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niranjantheflautist · 3 years

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Window to the North

I was involved with the Singapore Indian Orchestra and Choir for their digital production supported by the National Arts Council (Singapore) and organised by Indian Raga. I was involved in the audio and video recording for this production. I will be reflecting on this experience, the workflow of the project and a critical analysis of the workflows.

This project allowed me to understand another method of production. I was involved with the recording of the Venu, Bansuri as well as the video recording for this project.

Once the scores were sent to me, I sat down and studied the repertoire. The scores were hand written and prepared for each Indian traditional musical instrumentalist involved in the production. The sample of the score for Window to the North is located below for your reference.

Hand Written score of Window to the North by the conductor of Singapore Indian Orchestra and Choir, Mrs Lalitha Vaidyanathan.

The composition was composed by one of the founding fathers of the Indian classical music and arts scene of Singapore, Dr Chotta Singh. I had to revise this piece alongside 2 other compositions for the digital performance.

I was recorded at Daniel Wong’s Studio using the Neumann TLM Studio mic. We took 1 hour to record 3 compositions under the musical direction of Lazar Sebastian and Vickneshwari Vadivalagan.

The digital production required me to memorise the pieces and mime to the recorded audio at the performance venue. This was an interesting experience as I had to ensure that my parts were in sync with the audio recording including the improvised segments.

The performance is available in the link attached below.

https://www.facebook.com/indianragasingapore/videos/306346424539312

The facebook video was featured on the page of Indian Raga and had received 2.1k interactions, 137 comments, 257,000 views and 570 shares.

Challenges:

1. The processes involved in this project were traditional. They had planned to audio record followed by a video recording. There wasn’t a concrete plan for the dates and timings of the performances as well.

2. There were numerous clashes of perspectives in the leadership which had slowed down the entire process. Leaders were clashing with regards to the scope of music as well as the workflow required for the production.

3. There wasn’t a backing track to sync up all of the musicians. This was a huge risk of this project. Additionally, once the backing track were implemented upon request, the backing track had glitches and warped against the tempo markings.

Solutions:

1. A change in management was required but I could not control a lot of the functions of this project as I was only hired to perform the Indian bamboo flutes. I tried to make the situation better by following the instructions given to me. I worked on all the parts and executed the recording in less than 1 hour.

2. I studied their workflows and adapted their limitations to my workflows. As they were not prepared to listen to their members, I was not able to share my thoughts.

3. I loved the workflow that involved backing tracks. Though I understand that this is one way of bringing music, we could have planned the workflow and the required backing tracks before the recording sessions. Tis would have sped up the entire process.

Discoveries:

1. I discovered how they had found it hard to adapt to these workflows due to their traditional way of thinking. I also learnt the importance of listening to members and treating everybody with respect. This is a hallmark of a good leader.

2. I also discovered the use of a multi-camera setup and I would like to adapt that form of video production into my next production. I have also beared in mind the amount of cost involved for the rental of such a setup.

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niranjantheflautist · 3 years

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DEV PUJA

DEV Puja is a composition by Pawarin Phiken, a composer from Thailand. He has featured two artists from South East Asia namely Worawan Worachat on the Salor, a Thai Northern string instrument and myself on the Venu (South Indian bamboo flute) and the Bansuri (North Indian bamboo flute).

Dev Puja - an unique sonic experience with South East Asian Instruments

I applied the lessons taught during the production module to setup a home studio for the execution of the recording. The project was broken into 2 phases namely pre-recording preparation and the recording phase.

Pre-recording Preparation

The Composer prepared the reference track, session track and the scores for the recording. I have located the scores below for your reference.

Page 1 of the score of Jundra Dev Puja

Page 2 of the score of Jundra Dev Puja

I had converted the scores into Indian notation using the Indian solfege system. After the preparation of the score, I started to plan the transposition requirements for the composition. As such, I planned to use the C# flute for a F# tonic. With this preparation done, we had then planned a 2 hour recording session over zoom and with the use of an audio mover.

Impromptu photo taken during the audio session

Recording Phase

I used 2 mics for the production namely AT 2050 and Shure SM 57 for the recording. I had researched on the placement of the mic and as well as the required acoustic treatment for the room.

The composition was released on Sound cloud and other social media platforms such as Facebook. The links are attached below for your reference.

https://soundcloud.com/ianoawarin/dev-puja

Challenges Faced (Pre-recording Preparation and Recording Phase):

1. It was difficult to figure out the routing for the recording session as it involved cross border communications. The music director introduced me to loop back. I had to route my sound from Logic into the loopback software.

2. Some of the components of the western score did not fit in well with the aesthetics of the Indian bamboo flutes.

3. I only had 2 hours to session the components and had to also generate new components for the composition.

Solutions (Pre-recording Preparation and Recording Phase):

1. I had to learn the routing at the soonest. Once i became familiar with the workflow, the work was effectively delivered. I was constantly planning to the workflow at the back of my mind.

2. I had to quickly mark out sections where I can improvise. We then came into consensus with the parts. I was then able to session the entire composition within an hour.

3. I had to keep generating new ideas on spot. As I improvise, wherever that is required, I will be creating a few samples for the music director to work with.

Discoveries (Pre-recording Preparation and Recording Phase):

1. I learnt an alternative workflow to recording across borders. This workflow was comfortable and cost effective. I was able to route clear audio and video signals through loopback.

2. I also discovered a good working relationship with the music director. It was extremely fun and insightful to work with the music director. We were bouncing off each other’s ideas. As he shared the narratives of his compositions, I related to those narratives with the use of my Indian bamboo flutes.

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niranjantheflautist · 3 years

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Creative Head

I had also been heading a few production projects and represented Singapore and as well as the Indian classical music scene in numerous press releases, press reviews and panel discussions.

Connecting Trailblazers by Sinda Youth Club and Tamizha

SEADOM 30 under 30 Opening Seminar

Press Release (Creative Head)

Brahmastra Festival of Arts and Music 2021 powered by Ministry of Communications, Community and Youth (MCCY) and National Youth Council (NYC).

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niranjantheflautist · 3 years

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Composer

I had the privilege to compose original music for digital music productions, albums, EPs and singles. I have documented the processes, the associated workflows and a critical analysis of such workflows in this segment.

Thadai Edhuvai (Single)

The Inner Urge (EP)

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niranjantheflautist · 3 years

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Performing / Recording Artist

Between June to August 2021, I was involved in performances across genres with a few bands, ensembles and orchestras. I have also recorded in a few albums, music videos and singles. I will be sharing my journey, the workflows involved as well as a critical outlook of my workflow.

DEV PUJA Single (Pawarin Sonklin)

Window to the North (Digital Performance with Singapore Indian Orchestra and Choir)

Kaatrinile Varum Geetham (Digital Performance with Centre for Singapore Tamil Culture)

National Day Performance 2021 by National Museum of Singapore (Digital Performance with Open Score Project)

National Day Performance 2021 by SAFRA Toa Payoh (Digital Performance with Open Score Project)

Summer School: Teleprovisation

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