*Live Shows…* K J Singh loves to do live shows as well. He says that live shows require a lot of spontaneity and adaptability to work in different environments. He talks about incidents of Kishore Kumar Nite at IG Stadium in New Delhi where he was the sound in-charge and was asked by the singer to shut off the echo unit, only to be told that it was the dome shaped hall that was responsible for it! And his association with Jazz Yatra. He was there during the first-ever musical concert of the band " Shakti " in 1983 in New Delhi with John McLaughlin at the helm of the affairs and later at IIT, Delhi with Larry Coreal. All this, working as an assistant for the Chandra Brothers, from whom he also learnt the basics of sound. He has worked with A R Rahman at his live shows all around the world and in India. And traveled extensively with singer Padamshri Hariharan for Tamil, Bollywood and Ghazal shows apart from mixing his albums Kaash at the Real World Studio, UK and Waqt Par Bolna at Phase One, Toronto.
*Live Shows…* K J Singh loves to do live shows as well. He says that live shows require a lot of spontaneity and adaptability to work in different environments. He talks about incidents of Kishore Kumar Nite at IG Stadium in New Delhi where he was the sound in-charge and was asked by the singer to shut off the echo unit, only to be told that it was the dome shaped hall that was responsible for it! And his association with Jazz Yatra. He was there during the first-ever musical concert of the band " Shakti " in 1983 in New Delhi with John McLaughlin at the helm of the affairs and later at IIT, Delhi with Larry Coreal. All this, working as an assistant for the Chandra Brothers, from whom he also learnt the basics of sound. He has worked with A R Rahman at his live shows all around the world and in India. And traveled extensively with singer Padamshri Hariharan for Tamil, Bollywood and Ghazal shows apart from mixing his albums Kaash at the Real World Studio, UK and Waqt Par Bolna at Phase One, Toronto. *Artist development & management, and Royalties..…. * K J Singh strongly believes that the budding artist should be trained at an early age like the way the young gymnasts are trained in the Eastern European countries. In the earlier years, India boasted of huge pool of classical and semi-classical artists. That was because of the strong " Guru-Shishya parampara", which seems lacking in today's system. Good music will only flourish under able patronage and correct guidance as well as a strong royalties system. We probed further as to why artists do not receive royalties in India in the same scale as the westerners. Replying to this he said that earlier selected people (mainly film producers) owned all the rights of songs and content under contract signed by the artist, for perpetuity, which was criminal. Nowadays composers like A.R. Rahman rightfully ask for royalties and publishing right. A few others have started music combines which also is planning on asking for such rights. Even today, if some video game company or a Hollywood picture house picks up a tune from a certain old movie, the producer will get his dues and not the artist who originally created it. KJ says that royalties are important because the artist can very well concentrate on his new projects without worrying about the fact where his next meal might come from. There will be a steady flow of income through royalties. Such hassle free creative environment is difficult to be found in India which eventually mars the quality of music produced. In western countries, high profile engineers also earn small royalty points, something unheard of in our country, as they too have contributed to the song they have mixed During one of his visits to a London recording studio, he came to know about the fact that "Oasis" the band was recording at the adjacent studio. On visiting their studio, he learnt that the band had been living there for the past 6 months. All for creativity sake. This is the kind of creative space available in the Occident. They can afford to do it because of the steady flow of royalties. To further support his train of thought, he recounted his meeting with Sting's producer of the album " Sacred Love". Apparently Sting and his crew recorded their songs in a chateau in France, drinking wine and nibbling on cheese. Although this is extravagant but it does portray the creative space available there to an extent. http://passionforcinema.com/k-j-singh-interview-part-2/ -- regards, Vithur ARR -- The Sweet Cube always
