Friday, September 01, 2006

A cassette case

I have never written a post here on Mavericks. And I have now decided to break some traditions (yes, be a maverick and such). Content-wise, be adviced, this does not border anywhere on the brilliant & intricate music analyses done by my colleagues, yet my own five rupees and seventy five paise for Music Mavericks!

The first time when I listened to "Video killed the Radio star" by The Buggles, probably I was not in the right time and place for some soul searching. Ok, I will say, I was a lot younger. I now allow myself more often to go into the symbolic spirals of a flashback, a redux.

Getting to the point now, Audio Cassettes. I will be making a case FOR them today.

Though I have managed a monstrous collection of "Moving Picture Experts Group Layer-3 protocol compressed audio" (cough cough) or 'mp3s' of all imaginable genres, audio cassettes remain my favourite for the following reasons.

1. A cost-quality trade-off does not exist here.
What I preach - A cassette (say, Sony/BMG Crescendo/Magnasound) for 120 Rs and a CD (say, 200 Rs). I would not even bother a second thought for the CD. And knowing that an audio CD bit rate is a maximum of 44.1 kHz does not help your cause too. If it is a cassette, your listening experience is limited by your music system, not by the quality of the cassette (except of course some Echo, Supreme or Aditya releases)
What I do - I will buy a CD, so I can dump those songs in my computer and still share the joy with others. I believe it is akin to the choice between an ink-pen and a ball point pen. Damn me.
Rationale - So, I need to be more resolute in this case, which Iam sure will directly result, partly from my obstinacy and partly from my love for the old school.

2. I have too many of them to get rid of (if I ever plan to).
I have bought, begged, stole and acquired a few hundred cassettes until now. This would be nothing compared to the collections of Aakarsh or PRC, but a decent one in that.

3. Chromium Oxide wins over high bit rate.
Pitch a DVD quality audio, increase the bit rate, do whatever, it cannot beat the tape any day. Simply put in HMV's words - 'digital is like wearing a condom, nothing like the real thing' (they were referring to LP records though), but it applies here.

4. No playlists, Yes credits.
With due respect to the audio connoisseur in us, I understand that we like to sustain our mood by dumping our favourites in one list, conjuring up a mish-mash of Beatles, Devi Sri Prasad, Ilayaraja, Chopin and Ousepachan (sincerely, I did not make that up for the rhyme, he is a good Malayalam music director). But with cassettes, the plus is we dont forget great songs just because we did not like it or do not want to hear them so often. And proper audio warrants its own attention, no Skip, Next or even worse, Buffer! And if you are like me, while I enjoy the songs in my 'walkman', I keep staring at it and 'battify' the cassette credits. I digress here but if the cassette is from Echo or Sangeeta, I try to figure how bad/good the cut-paste patchwork is on the cassette. If it is ARR's there is whole compendium of credits telling us who played the 15 second oboe piece in that third song. That is good, and that we like, no?

5. Very Important. My proud acquired skill of rewinding cassettes with Reynold pens.
The standard white coloured 045 REYNOLDS FINE CARBURE has an eight-faced outer body and fits perfectly into an audio cassette wheel. I just need to know the side (A or B) and which way I want to go. Hold the pen and let the cassette rotate around it, in the right direction. I did this so much over the years, that I would stop between songs, such precision and intuition (*pats his own back). The feeling is that of a monk rotating his prayer drum. Good karma in the end. Its faster and it saves batteries.

6. Iam a sentimental and nostalgic bugger.
-- I like the scratchy noise and clucks when the cassette ages.

-- I like the experience when the batteries are running out.
[At about four-fifths of their life, the playing speed begins to drop, but is still inconspicuous. You ignore, but not long after, it is slower and you can tell, also by the little delay and the drag when you stop and start the walkman. You smile, insist, keep it running and then the sound balance slowly shifts towards one side until the stereo turns into a mono. You breathe deep, switch ears with the one phone but carry on. You then roll the cells vigorously between your palms to warm them up, later keep them in the sun for an hour. There is spring in the song one last time when the whining starts and then they die a slow death, finally! - new batteries? Yes, a new day and for a new song. Fellow Mavericks, since you all never found time nor could take up the case for the sentimental self in you, and put your feeling in words, I did it for you. You can thank me now (snigger)]

--
As I listen, share, exchange, make abstract art work on the cassette, I get attached to it. The look, the feel, the weight, the screech of the cassette cover when I close it, the smell, the cellophane tape that holds together broken pieces. It becomes a chronicle gently reminding me of times gone by. The same song feels different after a while. Songs dont change, we do. All in all it teaches us some big lessons which we often forget. To not let go of things just because they are old, to realise the beauty of what is in your hand rather than going after something that is virtual, easy, yet not retentive and most importantly that life goes around in circles.

*Iam banking on the comments section for some interesting opinions.

Tuesday, August 22, 2006

Saaz ki aawaaz

Ustaadji nahin rahe. Shehnai will never sound the same.

Tuesday, August 01, 2006

Some banter from past

"At the risk of bullying you, r u referring to SS's devi brova samayamide?(chintamani - shanmukhapriya)" asked PRC once when I was referring to that kriti sung by Raghavan Manian, not in Chintamani but in quite a different raga in this post. Chakri had told me that this kriti was in RAmapriya after listening to it for a short while.

One more twist to the tale. A book called "Raganidhi" by B.Subba Rao is with me for a few days courtesy the senior-most member of the Bangalore chapter of SPIC-MACAY. That book has this under ChintAmani:

"There is a raga Chintaramani which is a janya of the 52nd Melakarta Ramapriya. This is altogether different from Chintamani."

Did Raghavan Manian actually sing 'Devi Brova' in ChintarAmani, instead of ChintAmani??

May be He, who surveys the highest heavens surely knows, or may be even He does not! (RigVeda, X.129-7)

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Sketchy once wrote a review of the audio of "Taj Mahal". Regd. the song 'Mumtaz tujhe dekha', Sketchy guessed that it was Kamavardhini scale andI had opined that the song also had a pinch of Behag. It turns out that the main raga of the Poorvi thaat (Kamavardhini, 51st Mela), the raga Poorvi, does have M1 (Shuddha Madhyam) in its midst. Only, the uccharana of the final g3 (p m2 g3 m1 g3) in the song is rather un-Poorvi-ish. So the song is neither in Puriya Dhanashree (with a pinch of behag), nor in Shree, or in Kamavardhini. It seems to be in Poorvi.

But wait! Come to the charaNam and you will notice the usage of the two Madhyams "m1 m2 m1"-- this is raga Lalith, another raga of Poorvi thaat! Wonderful!

All in all, most of the ragas in the movie album, except for the Ajoyda's effort at producing an uncommentable piece, hail from Poorvi that. Hmm!!

Saturday, July 22, 2006

Barkha Rithu - Rains & Raagas

Date: 21st July 2006.
Venue: Ravindra Bharathi Hyderabad
Event: Barkha Rithu - Rains & Raagas
Artistes:
Pt.Shiv Kumar Sharma (Santoor)
Ustad Rashid Khan (Vocal)
Vijay Ghate (Tabla)
Bhawani Shankar (Pakhawaj)
Another concert in hyderabad. Probably nature wanted to welcome the artistes or perhaps the raagas were already looming in their mind, that there was a slight drizzle before the concert started.
The concert started with Pt.Shiv Kumar Sharma's Santoor. Needless to say, it has always been one of my favourite instruments and this live-concert brought me more close to the instrument. Panditji choose the apt raaga for the evening "Megh Malhar" for the 1st track. The beauty of Hindhustani Music, more particularily instrumental music, is the aalaap part where the artiste explores all the corners of the raaga thereby developing the mood. It is like taking the listener to a journey and almost halfway through the aalaap, the listener is completely trapped in that raaga. exactly the same happened with me. The soothing and soft-serene notes/sounds of santoor recreated the mood of rain, clouds drifiting along in the sky...
This instrument santoor has one advantage and one disadvantage. The disadvantage is that the real Gamaka is impossible since the sound is by vibration of various strings closely knit together. Yet, the advantage is that it is like a Piano. At any instant, it can produce two(or more) Sounds at various pitches/Scales since it is played with both the hands. In the case of other string instruments like Sitar, Sarod, veena or even Guitar, the science involved is that a single note is produced when it is struck with finger. Santoor on the other hand, can give both, base & lead tunes. Also, the low-scale ( or say the base section) of this instrument lies on the left side of the trapezium(its shape).Panditji showcased all these elements in his aalaap and one could listen to the minutest vibration of each string where he could produce a Gamaka, though not with the meend but atleast on a flat escalation from minute vibration-1 to minute vibration-2, for example. the music was indded a great treat.
pakhawaj is the hindhusthani counterpart of Mridhangam. The sound of this instrument is little different from Mridhangam in the sense that the Bass element involved in the sound of pakhawaj is quite different from taht of Mridhangam. And Bhawani Shankar's fingers produced some of the fantastic sounds like cloud-burst, thunders to depict the rain. His JugalBandi with Vijay Ghate's Tabla was something phenomenal. Another greatest element of Indian Classical music is the extent of freedom/scope the music leaves for a composer to improvise. especially in the case of jugalbandis, it is amazing to see how these artists play with such awesome precision without any score-sheet in front of them. Improvisation is the only wave on which the music rides and yet, with the cycle of beats constantly changing, it leaves the audeince spellbound. How can they bang the right rhythms (which are again changing)? Indeed, a confluence of mind preceeds the real confluence of music, which is the meaning of jugalbandi.
The Trio treated us with another 30minute piece which was ambrosia for ears. it was a raagamaalika in which i could identify raag Madhyamavathi and raag Malhar, among 2-3 other raagas he improvised upon. When he completed the crescendos each time, one could really feel the rush of adrenalin, even though the sound & instrument pertain to fragile feeling and not fiercy ones. At a point of time, i felt as if a calm trance has taken me over. The music simply flowed...like water...and rain.
Ustad Rashid Khan was the next artiste to take over the stage. He too sang a khayaal in Raag Malhar. The Aalaap was excruciatingly slow with lot of intricate notes structured within the raaga,after which he paced up and played around with his voice. Needless to say, the vocal control was mindboggling, especially during the Sangathis (juggling of Swaras).
In all, it was not just another evening, but a memorable one during which divine music poured down...just like rain...for my soul.

Sunday, July 16, 2006

Maestro goes Hindi

Composer Ilaiyaraaja has composed music for just a handful of Hindi films.But now, he seems to be taking Hindi films bit more seriously than before. He is dishing out about 2 films (there is one more i guess) very soon. Both the film-makers hail from South - RamGopal Varma & Balkrishnan.
While RamGopal Varma's film is titled as "Shiva"(a retro) , Balkrishnan's film, starring Big-B and Tabu, has a very strange title-"Cheeni Kum".

Two recent articles :
http://cities.expressindia.com/fullstory.php?newsid=192659
http://www.dnaindia.com/report.asp?NewsID=1041187

Waiting to see how well he does a Hindi film.