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J O S E P H M. G E T T E R multi-instrumentalist · ethnomusicologist · educator Home · Profile · Contact · Contents The Madras Music Sound Scene: A critique of current sound
reinforcement practices by Joseph M. Getter
Across contemporary India and in Chennai (Madras), noise pollution levels are setting all-time high records. The proliferation of small engines, air horns in vehicles, and ever more powerful loudspeakers for filmi music will in all probability eventually result in serious public health problems, including deafness and hypertension. But loud noise is generally an unperceived and unacknowledged problem; laments for Madras's past typically refer to today's dwindling number of urban trees, the growing number of vehicles plying the streets and consequent rapidly deteriorating air quality. Even at a Karnatak music kutcherie (concert), where one should reasonably expect to find tranquillity and peace, earplugs may unfortunately soon be indispensable. At more than a few concerts I attended over 4 months in 1994-5 (and in 1 month in 1996) at various sabhas around Madras, sound levels would frequently violate typical Western workplace health and safety standards. Amplification's potential pitfalls include distortion and system overload, inappropriate or excessive echo and reverberation effects, and painfully high volume levels. Factors that contribute to these problems include: a noisy urban environment, outside noises entering the concert hall, either worn-out or too-powerful sound system technology, the sound system technician's training and awareness (or lack thereof), and the role of the musicians and audience in the situation. Recently there has been phenomenal growth in the number of cars, autorikshas, motorcycles, scooters, and trucks on the roads of Madras. Along with air pollution and congested streets, the level of background noise is quite high in the city. When the audience, sound technicians, and musicians are all de-sensitized to this high level of background noise Karnatak music can only suffer. Is an overly loud sound system at a concert merely another noise seeking attention along with horns, shouts, and blaring pre-recorded music? Karnatak music's subtleties and nuances demand sensitive listening, which is not possible when the speaker's loud volume causes physical pain for the ears. Many sabhas and other organizations with concert halls should consider raising funds to upgrade their equipment and facilities. In many instances, aging equipment delivers a poor quality, distorted sound through speakers that are overloaded. The halls themselves, constructed for other purposes such as dance-dramas, need to be renovated with a consideration of acoustics; present open or thin walls are simply unable to block traffic noise. Technicians who operate sound systems need to be recognized as integral to the Karnatak recital. Their work must be as professional, focused, and competent as the performers on-stage. Microphones and cables should be set up and tested before the announced starting time, and throughout the entire performance the sound technicians need to remain beside the control boards to make any needed corrections; one seldom observes this at present. Adjustments to the sound system must be made from the perspective of the audience and listener. It is impossible to adjust a sound system when the controls are offstage or behind the projection area of the speakers. Presently in Madras, most sound systems are poorly placed, such as to the side or next to the stage. From a good location such as about the middle of the seating area the technician can directly hear the amplification. Good musical judgment by technicians should inform their sound system adjustments. Musicians performing on the stage should recognize that they are physically not in a position to directly hear the sound from the speakers. Frequent requests come the stage for more volume on a particular mic eventually result in an unnecessarily loud noise. As sound technicians demonstrate their competency and musicality, musicians need to defer to them regarding the adjustment of the system. The audience should take conversations outside of the hall; this is not to say they should be silent, as some audience noise (such as vocalizing enjoyment or counting talam) is a part of the rapport between performers and audience. A rasika (educated listener) who dislikes the amplification should speak to the technician, who therefore must always sit next to the equipment. The impact on the content of the music by mics, amplifiers and speakers also needs consideration, for their use fundamentally alters the music, vocal and instrumental techniques, and rapport between audience and performers. Many feel that Karnatak music is ideally best heard in intimate, small-scale settings free of microphones and amplifiers; however today's halls simply cannot accommodate mic-less musicians, who wouldn't be heard due to the hall's poor acoustics or large size. Therefore if sound reinforcement is utilized, technicians, musicians, and rasikas need to develop an awareness of the changes that amplification will have on the aesthetics of the music. The microphone may result in a dearth of powerful singing voices, but it also facilitates developments such as the electric mandolin, and allows for potentially larger audiences. To counter the onslaught of commercial music, amplification could be a way of popularizing Karnatak music, such as at free concerts in public places. As more people in Madras and throughout the world are exposed to Karnatak music, a sensitive audience that wishes for an intimate and quality listening environment will grow. Joseph M.
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