Sound Bytes: The Artiste and Technology Part 2

While in the previous edition, we discussed the evolution of technology within the classical dance space, in this issue I take you through the world of classical music. Once again, the evolution of the performance space with advent of technology is hard to be overlooked. Less than 2 decades ago, we relied on minimal mics and stage equipment for a music concert. Today, the number, range and functionality of stage equipment and accessories are mind boggling. Outside the performance arena, the world of sound recording seems to be one of the most sophisticated- not just in terms of hi-end equipment, merchandise or software; but in the variety of the opportunities it offers to creativity.

Those who have listened to the likes of GNB sans microphone will revel in the clarity of voice and the 'throw' he seemed to generate and woefully pity singers today who insist on extra 'echo', 'reverb' or worry over the lack of feedback! It prodded me into asking some rather layman questions: Are the current crop of musicians using technology as an aid to cover up any shortcomings- shortcomings that could not be covered up in the era without sound boosters? Even as I patiently articulate this question, I begin to wonder of the counter-situation: By not accepting and assimilating technology into our music, are we stagnating and becoming in fact an impediment in moving forward? And I find that the latter question is more often answered in the affirmative than the former.

It is possible and in fact truth that there exists a section of musicians who tire out themselves and the organisers with demands and grievances about sound quality, balancing and feedback (or the lack thereof). If their grievances are unfounded, then the organiser or sabha or auditorium technicians are left flustered. Unfounded grievances and artiste tantrums are often the result of questionable quality- which the artiste is of course in denial of, so it becomes difficult to draw the line between entertaining their 'requests' and offering a firm yet respectful 'NO'.  What ways are we left with to curb such unnecessary antics?  

But for the majority of artistes, technology is no longer seen as alien to the world of classical music but as a means or accentuating the beauty of the music. In an attempt to gather diverse opinions with respect to assimilation of technology into music, I spoke to two artistes: Smt. Neela Ramgopal, popular veteran musician and Sriram Parthasarathy- young carnatic vocalist and playback singer. Any presumptions that I made with regard to tradition or modernity, pro or anti- technology, was completely demolished by the end of both conversations. 

Smt. Neela Ramgopal: "On stage, musicians have every right to good sound quality. With newer and more advanced means being available now, why should we shun it in the name of tradition. Over the decades I have only become happier singing with better and better equipment to bring out the best in my music. It is a misconception that tradition should be equated to anti-technology. I also like the idea of skype- it is a blessing to students and teachers who may not be in proximity all the time." 

And as I meander to my questions on using technology to cover up any possible shortcomings, "No amount of hi-end technology can ever cover up poor singing quality. If that is a notion people have, the earlier they get rid of it, the better." Let's make note.

Sri. Sriram Parthasarathy: "Technology has been a blessing to most musicians. Be it quality mics, or creative software or state-of-the-art sound recording, this is a time to revel in the multitude of opportunities it presents to us to explore our potential. Being able to almost instantly materialise creative thought is a blessing indeed isn't it?! I no longer need to wait for the mridangist and violonist to match their schedule and come in at a certain time to record a track. If I have a sudden brainwave for a composition, I have the means to immediately bring it into existence."

So, given that technology has much to offer, and we have come to understand the evolving definitions of tradition and modernity, we arrive at a few other questions that need deliberation. How much is too much? How much technology is adequate or appropriate? With art itself being subjective, the lines that we draw between what ought to be versus what is an excess, are lines that keep shifting depending on the context, geography, person(s) and several other factors. "True that the sophistication of software is so high that you can make anyone sound like a professional! And that is where we must return to our roots, our Gurus and tradition so that we have a morally upright outlook, and can use our judgement in discerning ways", signs off Sriram.

Integration of technology in music as well as dance is reality. Considering the wide variety of formats that dance and music recitals assume in the current scenario, and also taking into account the range of technologically advanced means available to us, what would be the factors you take into consideration while charting out technical requirements? And while charting out your requirements are you being considerate of the amount of funds being spent, the expertise development of technicians, the environment (carbon footprint is a reality)? The intention is not to draw people into opposing camps of frugal use versus grandeur. But it becomes the responsibility of today’s artistes to nurture and develop practices that create self-sufficiency today and sustainability for tomorrow. In order to be discerning in ways that are sustainable, it is imperative that every artiste has a working knowledge of the technical equipment they request for. How many of us will be capable of manning the console without help? Time to think, time to act. The more we seek and learn about allied technicalities, the more equipped we are in making responsible decisions and using technology responsibly.