By T. M. Krishna
T.M. Krishna starts off his sweeping exploration of the culture of Karnatik song with a basic query: what's tune?
Taking not anything with no consideration and addressing readers from around the spectrum - musicians, musicologists in addition to laypeople - Krishna offers a path-breaking assessment of South Indian classical music.
Tata Literature dwell! First publication Award for Non-Fiction (2014)
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Extra info for A Southern Music: The Karnatik Story
We added some ribbons for tone, and balanced the mics on the board to get the final sound. Ross plays loud in the studio in order to get the kind of harmonics he wants. But we use smaller amps and drive them hard. ” “It was so all beyond our reach when we were younger. Now with $100 you can start building a rack and you have access to incredible gear. It’s a golden age of being a consumer of audio gear. ” —Paul Godfrey Godfrey used various drum machines in conjunction with his vintage 1970s Ludwig maple kit and a custom kit with a 26-inch bass drum.
Like other pioneering musicians of his era, Blanco pushed the boundaries of sound and multimedia performance by inventing instruments, establishing an electronic music studio, and challenging societal and political norms. This disc provides a concise introduction to his exceptionally beautiful electronic music and includes tracks combining synthetic textures with voice, Latin percussion, and sax. Essential. GINO ROBAIR The Flaming Lips Peace Sword Billie Joe + Norah Foreverly WARNER WARNER Fragile melodies in anthemic arrangements; anxious transmissions sputtering across the stereo field like time-lapse daybreaks: These are Flaming Lips calling cards, and all are evident on this 36-minute EP inspired by the film adaptation of Orson Scott Card’s Ender’s Game.
I started jamming the bass line on the Moog, sent the riff to Ross and Skye, and they loved it. The pads are from Studio Electronics Code 8 synth, a kind of polyphonic Moog. The ARP 2600 is doing the atmospheric sounds. The guitar is a ’60s Fender Jaguar through a Roland Phase II pedal and a 1960s Selmer Truevoice 50-watt head. We ran the guitar through a Leslie cab as well, so you really hear that rotating, seasick, spacey sound. ’” The strangely evocative “Under the Ice” begins with a plucked instrument, gurgling percussion and log-drum rhythm underpinning Skye’s enchanted vocal.