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SAE Magazine 13-2

Bhatt Bowls SAE Mumbai Over! +++ SAE Mumbai Students on a Roll +++ Bhatt Bowls SAE Mumbai Over! +++ SAE ob as an assistant engineer i which primarily catered to ing got the better of me. spent honing my skills for ficultyearsasIalwayslived yearsafterleaving­Chennai ure film composition EMI. on seven more films. aining in music and so have th every film I have worked o you use and what are king with different audio working Spectral ­Harmony my home. I have ­recorded Therefore I have ­interacted engineers other than Vi- handa, Eric Pillai, Farhad Vinod Verma and Mark heir own flavour and style g them work on your songs n. tant ingredient fora good art and aesthetics? India melody is king. ction are not great but your melody is strong then the song stands a chance of becoming a hit. But if both aspects are strong then it is a bonus. We see that with A.R. Rahman’s work. It is always a struggle to get these aspects right and only possible when everyone working on the song is a team player. A lot of this depends on budgets and creative freedom. What current projects are you working on? Current projects include: Boss, Zanjeer 2, Ragini MMS 2 and 1920 Part 3. How does formal education make a ­difference in the field of music composing and sound ­engineering? Ihaveseenpeoplewithandwithoutformal­education do well, so it is a difficult question to answer. But I would definitely recommend learning a ­musical instrument formally as this helps tremendously in composition and song arrangement. My ­biggest ­regretisthatIhavenotlearntanyinstrument­formally and I still toy with the idea of hiring a tutor. As for sound engineering, formal education puts you in an environment where you meet many ­like-minded peers and the studio time you get is invaluable. Studio time is expensive in the real world and you should make the most of your time in college to learn and experiment with the equipment and­ technology available. n

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