, Bette Davis, Ray Charles, Stevie wonder, Peggy lee, Nirvana, The Doors, The kinks, Nina Simone.

What advice would you give to beginners?

30

The

Score Magazine

highonscore.com

Put out music that you connect with the most. You have to be able to express yourself honestly through music. First make music for yourself and become good at that, your audience will automatically find and follow you.

What gears do you usually use on a regular basis for recording?

For my vocals, we use a Genesis Tube condenser microphone.

What is your biggest challenge as an independent artist and what is the one thing that you would like to change in the industry?

It’s difficult doing everything all by yourself. I am my own singer, songwriter, pr person, brand manager, finance collector. The scene here definitely needs more artist managers.

What made you quit your day job?

I didn’t want to be just another regular person stuck in a 9-5 job.

Life is too short and I want to live it to the fullest which means doing something I love and doing it every day. I want the world to know who Tanya Nambiar is. Music and entertainment is my passion and I had to give it a shot. Quitting my job was the best decision of my life.

What other jobs do you manage to juggle along with music?

Apart from music, I am a karaoke jockey, an anchor, a voice over artist and a businesswoman. My husband and I recently started a brand of hot sauces called “El Diablo”.

How would you define your music and how do you go about writing it?

I hate putting my music under one particular genre. I am influenced by so many genres and I try to put those influences in my music. I would like to call my music as easy listening. It’s a mix of blues, pop, a bit of jazz and rock n roll. I like to keep my lyrics simple and hooky. I want people to sing along or be able to relate to my songs. First I make a tune and then go on to write the lyrics.

What do you think about the indie music scene right now?

It’s evolving at rapid speed. There are so many artists representing different genres now. Also indian independent artists playing across the world. I think the indie scene here is taking shape. There is a lot of structuring required but it’s getting there.

What are your plans for the future?

I want to set out on a grand tour for my music. Definitely put an album together. I want to continue making music. My eyes are set on some big stages and I’m going to continue to work hard to get there. Go Hard or Go Home, right??

NANDINI DEB Tell us about your journey in the music space Journey of Music has not only developed me musically but has also helped me to grow as a person. It has been hard but enjoyable as the old saying goes no pain no gain. Look forward for more. I came to Mumbai to study music and did not feel like going back as I saw a lot of scope to do music here. Back in Kolkata I used to do small stage shows and at even small birthday parties but it was still fun. I shared my first stage with Sukhvinder Singh and got to know how big it can get.

And the journey began.

You have shared stage with leading artists in the country.

Which has been your best performance so far and why?

Yes I did. And I am blessed to share stage with all leading singers of our country like Sonu Nigam, Shaan Babul Supriyo, Udit Narayan, Kunal Ganjawala, Sukhvinder Singh, Benny Dayal and many more.

The best would be the first stage that I shared and it was none other than one of my favorite Sukhvinder Singh at Dahi Handi Utsav Bhandup. I could never imagine till the time I got into the stage for the first time, I faced around 3 to 4 thousand people. I won't forget that high! What a feeling it was. And yes I felt I am going to be on stage for the rest of my life. It was one hell of experience

Tell us about your independent music Right now the platform of independent music is growing and it is the correct time for singers to create magic here. I am in the process to do some.

Are you excited about your Bollywood debut? What can we expect from the music?

Super excited to crack in to Bollywood. It's like a dream come true for all the aspiring singers to do a playback. It's like a sense of ownership. Right now I am totally enjoying .looking forward to get more in my kitty. This is proper dance music.

It's a treat for those who love dance track, it should def be in all the clubs soon.

Brief us about your work with the Malaysian government with Sonu Nigam He is God for me, when music is concerned. Anything with him is just an absolute blessing!

Tell us about your upcoming projects after Munna Michael Currently, I am working on a music video cover which is a tribute to my favorite AR Rahman sir. It's a mashup of three of my favorite numbers. This will be very different from what is happening in the market now.

Are there any independent releases on the cards?

Yes I am also working on an independent music. Very modern and pop

What are the challenges you faced while you entered the B-town scene?

The biggest challenge that you face is yourself in Mumbai.

This place has so many odds to do. So all I did was kept the focus right and be patient .Definitely without my parents support, I wouldn't have reached wherever I am. The biggest challenge everyone faces here is the monitory support and that is something which we all need to sort out to walk in this journey. I keep pushing and trying myself every morning I wake up.

Right attitude gets all that you want from this city.

If there are few composers you would like to sing for, whom would they be and why?

Yes there are so many! If I have to pick a few it would be AR Rahman, Pritam, Sachin-Jigar and Salim Sulaiman.

They are all maestros and so different from one another. Hope to work with them soon

Genres you would like to sing in Nothing in particular. I would love to explore whatever comes my way now. I guess now music will choose me, not me. So I'll pray that happens right.

The Score Magazine highonscore.com

31

Tell us about your music & your set list at Live Arena this year Selva Ganesh Usually people expect fusion when they see instruments like drums. We essentially play classical but with a different dimension. We don’t fix any piece of music. We just discuss the raag and taal, and play whatever comes naturally on stage.

The sitar is by itself a classical instrument, and the idea is that the kanjira should sound more like a tabla than a drum set, with a Carnatic vocabulary.

Rhythm Shaw I’ve worked on some finger-style acoustic guitar music and some rock, funk, jazz and varied combinations. I’m glad to have made friends here and found the industry’s top musicians to help me express my music and play my parts.

Sivamani A.R Rahman gifted me a Continuum that I was very glad to have, and there were a lot of smaller additional percussive instruments that I couldn’t play last year. I just like to try new sounds. Playing with Rhythm Shaw was also great cause it reminded me of my old days of playing with a rock band (laughs).

Anand Bhaskar Collective We’re an alternative rock act and write our lyrics in Hindi, and we have influences of classical, Carnatic elements mostly brought through by the vocals and violin. The music itself can be put under the heavy, alternative rock category. Our melodies are pop and our themes are inspired by everything around us.

We interacted with a host of different artists and bands playing in the Harman Live Arena at this year’s Palm Expo, and we’ve compiled their thoughts and views into a few broad categories.

Tejas Menon We played some songs that were written from my 2014 album, and a couple that are from my upcoming album. I’m trying to walk the fine line between contemporary stuff and the classic, analog sounds. I have members in my band who are into the classic Simon and Garfunkel kind of stuff as well as those who listen to Ceili Mor and Vulfpek, and I personally also listen to a lot of electronic music and so we do tend to incorporate both elements into our music.

The Kush Upadhyay Group As a band we started writing together 3 years ago and put out two EPs. The music we played was really fresh and written like a month ago and we wanted to see what people thought of it.

What do you think about the Harman Live arena and the sound on stage?

Selva Ganesh It sounded great! We’re trying hard to bring out classical sounds in ways that rock or pop would, and the sound on this stage definitely helps achieve that.

Rhythm Shaw It was perfect actually. We didn’t sound check together (with Sivamani) on stage, but I loved the sound. It was really enjoyable.

32

The

Score Magazine

highonscore.com

Sivamani It was awesome actually. The new A12s were great. I’m thankful to Harman for their products cause without them I wouldn’t be able to play a setup like this. The AKG microphones were also great, and the lapel microphone that picks up sound where ever I touch.

Anand Bhaskar Collective It sounds fantastic! We were really excited the minute we walked in with the lights and the booming sound.

Tejas Menon It was so good. I know their stuff is obviously top notch but they really delivered and provided us with everything we asked for. It was definitely an experience.

The Kush Upadhyay Group It was great. I have no words actually. It’s always nice to play with such great sound and the new monitors were kickass.

Everything was setup really well, we had no hitches and Anshuman did a great job with sound.

Tell us about their gear, endorsements and technology Selva Ganesh We don’t use any electronic instruments, our set is entirely acoustic and all our instruments are miked. I’m endorsed

by AKG and I’m so glad that it helps pick up the sound the way I like it. It’s a great microphone. I use the clip-on mikes for the kanjira and the other AKG models for the rest of the instruments.

Rhythm Shaw There’s a new signature power supply that I’ve been playing with. I endorse around 13 brands so it’s hard to talk about all of them (laughs). I recently started endorsing Boss and I’ve been playing Yamaha electric guitars right now. My dad had got me a really old second or third-hand Yamaha acoustic guitar when I was a kid and I fell in love with it. Then the guys at Yamaha contacted me and got me one of their best guitars, the Pacifica and now I’m really looking forward to using it. The DD500 by Boss is my absolute favourite. It’s one box that can do anything.

Anand Bhaskar Collective Circle Pro Audio endorses us and our entire live set is powered by them, including in-ears, microphones and

wireless units. We love technology and although we like our analog sounds and their warmth, gear and tech will always be beneficial.

The Kush Upadhyay Group We’ve used MIDI setups for years now and despite it’s drawbacks you can do a lot with it. There are plenty of audio plug-ins and instruments and even on stage you’ve got everything at your fingertips. The idea is to not get too dependent on the technology.

Tell us about your way forward and upcoming plans for the year Selva Ganesh We are still searching. Every musician has a search and right now we’re trying to get into classical ideas and presenting them in a different way. We can play all sorts of things as long as the roots of our music are strong.

Rhythm Shaw There’s my finger style acoustic album that’s coming out, along with another album featuring a lot of different musicians and varied styles of music. It’ll be releasing in Germany. There’s a lot of material that I want to write and so I’m just going with the flow.

Sivamani My wife Runa and I are launching an album together called Tu Hi Tu. I’m also focusing on re-launching my Mahalila. I’m going to start a ‘Dumru’ school this year and I’m just deciding the location.

Tejas Menon We have an album coming out soon called Make It Happen. Our songwriting, grooves and direction are pretty contemporary while also incorporating classic elements. So this album is going to have a blend of both.

The Kush Upadhyay Group We’re expecting Impulsive Decisions to be out by September and we’re planning to tour. It’s a five-track album that we recorded at Cotton Press studios with Gino Banks and Sheldon D’Silva. We’ve worked really hard for this album and we are really excited to get it out there.

The

Score Magazine

highonscore.com

33

Casio Privia PX-350M

The original Privia was the answer to many pianists’ prayers: the first (and for some time the only) serious 88-key digital piano at an unprecedented price and weighing only 25 pounds. This made it a catalyst for increased competition in the under-a-grand piano market: 128-voice polyphony graded and weighted keyboard actions, and ample supplemental sounds are pretty standard these days. What does Casio do to up the ante? For the latest Privia, the PX-350M, they plunged their resources into a piano playing experience so improved... it’s astonishing.

Piano Sound and Feel Compared to the previous flagship Privia (the PX-330), Casio has tripled the sample size of the main piano sound. They’ve also adjusted the key sensors such that there’s a lot more going on than what you may be used to from a digital stage piano. For one, the keys transmit high-resolution MIDI to the internal sound engine (as well as any external software that can interpret it), so instead of 127 possible velocity values, there are 16,256.

On a graded keyboard, the hammers are (or seem to be) heavier and slower in the lower range, just like on a real piano, and they get gradually lighter as you ascend. The PX350M has this, and also something called Hammer Response, an algorithm that accounts for the time it takes for the heavier hammers to hit the strings at a given MIDI velocity.

Also, the key surfaces have a prominent texture that gives your fingers grip, wicks away moisture, and makes it hard to go back to stage pianos that don’t have it.

34

The

Score Magazine

highonscore.com

The PX-350M has sustain resonance, which simulates the sound of all the strings vibrating in sympathy with actuallyplayed notes when the damper pedal is down. Check out presets like “Grand Piano Dolce,” which dials in resonance like you would reverb or chorus. The effect is magical.

Casio also touts AIR (Acoustic and Intelligent Resonator), their digital strategy for interpolating between the four velocity-switched sample levels. It works. You get smoother dynamics, finer control, and longer samples with barely noticeable loops. Slam down an octave near the bottom and it growls away for what seems like forever.

Bottom line: You have to engage the same level of mental and kinesthetic concentration that you would if playing an acoustic grand. Once you do, you have a very expressive instrument at your fingertips.

Other Sounds and Features What Casio didn’t do was tamper with the already robust feature array of the previous deluxe Privia, the PX-330. For the Rs. 8000 bump up from the PX-160 (which features the same piano sound), you get 250 sounds, a 17-track sequencer that records and plays MIDI files via driver-free USB2, a programmable drum machine with 180 rhythms, autoaccompaniment, and auto-harmony—the latter two with a bit of cheese factor but darned fun nonetheless.

There are cushy Rhodes simulations, a nasty little Wurly that’s the go-to EP on anything funky, Clavs that cut, and a serviceable smattering of organs. New in the PX-350M are a super-wide stereo string patch and some ballsy drum sounds.

The bass/piano splits (with both acoustic and electric

" The Privia PX-350M has the soul of a real acoustic grand. It’s inspiring and emotional in a way that I haven’t experienced in a digital piano outside of the best virtual instruments and most expensive hardware digitals. Kudos to Casio for their commitment and execution. "

basses) work in many situations, and you’ll be grateful for the pitch-bend wheel, which you can whip out at least once a night even on piano trio gigs.

One new feature which comes out of the box—but after a couple of uses is to be found indispensible—is the audio recording. Plug in a USB flash drive, hit a couple of buttons, and you can now record anything that goes on in the instrument as a CD-quality (16-bit/44.1kHz) WAV file. This is great for capturing fleeting songwriting ideas, documenting practice for feedback from a teacher, or turning a solo gig into a demo.

On the Gig We took the PX-350M out of the box and directly to a 150seat jazz quartet gig. Going through a pair of Barbetta 41C keyboard amps, it took me a few songs to nail my sound.

Most digital pianos, we now realize, are more forgiving than a well-miked acoustic grand. That’s what this Privia—with its sensitive dynamics and wide separation—sounds and plays like in a live situation. For the first few tunes, we had to concentrate on our voicings and touch. Then, it began to sound like a good recording of a live performance. A week later we played a 500-seat corporate gig through a pro sound system with a stereo direct box and wedge monitor. Again, it was like playing a miked acoustic, only now we knew how to take advantage of it. For example, you don’t necessarily have to twist the volume dial to make it louder—you can simply dig in more.

The PX-350M sounds fine through its internal speakers as well as the signal from the Privia’s line outs is hot enough

that you can leave the keyboard volume knob below three o’clock and just raise the gain on your amp, P.A., or recording interface without adding to the noise floor. We tested this, and the results were loud and pure.

A final nit: On a dark stage, it’s easy to reach for and hit a Registration button and recall a sound category.

Registrations save the entire state of the instrument and can include rhythm and auto-accompaniment that starts right up. Pre-programming registrations (a good idea in any case) can save you an embarrassing moment here.

Conclusions The Privia PX-350M has the soul of a real acoustic grand. It’s inspiring and emotional in a way that I haven’t experienced in a digital piano outside of the best virtual instruments and most expensive hardware digitals. Kudos to Casio for their commitment and execution.

PROS: Uncanny grand piano playing experience. Audio recording of your performances. Graded action with textured keys. Giggable EPs, organs, basses, and General MIDI patches. Ultra-light.

CONS: One needs to buy a case for the PX-350M separately as that makes it so much easier to carry to a gig.

Bottom Line The latest Privia delivers the most realistic piano experience you’ll get for under a grand and rivals the sound and feel of stage pianos that cost many times more.

The

Score Magazine

highonscore.com

35

PALM 2017 got off to a roaring start with long queues for the registration before opening hour at 11am. Total visitors on day 1 clocked 7682 and nearly 2000 participants, representing the exhibitors. It was thumps up across the exhibit floors from all exhibitors signaling a very high quality crowd - knowledgeable and representing prospects.

This was the largest PALM expo in its 17th consecutive year, growing consistently year on year at more than 10 to 15 percent. PALM expo covered in all 27,000 sqm across the demo cubes, line arrays, live arena, conference Halls and exhibit area. Exhibits were divided into the sound and display hall and the lighting hall.

PALM 2017 welcomed 30,000 visitors across 27,000 sq.m exhibit area, 10 highlight pro features PALM creates pride and position for professionals establishing credible, reputed platforms with awards, conferences, championships

The biggest PALM show hosted nearly 225 exhibitors over 9500 sqm of exhibit area. Witnessing the maximum number of new products this year, Day 2 clocked 7440 unique visitors, with a record 10186 footfalls. Over the three days of the show, total unique visitors registered were 21506, an increase of 17.5% from 2016. The show hosted a total footfall of 30000 visitors across three days.

"PALM 2017 welcomed 225 exhibitors across five halls and two demo grounds. This large expo replete with the latest technology from leading brands exhibited latest products from across the world. ABEC is proud to serve the pro sound & light industry in this remarkable expo which saw over 30000 trade visitors this year and which we shall build bigger and better in 2018," said Manish Gandhi, Director & COO of ABEC Exhibitions & Conferences Pvt. Ltd. Stage sound & lighting indeed was the biggest chunk of the visitor pie. Remarkably system integrators looking for solutions across AV, Audio –for-Video, cinema represents the second highest piece of the pie. Studio recording and music production solutions represented the third biggest piece of the pie. The visitors mix for each segment was a healthy average between professional talent and business buyers.

“ITE takes pride in ownership of this dynamic platform, infusing energy to the event entertainment industry in India. ITE is committed to develop content to drive professional growth in India's changed stage Sound & light market. The show's success can only be attributed to the enthusiastic attendance of trade professionals. ITE is happy to serve this dynamic community,” said Gordon Payne, Asia Regional Director, ITE Asia Exhibitions Limited.

ABEC successfully produced this 17th edition of the PALM expo. We met the challenge to provide an international class show production featuring championships, demos, creative showcase conferences, stage arenas and sound reinforcement. ABEC deployed resources and experience in conducting such an expansive expo covering 27,000 sqm. All the events at the expo were held smoothly with appreciative audiences from trade and creative professionals.

Key highlights: • The latest feature at PALM was the lighting designing hosted by Ulhas Sahasrabuddhe.

• The 7th edition of DJ championship once again was dramatically successful, created by Reji Ravindran.

• Pramod Chandorkar is the Awards Director of the IRAA awards presented by the PALM technology magazine

36

The

Score Magazine

highonscore.com

• PALM Sound and Light Awards decided by the PALM fraternity and the PALM technology magazine.

Sennheiser announces the launch of MK4 Digital Sennheiser recently launched the new digital version of its MK 4, one of the most popular recording mics in India. With high-quality Apogee A/D conversion and mic preamp technology, MK 4 digital connects directly to iOS devices, Mac and PC computers. The large-diaphragm MK 4 digital is the ideal partner for any mobile recording task requiring great sound quality with the typical warmth and detail of a true condenser microphone.

The MK 4 digital is a must-have microphone for the home studio and in mobile recording, whether in the rehearsal room or on the road. Its exceptional sound quality will also be an asset in the recording of speech. It is delivered complete with a USB cable and a Lightning iOS cable for connecting to iPad, iPhone or iPod touch as well as a microphone clamp and a pouch.

The microphone can be used with common media production programs such as Logic Pro X, Final Cut Pro, Adobe Premiere, Pro Tools or Ableton Live and iOS recording apps such as GarageBand and Apogee MetaRecorder.

Commenting on the launch, Mr. Vipin Pungalia, Director Professional Segment, India quotes “I am delighted to announce the launch of MK 4 Digital, a true condenser studio microphone which will bring full, detailed sound and high-quality to recordings on iOS devices, Macs and PCs. It will offer bands and artists freedom and flexibility in recording their tracks and song ideas, and will also be an ideal tool for high-quality speech applications from voice-overs to podcasts.�

The Sennheiser e-store now lets you check out and buy this microphone anytime and anywhere by visiting the e-store at http://en-in.sennheiser.com.

Join us on Facebook.com/SennheiserIndia and follow us on@ SennheiserIndia

The

Score Magazine

highonscore.com

37

HARI & SUKHMANI Tell us your story. How did the idea of Hari & Sukhmani the band come about?

It was quite organic. A common friend introduced us, we met up in my studio, where we jammed for a bit. As luck would have it, we managed to get a bunch of songs together and a gig in two weeks.

Any reason why you chose to fuse punjabi folk with electronica?

We just followed our instincts. I guess we were just experimenting/working within our comfort zone. I produce music using electronics as a medium and punjabi folk is something both of us have grown up with.

Tell us about your latest single Promises.

Our latest singles are promises and chann. We decided early last year that we are going to be focussing on releasing more of our music independently. We wanted to put our evolution out there not only through our live performances, but our recorded music as well. Hence, we are putting out singles every month or so on our Soundcloud page www.soundcloud.com/harisukhmani Our music is downloadable for free.

38

The

Score Magazine

highonscore.com

You are singers, songwriters as well as producers. How do you manage to multitask yet making sure you do all of it right?

Well, everything requires work. There's no substitute to that. But when you really enjoy doing something, then you do it a lot, then it's not work, it's a lifestyle. Our priorities are to focus on being better artists, on being better people.

We strive towards evolving our sound. Everything else seems to organically follow.

You have performed in various stages. Which has been your best experience so far and why?

So many of them! We take pride in trying to create a homely, informal ambience on stage, so people can enjoy our music without any inhibitions. It's fun to see people at weddings and other private events breaking out of a formal zone and enjoying us singing funny tappas! Our music is more soulful and full of moods, and it's always an amazing experience when people get it.

As artists, you may have someone you would like to work with. Who would it be and why?

We like to work with any artist who makes our music better. Any artist who helps us evolve, someone we can

learn from. The experience of making a song with someone can be very powerful. We try in every song, to record or work with an artist. We have been fortunate enough to work with people like Arshad Khan (esraj), Ajay Prassana (flute), Thu Le (classical guitar), Chugge Khan ( singer, multi instrumentalist), Mandeep sethi (rapper), Noori (band from Pakistan), Fakhrouddin Ghaffari ( Iranian percussionist), Baldev Singh (sarangi), Shatrunjai Dewan (keyboardist, producer), Aman Nath ( pianist, producer), Elvis (guitarist), Bosco (drummer), Joe (bassist), Trilok Gurtu (percussionist). And many more.

What makes your music unique?

What makes anything unique: When you don't try to copy some formula. All of us are unique. We seem to lose that along the way sometimes. I think both of us have an identity which we strive to maintain. In our music, in our stage presentation, in our actions, basically in our musical journey.

You have a very interesting band motto to leave behind cultural, religious, and racial divides.

To transform the the community and the individual through happy soulful music.. Have you succeeded in keeping up with it?

We can only try to honestly present, musically, who we are.

Remaining true to our music is the only way we can speak to whoever listens to it. An artist once told me that getting on stage is a huge responsibility for any artist, as there are people who have opened themselves up to the artist, by coming and listen to them, can be influenced by them. We try to stay true to that in our own way.

Tell us about your upcoming/future projects We are totally involved, at the moment, in releasing our tracks independently, new and old. You can expect a track from us every month or so.

Where do you guys draw inspiration from?

Inspiration can be drawn from anything as long as one has an open mind and heart. We are fortunate to be doing what we love to do, what we are passionate about. That helps us to be inspired all the time!

Listen to them: www.soundcloud.com/harisukhmani The music will speak for itself. Thanks a lot for listening!

We would like to think so. The key is happy soulful music.

The

Score Magazine

highonscore.com

39

RENDEZVOUS WITH

Jashoda Madhavji

This time around, we wanted to bring to you an interesting Interview with a celebrity publicist and event organizer Jashoda Madhavji, who talks about how it is to be on the other side handling artists, managing large scale events, her journey and future projects.

Tell us about your journey in the music industry PR was an accidental venture for me, I never planned it. In fact I have a degree in economics, politics and literature and a separate one in theatre from Trinity College of Dramatics.

It has been over 14 years now as I started working real young, when I was 18 years old or so. Whilst I was studying in high school I was simultaneously spending my free time interning with my grandfather Ranjit Laxmidas Madhavji who is a world icon in portrait photography at his studio called Hamilton Studios. This is where I learnt the essentials of being a successful entrepreneur and learnt the ropes of running your own enterprise for close to 3 years. It feels fantastic to be the CEO of my own life and understand the true meaning of accountability, efficiency and excellence. I quite enjoy being the behind the scenes go-to person who’s available 24x7 for any kind of counsel and somewhere PR allows me to do that.

I love building a brand out of nothing and somewhere I love to challenge myself to think beyond the ordinary. Someone once told me I would never be a successful entrepreneur and I took it upon myself to change their perception. God has been kind! Music was always something I was attracted to as a child and it was my calling so to speak. Justin Bieber, Bryan Adams, Akon, Pitbull, LMFAO, Armin van Buuren, Tiesto, David Guetta, Avicii, Hardwell, Afrojack, Diplo, Fatboy Slim, Martin Garrix, Swedish House Mafia, Sunburn, Supersonic, Enchanted Valley Carnival, Tomorrowland, Windsong Music Festival, Future Music Festival, Niladri Kumar, Amaan & Ayaan Ali Bangash, AR Rahman Anoushka Shankar, DJ Bravo, Nikhil Chinapa, Mad Decent Block Party, Sensation India, Ultra Music are some of the top of the line clientele.

Tell us about your fondest and most difficult experience in the live scene so far.

I think my fondest memory would be the Akon India Tour.

Contrary to his public image, Akon is a very unassuming

40

The

Score Magazine

highonscore.com

non controversial kind of a person. The one thing I truly loved about Akon was the fact that he respected the press and the fans. He had no fear diving into a crowd of 30k plus people and in fact in one the cities the barricading fell apart and fans stormed into the backstage area and he was so not bewildered about it all. But since I was on the only girl on the entourage he made sure he lent his protection to me and got me into the car safely. Even at our after parties, Akon was very comfortable being surrounded by his fans and gave every single person a photo opportunity. The one moment I’m really proud of is that no one was allowed into his room and he asked his security to guide me to his room to meet with his wife since I had got her a souvenir.

The most challenging experience would maybe be the Justin Bieber Purpose Tour since the artist had a global mandate of no press and sustaining the tour in the news for over 3 months was a task but we were successful because of third party associations and endorsements. Selective media was allowed in the front pit area creating a sense of discomfort with the rest of the press fraternity and a major backlash in post event coverage. A mandate of no press at public places the artist was visiting had to be maintained at all times so diverting press became another issue two days prior to the concert. The initial announcement was also jeopardized because of the news was leaked in advance hence a whole new strategy had to be devised when the tour had to be officially announced timing the artist’s post on social media with the media break.

What are the challenges you face as a celebrity PR? Well celebrities come with their own baggage but it’s an art to be a celebrity agent. On the flipside, a lot of publicists and managers in India feel they are the celebrity themselves which sometimes creates a negative brand value for the celebrity because of the high handedness. In India, celebrities are very comfortable treating their publicists and

managers as disposable commodities which is a rare sight to see with their counterparts in the West. Global celebrities don’t budge an inch without their publicists and managers and everything is so methodical and professionally managed. Personally it’s a very exhilarating experience working with global celebrities because they understand the importance of brand building. Whether we're crafting an actor's image, babysitting a hard-partying starlet, fielding phone calls from press, or helming a multi-million dollar movie campaign, we are an integral part of the showbiz machine and that alone is enough for a 24x7 job. As long as you explained the who, what, why and where equation, most global celebrities would always make time to accommodate the press time unlike in India where press is comfortable waiting for 2-3 hours for top celebrities to attend an event.

However a lot of top grossing artists have no media as clauses in their riders which pose as a hindrance to great pre event press since media editors feel the PR isn’t pushy enough which the case isn’t. A lot of times PR faces a backlash because of last minute alterations by the tour manager in press guidelines on ground and sadly press photographers and videographers don’t understand NDA’s and law suits.

If there is something you would like to change in the music industry, what would it be and why?

The sense of unspoken insecurity that prevails. Music is really an art that unites cultures and countries and contrary to popular belief music today is creating a sense of rivalry and competition. Musicians in India aren’t as respected as their counterparts in the West and that mindset needs to change because we lack the respect for the art. If a film doesn’t do well at the box office, it’s the music that keeps the film relevant and that’s a fact that most people tend to overlook. Most of the media who covers music as a beat is myopic and there is not enough editorial space dedicated to music as a subject. Regional music needs that extra impetus, classical music needs the respect on home turf just like it gets globally, talent managers need to treat musicians as seriously as actors, wedding planners should consider indie bands for private performances, records labels need to discover and promote new talent, established singers need to collaborate more often with newcomers, copyright law needs to be applied more for online infringements, consumers need to start paying for music, higher revenue streams from streaming. All these changes are imperative for the future of music and so that is viewed as a valuable asset of the entertainment profession.

What do you attribute your success to?

A few things my grandfather and mother taught me. I was raised by a single parent and she gave my sister and me the best values.

Never give up on your dreams and the word impossible exists in the dictionary of quitters. I'm a huge believer in 'what you ask for the universe gifts' and if you can dream it you can achieve it because there is a magician inside each one of us. I always do a lot of charity along the way as there were times when I needed the help and someone assisted me in good faith so I never forgot payback. I like to inspire and help others in their path to success even if it means letting go of my hefty consultation fees. I call it good karma and empowering others to be self starters because the universe has a beautiful way of rewarding kindness. I have always considered challenges to be opportunities in disguise. I never push the problem under the carpet, I embrace it because you always need to set a new benchmark and challenge yourself. Always be grateful, positive and humble as nothing compares to good hearted human being. Period.

Tell us about your upcoming projects that we can look forward to.

Ed Sheeran, Ultra Music Festival, Sunburn 11 , Anoushka Shankar and maybe a multi-city tour headlined by Maroon5, Bryan Adams and Chris Brown

The

Score Magazine

highonscore.com

41

SHREYA BOSE

Online Music Archives Among the many wonders of the internet are the seemingly infinite stores of music on the similarly infinite digital avenues. While Youtube and iTunes may be your go-to URLs, there are certain websites that deserve a visit because of the incredibly unique nature of their content. These online music archives catalogue and chronicle music along the lines of a certain theme, era or other relevant category. Some of these archives are not open-access due to a plethora of copyright issues, and permission has to be obtained from the pertinent authority to listen to a certain recording.

Nonetheless, the effort is no large price to pay compared to the value (both artistic and historical) of the music so protected. These archives feature sounds that are not merely examples of creative skill, but pieces of history themselves.

If you are looking to sample music unlike what you can find anywhere else, simply browse the following :

Ajab Shahar – Kabir Project: Constructed by the Kabir Project, Bangalore, this is an online space comprising songs and conversations concerning ideas espoused by the vernacular saint-poet Kabir. This includes oral traditions of Bauls, Sufi and Bhakti poets collected over 12 years. While they are majorly sourced from various parts of India, there are also artists from parts of Pakistan and Bangladesh featuring maddeningly beautiful vocals and profoundly touching lyrics (with subtitles).

The Travelling Archive: Initiated in 2003 by Kolkatabased singer and writer Mousumi Bhowmik and sound designer Sukanta Majumdar, this website offers extensive information about folk musicians from West Bengal and Bangladesh. Field recordings, essays, albums and other information regarding the richly diverse tradition of music from the roots of Bengal makes this archive a godsend for serious researchers, curious amateurs and aficionados of good sound.

People’s Archive of Rural India (PARI): Established and operated by celebrated journalist P. Sainath, PARI is an online register of experiences marking lives of people from the most underprivileged parts of India. Notable among them are the recordings of the PARI Grindmill Songs Project which consist of songs sung by hardworking people often living a deprived life. Case in point: a song by Renuka Umbre of Rajmachi village whose family cultivates red millet on the land of other people that goes The thin bangles cost twelve annas a dozen Sister, your son Sajana, gives them to me The woman went to Mumbai, she became a Mumbaiwali She has forgotten the language of our countryside.

Archive of Indian Music (AIM): Possibly one of the most fascinating soundcloud accounts you will come across, AIM is a gathering of gramophone

42

The

Score Magazine

highonscore.com

recordings reflecting the heritage of classical music that inhabits the annals of Indian culture. Writer and music lover Vikram Sampath did the world a huge favour when he painstakingly collected and digitized over a thousand of such precious rarities as the piece sung by Angur Bala to felicitate the Nizam on silver jubilee of his coronation, or the melodic banter featured between protagonists in the plays of Alfred Natak Mandali. The archive is delightfully manifold, hosting the likes of Bhojpuri folk and film soundtracks along with more predictably elite pieces of classical renditions. I highly recommend Raga Dhrupad by the Dagar Brothers.

All India Radio (AIR) Archives: The AIR archives are easily the most extensive on this list because of the significant financial resources All India Radio has always been able to muster. AIR’s archives are not entirely open access, and processes to gain permission to listen to various recordings are outlined on their website (allindiaradio.gov. in). However, the hassle is well worth the effort, as AIR holds in its custody artistic rarities such as ragas rendered divine by the voices of the Alathur Brothers and the Divyama Sankirtanas of Tyagaraja as directed by the musical genius of Dr. M Balamuralikrishna (who has accompanied Pandit Bhimsen Joshi, and performed at jugalbandi concerts with Pandit Hariprasad Chaurasia and Kishori Amonkar).

MUSIC MEDIA PARTNER

44

The

Score Magazine

highonscore.com

A chat with Mr. Arun Kumar, Divisional Manager, Bose Corporation India about their new technologies launched at Palm Show 2017, how the show has helped reach out to their audience, new developments in this year and more.

Can you tell us about the products at Palm Expo 2017 This year we are displaying our ControlSpace EX conferencing system which is a new launch from Bose with some innovative features.

It has all kinds of connectivity that you can think of in one box. It is useful for conference room applications.

The other product we are focusing on is the Showmatch Loudspeaker system which is a DeltaQ line array system targeted at rental and tour sound.

We had a demo cube where we did live of this product and had about 5 parties on the verge of confirming after listening to the system.

We have our portable range on display and creating a lot of interest in the visitors. We have our usual engineered sound products, speakers, amplifiers and so on.

If there is one word you can associate with Bose, what would it be?

I would like to use two: Quality Sound

Are there any business associations this year?

There is an important change in how we reach out to our customers in this fiscal. Our distribution network has undergone a revamp. Now we have Distributors who handle our regular moving products and now have distributors catering to specific markets (South, West, North & East).

We are entering into direct partnerships for the engineering sound range with folks in all major cities.

This is a big change for us in our way to reach out to customers.

How has Palm show benefitted Bose?

Palm Show has been gaining traction through the country gradually. Early on, the visitor profile was mostly focused on west especially Gujarat and Maharashtra.

This time I saw a lot of people from South and North coming here. In one platform, I can reach out to a large audience. This is one reason why we invested in the Demo Cube where we allow you to listen to the sound and also learn about its features through a presentation.

Lot of people we met from tier two cities, which is a plus for Palm and for us. For us as Bose, our objectives get met.

It is much better organized and they have been improving every year. Of course, a little bit more discipline about the loud sound in the hall must be avoided (Laughs).

Tell us about your Demo Cube at Palm We have a presentation where we explain about the benefits after which we do the demo. We try to show the quality in the vocal range and also exhibit how it sounds in a concert, high energy tracks.

About The Score Magazine I have been following the magazine for a long time now. Once we changed our business model, we became keen to come on board and reach out to our target audience through your magazine. The magazine has evolved a lot from being a solely music magazine. Yes, music remains the core but you are covering the entire spectrum that involves manufacturers of different products, recording segment, producers, events, pro audio and complete the chain.

Your digital section has evolved rapidly in the last couple of years. We would like to associate with your magazine in the Events section definitely.

Initially, magazine was short on content but today it has a much wider coverage and there is a huge improvement in the last few years. The magazine is also well targeted and it is our target as well.

Kudos!

The

Score Magazine

highonscore.com

45

YAMAHA LIVE ARENA At this year’s Palm Expo, we managed to meet and interact with a couple of brilliant artists performing at the Yamaha auditorium. They spoke about their music, endorsements and the Yamaha products that they love. Here are some of their responses.

What kinds of music do you like playing and how did it begin?

performance and they were great. I like playing Vic Firth sticks, 5As.

Lydian Nadhaswaram

Stephen

When I was 2 years old I started playing drums on the floor with xylophone sticks in a 6/8 pattern. The next day my Dad bought a rotom and I started practicing on that. I started playing on a full kit from the age of 3. I like western classical, jazz and Indian music. I love Buddy Rich, Tony Royster Jr., Aaron Spears and Gino Banks (laughs). I plan to write my music and compose my own patterns in drums.

My favorite is Yamaha motif. It’s a killer instrument with great boom and feel. I like playing hard and percussive and this really works for me. Now there’s a new product from Yamaha known as Montage. It’s not just great on stage but good for production too.

Stephen Devasy I’m a classical pianist. I started with western classical and then came to Indian classical. Then we started combining music, a mix of Indian and western. Fusion, as it’s called.

More of instrumental, but hitting the kind of notes that communicate with people fast. If our rhythm is complicated, we keep the melodies simple and complicated melodies are met with simple rhythms so that the common audience can connect with it easily. Instrumental music isn’t very popular and so I want to bring it to greater crowds. Today we played tracks from my album Project 70.

What kind of products do you like using?

Lydian Nadhaswaram I love Yamaha drums. For a long time it’s been my dream to play for Yamaha. Rydeen series has an amazing tone and I love it. Today I used the K-Series Zildjian cymbals for the

46

The

Score Magazine

highonscore.com

Gino Banks I’ve used Yamaha pads as attachments to my acoustic kit for gigs with A.R Rahman and situations when I need electronic sounds. Then Yamaha offered to make me a part of their artist roster and endorse me for their electronic drums and I thought it was a great opportunity cause I’m an acoustic player, but this helps immensely with production and even trigger loop sounds live. I’ve done clinics and workshops before, but this was my first time playing a completely electronic kit. In fact, we’re planning a tour with this setup too.

What are your plans for the year?

Stephen I’m coming out with my album Project 70 this year, which has over 200 musicians playing on it, signed by an international label. The magic behind it is that it was composed, recorded, edited, mixed, mastered and even shot on camera within 70 days. Hence the name. We had pre-launch events in London and we’re heading to Australia soon.

This year at Palm Expo, we had the pleasure of having a quick chat with Mr. Rehan Siddiqui (Sales Head MI), Mr. Hisayoshi Matsui (General Manager MI) and Mr. Hitoshi Mochizuki (Managing Director) from Yamaha Music India Pvt. Ltd. About their views on Palm Expo, how it has benefitted them, the change they would like to see in the music industry and a lot more. Read on to find out.

Elaborate on the products launched at Palm Expo 2017 Rehan Siddiqui: This year, we have started Nexo, as Yamaha has taken over it recently and we have launched it at Palm Expo. For the music industry, we have come up with a new Clavinova Digital series including the CLP-625, CLP-635, CLP-645 and in the keyboard section we have two new products PSR-E263 & PSR- E363 with Indian contents.

Hisayoshi Matsui - General Manager MI

Apart from that, we have an electric guitar named Ravstar which is very popular in the world market and now we have it in India.

Some more new products with cool colors to give charm for musicians and rental companies.

How has Palm Expo benefitted Yamaha as a brand?

Hitoshi Mochizuki: We can show our entire line up of categories to everyone.

Instead of showing each category separately, the main advantage is that we can show all at once.

Hitoshi Mochizuki - Managing Director

Can you brief about your Yamaha Live concept at Palm Expo Hisayoshi Matsui: This time we focused on more Indian artists and also have genres from hard rock to jazz fusion. By the artists using our products, we can showcase the advantages of the products to the people and show them that it can be utilized for all genres.

We want the bands to promote our products and in turn we are supporting the artists.

Tell us about your endorsee program Rehan Siddiqui: Yamaha is famous for

Rehan Siddiqui - Sales Head MI

their endorsees worldwide In India as well we have many artists to name a few

Mr. Louiz Banks, Mr. Gino Banks, Mr. Stephan Devassy and we are signing up with Salim Merchant. We also have our first Youngest Artist India Master Lydian Nadhaswaram.

Your success mantra and USP Rehan Siddiqui: The biggest strength is that we are a complete Sound Company.

An artist can get Music Instruments products, Audio Video & Professional Audio Equipment’s. Every student, teacher, or a professional can get everything under one umbrella.

Hitoshi Mochizuki: We have our own manufactured products and everything is made within our company. We are more than 130 years and still growing!

This year, we are setting up a new factory in India and hope to provide market oriented products from the factory supporting Make in India Project.

What change would you like to see in the Industry?

Hitoshi Mochizuki: In India, the MI industry should be bigger but it is too small unfortunately. There is nothing to support the MI industry.

We hope that Palm Expo comes up with a platform for this industry so we all grow together.

About The Score Magazine Rehan Siddiqui: The Score Magazine is doing a very good job of catering to all audience right from an artist to a student. It targets the entire spectrum from learners to top professionals. We are really proud to work with the magazine!

The

Score Magazine

highonscore.com

47

Mr. Vipin Pungalia, Director, Sales and Marketing, Sennheiser Electronics India tells us about the new products launched at Palm 2017, their plans for the year and their products USP.

This Palm, what are you exhibiting Palm Expo has been a very good platform for us to showcase our latest products and technologies. This time we had maximum number of new product launches. We launched the AMBEO VR Mic which can capture spherical 3D sound . We also have some unique studio mics, click mic digital and also a specific mic for the GoPro Camera in the Audio segment catering to videographers, broadcasters and film makers.

We also had some exciting launches in the MI segment including the entire range of XS wireless family. The Sennheiser mics now start at INR 20,000’- and it will be exciting in terms of budget and budding musicians. We have the W2 for a more challenging requirement.

Digital 6000 is our top end wireless microphone with 12 channels.

Moving to our studio microphones, we have digital mics with USB recording options which is the perfect bridge between professional and consumer world.

How Palm helps you reach to your audience It caters not only to live or sound rentals. We also have consumers from Studios and partners coming from different parts of county doing different projects. Installed market consumers and users also visit Palm Expo.

Your plans for 2017 Our major focus is training and education to our customers, users, partners and our in-house team. This year, we are going to take that part to higher levels where we want more intense engagement and giving experience. Our hands are going to be full with our new products in hand.

Another exciting thing is the Top 50 Season 3 and we hope to take it to a different level.

We also keep doing private road shows and we look forward to doing more workshops this year to connect with regional users and partners.

48

The

Score Magazine

highonscore.com

What makes Sennheiser’s products unique It is one of the oldest companies and is known to give new technologies to people. AMEO is one such technology and we are in the pursuit of perfection by giving future technology in the present.

It is a German brand and is known for its reliability, quality and perfection!

What change would you like to see in the music industry?

Educating people on latest technology and products in essential to make people experience it better. It is encouraging to see how people want more awareness about the products and there are resources available to expose people to products.

About The Score Magazine Sennheiser is absolutely thrilled to be a part of various editions of the Score Magazine. Score magazine is my go-to magazine to update me on the latest innovations in the field of technology, music and innovation specially in the professional segment.

The magazine is playing an important role by providing deep insights, case studies and interviews on latest technological advancements so that the potential target audience can be well informed about the know-how of this field. I have been an avid reader and believe that it adds a plethora of valuable insights into my domain of knowledge and learning.

©2016 Avedis Zildjian Company

BE EXPRES WITH THE NEW S FAMILY

IVE

Zildjian’s new S Family will redefine your expectations of what a B12 alloy cymbal can deliver.

We spent years of R&D building these from the ground up. Where the technology didn’t exist, we invented it. With a balanced frequency response, long sustain and a wide variety of models to choose from, you’ll have everything you need to break through.

So be bold. Be expressive. And let them hear what you really sound like.

#BeExpressive To learn more about the S Family and hear all the different models, go to Zildjian.com/SFamily.

Virendra Kaith / Demonic Resurrection

Music unaltered.

Make sure it’s you they’re hearing. Clear, natural, powerful sound delivered with room-filling 180° horizontal coverage. What else could a performer ask for? How about a quick, easy to setup portable unit that's lighter than most in its class. You ask, Bose L1® answers. Bose.com/L1systems For more details please call 011-4659 9025 or email at in_prosales@bose.com