SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- V

 MUSIC DIRECTOR’S ROLE   IV

SONG RECORDING

As I have been reiterating, the information furnished here pertains to the activity during 1960s -80s and several changes have come about in subsequent period. Song recording is the sequel to song composing. Song composing may refer to the ‘composing’ of lyric as well as that of ‘tune-setting’ and musical formulation for–pre, inter and post-ludes in a song. Invariably the then MDs would finalize the tune when the lyric was framed by the lyricist. Later, they would assemble the musical scores. But, all such components would have been finalized or nearly so for rehearsals. As I had earlier suggested, singer[s] and members of orchestra used to have independent rehearsals first and later in unison. Several rounds of rehearsals were common then, because any error in the recording phase would rob both time and effort, since corrections were not possible; besides everything would have to be again recorded from the beginning. So, the labour on rehearsals was worth its weight in gold because for anyone,time is precious and none could afford to spend time for the same work all over again.

Song recording activity is far more complex relative to that of scoring BGM. A number of assistants may have to co-ordinate different sections of the work like training the singers, providing notes to each member on the orchestra for his/her part and the precise places when [s]he has to perform; there are also ‘conductors’ who may or may not wield a baton. In South India, most MDs have their assistants for such work. At the time of a song recording some MDs concentrate on the singer[s] and other components are taken care of by assistants. All important members of the MD’s team wear headphones to critically follow the song progression as [in the form] it goes to the recording bay. Sometimes ‘sound engineers’ call for some corrections in tone or in alignment of track for different instruments.  The issue has become really complex with the advent of ‘multi-track’ sound separation and stereophonic recording. The work has become more of technology and less of aesthetics,

It is opportune to recall the earlier forms of song recording to grasp the extent of ‘advancement’ in this domain. The earliest recording studios were heavily thatched enclaves with microphone suspended in the singer[s] arena; I am sure, the present day singer would run away from work, if asked to record his voice in such thatched hut. Acoustic balancing in those huts was largely achieved by mounting a number of earthen pots along walls and corners; pots of different sizes were in place to ‘quench ‘ruffle’ or echo in that ‘room’. Later, song recording studios came into being –as a part of some studios. Even today we can notice names of song recording houses and also of other audio recording theatres as a part of the movie title. This is so largely because video recording and voice recording [for dialogue / songs] have become segregated for convenience of ‘post-production refinements’ requiring high-tech equipment. Such facilities also require being updated from time to time so as to keep abreast of modernity; it is an endless race of investment, improvement and enhancement of returns by way of charges levied.

Even in 1960s and till about late seventies just one microphone was in place for singers [of even duets] and several women singers used keep themselves as much distal from the singing  male counterparts and managed to peep into the microphone to render to their portion in the duet number. Some singers [male] used to move back a little to help the lady stay near  he microphone and render her portion; only to reverse their positions when the male artiste was to record his stretch. Yet they have delivered magnificent pieces at quite some personal discomfort.  Another interesting happening relates to ‘presenting a echo-like’ repeat of voice, when echo gadgets were not known in 1965-66.

For a specific song, it was desired to give echo effect, though such a facility was not available in recording houses then. A simple strategy was used; the singer was advised to sing out a phrase in a certain volume from near the microphone. Again he was to repeat the same phrase in the same volume about 2-3 feet away from the microphone at a previously marked position; for the third time the singer had to move another foot and a half farther to a marked destination to repeat the exercise. After 3 such efforts, the song was continued; when the job was completed , a new product befitting the screen requirements for an early echo effect in the song was made just by some judicious execution of ‘recording skill’ ending up in an acceptable format. [The song was done by Shri. TM S ‘pudhiya vaanam’ for movie ANBE VAA released in 1966]. Several such ‘make shift’ arrangements have served admirably well to fulfill requirements. Fearsome sounds have been generated using ‘wood-cutting saw’ to create bizarre effects like devil coming into a scene [UTHTHARAVINDRI ULLE VAA, ‘thenAtrin karaidhanile’]. In another instance, pathos of mood was generated by using the saw much like a violin to play very shrill notes of melancholic gloom [PADAGOTTI ‘paattukku paateduththu’].  

A variety of domestic items have been profitably employed. [Sound of Horse hooves in ‘Raajaavin paarvai’ ANBE VAA was generated by stroking Bamboo segments tapped on floor] Nearly the same effect was brought about in ‘kadsavul oru naal ulagaikkaana’ SHANTHI NILAYAM and also in ‘kaadhal raajjiyam enadhu’ MANNAVAN VANDHAANADI, by tapping empty half shells of coconut. Likewise, the moving steam engine sound was simulated by rubbing pieces of sand paper near microphone – ‘theril vandha raja raajan en pakkam’ RAAMAN ETHTHANAI RAAMANAADI. After exploring  several different possibilities , Whip cracking sound was effectively simulated; by piling up 6-7 Amorces [தீபாவளி கேப்/ DEEPAVALI CAPE] and smashing each bunch by a hammer,the “whip-cracking effect” was achieved and the song was recorded in ‘pattaththu raani’ SIVANDHA MANN.

Space constraints my citing more instances. Members on the then orchestra were keen to deliver the best possible effect. Those were days of human effort. Innumerable instances of mimicry have been availed of in Tamil songs in the times of our reference.  Now–a-days pre-recorded voice data may be availed of, given the dependence on computers.

To continue

Prof. K. Raman