Notes from Goa

[Rajan P. Parrikar]

Menakabai Shirodkar, known in her time for her outstanding
ability in music and dance, passed away on Dec 23, 2003, in
Ponda, Goa. She was 93. Among her musical mentors was
Burji Khan, son of Alladiya Khan. Menakabai is survived
by two daughters, Shobha Gurtu among them. Her final years
were spent in neglect and indigence, extenuated somewhat
by the intervention of a local politico.
*****

Ramashreya Jha "Ramrang" performed last week at the Shantadurga
Devasthana in Kavalem in the annual festival organized by a
ragtag and bobtail local outfit that goes by the name Samrat
Club International ("International," because the fees on their
application form are quoted in dollars). He sang a full-length
Darbari, peppering his development with pertinent remarks of
the nature of this raga, the structure of bandish appropriate
to Darbari and so on. One could discern the dhrupadiya in his
elaboration. Then came the superb composition, "mero pat rAkho
Murari," in Tilak Kamod, on the insistence of Purushottam Walavalkar
who provided support on the harmonium. The programme concluded
with a couple of compositions in Basant.

Earlier in the evening, Ramrang inaugurated the sammelan and
was then felicitated. When Ramrang inquired why he, an unknown,
had been given the task of declaring the festival open, the
honcho of the international club explained that all the big
shots were away at the Governer's mansion that evening for
another function.

The opener featured the "Pandit and Genius" Sanjeev Abhyankar
who, I understand, is considered a vocalist in certain bozo
ghati circles in and around Pune. I took a well-deserved
batatawada break during his show but got back in time to
witness a tantrum. Abhyankar and his 'hero' tabalchi (Mukundraj Deo)
had both demanded a decibel level setting well past the
threshold of pain. Prabhakar Karekar walked in and was felled
by the shock waves issuing forth. Recovering somewhat, he
politely asked the audio tech to lower the volume. But
Abhyankar would have none of this: "Do only what I say," the
paragon of humility and role model for the youth, barked back
angrily. A humiliated Prabhakar had to quietly slink into
his chair.

Felize Navidad from Goa,


r

[naniwadekar]

"Rajan P. Parrikar" wrote -

Post by Rajan P. Parrikar
threshold of pain. Prabhakar Karekar walked in and was felled
by the shock waves issuing forth. Recovering somewhat, he
politely asked the audio tech to lower the volume. But
Abhyankar would have none of this: "Do only what I say," the
paragon of humility and role model for the youth, barked back
angrily. A humiliated Prabhakar had to quietly slink into
his chair.

Who was accompanying our Genius Pandit Sanjeev Bhayankar
on Harmonium? Walawalkar, perhaps? And he didn't intervene?
Ramrang must have been around, too? I do wish senior artists
started pulling their weight to stop rude behaviour and crass
practices (like jacking up volume) by upstarts. Especially when
several artists are present, a bully can be easily pulled off the
stage and replaced. I remember reading about Banditji throwing
a tantrum at the Sawai Festival around 1992/93. Everybody
was angry with Jasraj (I was told) but nobody did anything.

I don't know whether the story is true but Kumar Gandharva
is said to have interrupted Vilayat Khan's singing at a concert,
asking him to resume playing sitar and leaving singing to
vocalists like himself. Perhaps Basant Bahar can get the ball
rolling again by insisting that Pandit Baby Josh Brown confine
himself to 'lip-synch' sitar playing for one of Nikhil Banerjee's
old recitals when they arrange his concert. After the interval,
Pandit Brown-Nose can even lip-synch to a scintillating Khokar
by Alladiya Khan Sahab, with Bhaskarbuwa Bakhale on tanpura
hand-sync'ed by Bodas Sahab and Govindrao Tembe's fingering
imitated by BzFingerCrzShri.

Post by Rajan P. Parrikar
Menakabai Shirodkar, known in her time for her outstanding
ability in music and dance, passed away on Dec 23, 2003, in
Ponda, Goa. She was 93.

It is believed that rumour of a person's death increases
his/her life. Pandit Manohar Bodas had tried this expedient for
Menakabai by announcing her death on rmic 4-5 months before
she actually died. But given her circumstances, her death must
have come as relief.


Indian Cinema had duly recognised the merit of this skilled
classical singer. Minerva Movietone's film 'Prithvi Vallabh'
(year - 1943) featured beautiful songs by 'Menaka'.
Her duet with Rafiq Ghaznavi, 'panchhi ud chal apne desh',
or 'khule swarga ke dwaar', a solo from the same film, are
perhaps better known. But the piece de resistance from
the film is the familiar bhajan : 'raam naam dhan paayaa
mai.nne', adapted by lyricist Pt Sudarshan. A beautiful
composition by Saraswati Devi, it has been thrillingly
rendered in a dynamic style by Menaka-bai in a startling
departure from the more sober style generally used for such
songs, a sublime amalgam of bhakti-ras and brio.


- dn

[bzshri]

N ==> I thought you were on a vacation...

Rajan,
Who was accompanying Pandit Jha-jee on
tabla ?

Is there a general rule about volume of esp.
tabala? Some people and almost all the tab-
alajees seem to like high volume on tabla in
a concert.


--BZ

[naniwadekar]

Is there a general rule about volume of esp. tabala?

Meow.

--BZ

BeeZee or BoZo ?


- dn

[Manohar Bodas]

Pandit Dhenuvallbhshastri Nanubaba has suddenly thought of Goa????
Nanu brown nosing to this extent???

MB

[Harish]

Rajan P. Parrikar <***@yaaahoooterrs.com> wrote in message
<<Menakabai is survived by two daughters, Shobha Gurtu among them.
Her final years were spent in neglect and indigence, extenuated
somewhat
by the intervention of a local politico.>>

I am sad to hear that with such illustrious daughter Menakabai was in
neglect and suffered indigence. I thought our tradition teaches us to
look after our parents.

[naniwadekar]

Post by Harish
I am sad to hear that with such illustrious daughter Menakabai
was in neglect and suffered indigence. I thought our tradition
teaches us to look after our parents.

A book by Susheela Mishra, profiling 40-50 artists, features
an article on Shobha Gurtu. I think the article was written
around 1995 (but I could be wrong about the date). It was
mentioned in the article that due to some very serious
differences, there was no communication since many years
between Shobha Gurtu and mother Menakabai. It could be
the case that no contact was re-established between them
ever again.

- dn

[Abhay Phadnis]

Post by naniwadekar

Post by Harish
I am sad to hear that with such illustrious daughter Menakabai
was in neglect and suffered indigence. I thought our tradition
teaches us to look after our parents.

A book by Susheela Mishra, profiling 40-50 artists, features
an article on Shobha Gurtu. I think the article was written
around 1995 (but I could be wrong about the date). It was
mentioned in the article that due to some very serious
differences, there was no communication since many years
between Shobha Gurtu and mother Menakabai. It could be
the case that no contact was re-established between them
ever again.

I remember reading an article some years ago in which Shobha Gurtu's sister
spoke with great bitterness about how SG had cut herself off from the sister
and their mother and had gone out of her way to scotch the sister's singing
career. She even claimed that Sai Paranjape's 'Saaz' was based not on the
Mangeshkar sisters but on herself and SG.

Warm regards,
Abhay

Post by naniwadekar
- dn

[Sanjeev Ramabhadran]

Post by Rajan P. Parrikar
Earlier in the evening, Ramrang inaugurated the sammelan and
was then felicitated. When Ramrang inquired why he, an unknown,
had been given the task of declaring the festival open, the
honcho of the international club explained that all the big
shots were away at the Governer's mansion that evening for
another function.

Wow - the candor is much appreciated, I think...

Post by Rajan P. Parrikar
The opener featured the "Pandit and Genius" Sanjeev Abhyankar
who, I understand, is considered a vocalist in certain bozo
ghati circles in and around Pune. I took a well-deserved
batatawada break during his show but got back in time to
witness a tantrum. Abhyankar and his 'hero' tabalchi (Mukundraj Deo)
had both demanded a decibel level setting well past the
threshold of pain. Prabhakar Karekar walked in and was felled
by the shock waves issuing forth. Recovering somewhat, he
politely asked the audio tech to lower the volume. But
Abhyankar would have none of this: "Do only what I say," the
paragon of humility and role model for the youth, barked back
angrily. A humiliated Prabhakar had to quietly slink into
his chair.

Tantrums aside, were the folks using any monitor speakers? I would think a
good set of these used judiciously in conjunction with the mains should
effectively appease the most maniacal volume demands. On another note, PK
being a musician has a much better than average sense of required volume,
and SA probably didn't have to be rude...however, misguided directions from
the audience to the sound board can often be a performer's pet peeve. These
two (SA and MD), as a pre-emptive move, may have been growling menacingly
without considering where the suggestion was coming from.

Sanjeev (Ramabhadran)

[naniwadekar]

"Sanjeev Ramabhadran" wrote -

Post by Sanjeev Ramabhadran
Tantrums aside, were the folks using any monitor speakers? I would think a
good set of these used judiciously in conjunction with the mains should
effectively appease the most maniacal volume demands. On another note, PK
being a musician has a much better than average sense of
required volume, and SA probably didn't have to be rude...however,
misguided directions from the audience
to the sound board can often be a performer's pet peeve. These

SanjeevR - Yours is a most unnecessary defence of Pandit Sanjoo.
Audience tends to complain about sound level direct to the
performer, not to sound engineers. A reasonable level of
competence is all that is needed from sound board
operators and they generally do a satisfactory job.
I don't know what monitor speakers are or how widely
they are used. I do know that at many of the concerts
I attend, the equipment used is 'just basic/standard'. It is not
difficult to select proper volume level. Sometimes, sound
engineers ask me about the sound level before the concert.
'Thodaa baDaa - thoDaa kam' is all that they need to know.
Prabhakar Karekar is not needed for getting that feedback.
OTOH, if Karekar did feel like complaining about the
volume, it must have been really very loud; no ?


If the genre of music presented is more fit for monkeys and
sound level is consequently jacked up, I just walk out. But
I have never/rarely known this to happen at khayal recital
which is what Sanjoo must have been presenting.


- dn

[Sanjeev Ramabhadran]

DN,

Post by naniwadekar
SanjeevR - Yours is a most unnecessary defence of Pandit Sanjoo.

No, it is not a defense of Sanjeev Abhyankar - I was just commenting that
anyone in that position might be inclined to strong-arm the sound system
dudes. I would believe the likes of Amir Khan, Bade Ghulam Ali Khan,
Mallikarjun Mansur, Bhimsen Joshi, Kishori Amonkar, etc. have probably done
it too at one time or another, it's just that this forum is quite a bit more
positive about their music. I hope nobody here believes that you have to pay
your dues for a certain number of years or reach a certain level to earn the
right to vehemently complain about the sound system.

On a related note, SA probably has this tendency to jack up the volume
beyond limits because he himself puts out such little volume on his own.
This is something I can neither defend nor understand.

Post by naniwadekar
Audience tends to complain about sound level direct to the
performer, not to sound engineers.

Not true at all.

Post by naniwadekar
I don't know what monitor speakers are or how widely
they are used. I do know that at many of the concerts
I attend, the equipment used is 'just basic/standard'. It is not
difficult to select proper volume level. Sometimes, sound
engineers ask me about the sound level before the concert.
'Thodaa baDaa - thoDaa kam' is all that they need to know.

Monitor speakers are not wildly special or "non-basic/standard" equipment.
IMO, they are a critical part of *any* musical performance unless you're in
a tiny room. Their wide use, or lack thereof, does not correctly indicate
their efficacy. They are just speakers with technical specs slightly
different from "regular" main speakers, but they sit on the stage facing the
artists. The sound you hear on the stage can be very different from that you
hear sitting in the hall, and since those on the stage often don't get the
benefit of the sound going out from the "main" speakers to the hall,
monitors help avoid the feeling that you're singing (or playing) into a
vacuum. Most good mixer/amplifier combos have separate outputs for mains and
monitors so that two different levels (and even different mix-es) can be fed
to the two separate sets of speakers.

Post by naniwadekar
OTOH, if Karekar did feel like complaining about the
volume, it must have been really very loud; no ?

I have no dispute that the volume level was likely way too high - but I
think most of the disapproval thus far expressed has to do with SA's
demeanor and insistence rather than the actual volume level. I believe it is
SA's call to make, but that he need not be rude about it. Privately speaking
to the sound technicians and saying, "Look, while many folks want to help
out, please take your primary input from me." From Rajan's description, I
also firmly believe that monitors, if not already there, would have helped.
On another note, amongst a crowd of listeners with varying opinions on
volume (and believe me, given a chance, they will all be expressed), I *am*
more likely to listen to Prabhakar Karekar given his experience as a
performing musician.

Sanjeev

[naniwadekar]

actual volume level. I believe it is SA's call to make ...
On another note, amongst a crowd of listeners with varying opinions on
volume (and believe me, given a chance, they will all be expressed), I *am*
more likely to listen to Prabhakar Karekar given his experience as a
performing musician.

Isn't it true that many mehfils take place with very few, if any,
members of audience unable to enjoy the performance because
of volume being too high or too low? A reasonable consensus
on sound level is quickly reached, I think, and the mehfil proceeds.
If the hall is not equipped to provide good acoustics, that is
a different matter. Even in such settings, the optimum setting
is reached fairly fast though irremediable complaints may remain.
I don't agree that opinions on volume vary all that much.

As for volume being SA's call to make, I again do not agree.
Did he want volume increased because he feels his music is
(or should be) heard best at higher volumes by audience or
because he couldn't hear himself? I remember hearing from
a couple of performers over years that they couldn't hear
their music loudly enough themselves. But there is an acceptance
on the sensible performers' part that audience should not be
subjected to very high sound level; so they adjust to the volume
level which audience is most comfortable with. In return,
audience is willing to let the artist increase sound level to higher
side but if it becomes too loud, surely listeners are entitled
to complain.

Finally, Mansur, Bhimsen and Kishori have also come in for
their share of criticism. (In Mansur's case, there was nothing or
very little to complain about.) Artists of high calibre are cut
more slack and rightly so. In fact Abhyankar is able to throw
tantrums because he is in demand. It is not surprising that his
prima donna ways are dealt with more severely by those who
don't think there is much merit to his singing in the first place.


- dn

[bzshri]

Post by naniwadekar
more slack and rightly so. In fact Abhyankar is able to throw
tantrums because he is in demand. It is not surprising that his
prima donna ways are dealt with more severely by those who
don't think there is much merit to his singing in the first place.

Or It is accounted to his merit as a singer/ artist?
How can a sub-standard performer be "in-demand" in
the land of music lovers and non-ghatis?

BTW - who accompanied RJ on tabla? Was it MD or
someone else?

--BZ

[naniwadekar]

Post by bzshri
How can a sub-standard performer be "in-demand" in
the land of music lovers and non-ghatis?

Because Goans are 'slavish lapdogs of ghatis'.

- dn

[Rajan P. Parrikar]

Post by bzshri
BTW - who accompanied RJ on tabla? Was it MD or
someone else?

The accompanists for Ramrang: Purushottam Walavalkar on
harmonium, Rohidas Parab on tabla.

For Sanjeev Abhyankar - Vasanth Kankapura on harmonium,
Mukundraj Deo on tabla.

In response to SanjeevR - I have already reported that
the sound level was well beyond the threshold of pain.
Abhyankar's initial demand was "volume waadwaa, pandal
bharoon aalaa paije" (increase the volume, the pandal
must fill up with the sound). When the audio tech
hesitated (anybody equipped with an eardrum would, as
a reflexive defensive posture), Abhyankar preened (pointing
to his throat), "mii ithuun control kareen" (I will
control it from here). But that wasn't enough for this
ghati twerp. Periodically we heard "gain waadwaa".
He must have learnt about "gain" from the eminent
electrical engineer and IEEE Fellow, Zakirbhai.

Warm regards,


r

[Sanjeev Ramabhadran]

Post by Rajan P. Parrikar
He must have learnt about "gain" from the eminent
electrical engineer and IEEE Fellow, Zakirbhai.

Hmm...maybe his next lesson should be about monitor speakers?

Sanjeev

[Havanur]

Post by Sanjeev Ramabhadran
Monitor speakers are not wildly special or "non-basic/standard" equipment.
IMO, they are a critical part of *any* musical performance unless you're in
a tiny room. Their wide use, or lack thereof, does not correctly indicate
their efficacy. They are just speakers with technical specs slightly
different from "regular" main speakers, but they sit on the stage facing the
artists.

Can you elaborate on the slight difference? Also how come these
monitor speakers don't cause the amplifiers to saturate and go boooom?
If they are loud enough for the artists, shouldn't the mikes also pick
up the feedback? I know it does not happen, but wondering if there is
a more technical explanation to it.

Post by Sanjeev Ramabhadran
I have no dispute that the volume level was likely way too high - but I
think most of the disapproval thus far expressed has to do with SA's
demeanor and insistence rather than the actual volume level. I believe it is
SA's call to make,

It isn't, IMHO. The listeners, especially the humble ones sitting in
the Gandhi class, should decide the optimum sound level for enjoying
the music.

BTW where have all those artists, who get so involved with their music
that they are almost unaware of their audiences gone??

Havanur

[Pradeep]

Post by Havanur

Post by Sanjeev Ramabhadran
Monitor speakers are not wildly special or "non-basic/standard" equipment.
IMO, they are a critical part of *any* musical performance unless you're in
a tiny room. Their wide use, or lack thereof, does not correctly indicate
their efficacy. They are just speakers with technical specs slightly
different from "regular" main speakers, but they sit on the stage facing the
artists.

Can you elaborate on the slight difference? Also how come these
monitor speakers don't cause the amplifiers to saturate and go boooom?
If they are loud enough for the artists, shouldn't the mikes also pick
up the feedback? I know it does not happen, but wondering if there is
a more technical explanation to it.

The functions of the main and the monitoring speakers are primarily
different. The monitoring speakers are speakers on the stage, directed
towards the artistes, and intended for the artistes to listen to the
mix. They are fed from a different output of the system and therefore
their volume level can be controlled independently from those of the
main speakers. They are so placed with regard to the mics that the
mics will not pick them up. Their placement, the volume level they are
set to, coupled with the directivity of the mics together ensure
there is no feedback howl.

The monitoring speakers need be just adequately loud enough for the
artistes to listen to the mix. This is important: what the artistes
are interested in is (a) the balance of the mix and (b) a judgement of
the quality of the sound. For example, a tabalji would like to know if
the bayaan is being heard well enough, or is the dayaan itself too
loud. The artistes should have no reason to be concerned with the
absolute volume level in the main auditorium.

In the absence of such a device, however, the artistes have no means
of knowing whether their performance is reaching the audience the way
it really is in terms of the mix and the sound quality. Under such
circumstances, they may recourse to having to make a judgement by
listening to the main speakers. I feel this may be the reason behind
the demand of the artistes to 'increase the volume'.


....Pradeep

[Sanjeev Ramabhadran]

Yes, this is what I had in mind - to clarify, by saying the main artiste
should be able to make that call, all I meant was it is important for the
main performer to be in a position to accurately hear what's coming out - I
do feel folks don't pay enough heed to this. However, I certainly don't
believe that this should necessitate blowing out the audience's eardrums.

Sanjeev

Post by Pradeep
The functions of the main and the monitoring speakers are primarily
different. The monitoring speakers are speakers on the stage, directed
towards the artistes, and intended for the artistes to listen to the
mix. They are fed from a different output of the system and therefore
their volume level can be controlled independently from those of the
main speakers. They are so placed with regard to the mics that the
mics will not pick them up. Their placement, the volume level they are
set to, coupled with the directivity of the mics together ensure
there is no feedback howl.
The monitoring speakers need be just adequately loud enough for the
artistes to listen to the mix. This is important: what the artistes
are interested in is (a) the balance of the mix and (b) a judgement of
the quality of the sound. For example, a tabalji would like to know if
the bayaan is being heard well enough, or is the dayaan itself too
loud. The artistes should have no reason to be concerned with the
absolute volume level in the main auditorium.
In the absence of such a device, however, the artistes have no means
of knowing whether their performance is reaching the audience the way
it really is in terms of the mix and the sound quality. Under such
circumstances, they may recourse to having to make a judgement by
listening to the main speakers. I feel this may be the reason behind
the demand of the artistes to 'increase the volume'.

[Nick H (UK)]

Post by Sanjeev Ramabhadran
DN,

Post by naniwadekar
SanjeevR - Yours is a most unnecessary defence of Pandit Sanjoo.

No, it is not a defense of Sanjeev Abhyankar - I was just commenting that
anyone in that position might be inclined to strong-arm the sound system
dudes. I would believe the likes of Amir Khan, Bade Ghulam Ali Khan,
Mallikarjun Mansur, Bhimsen Joshi, Kishori Amonkar, etc. have probably done
it too at one time or another, it's just that this forum is quite a bit more
positive about their music. I hope nobody here believes that you have to pay
your dues for a certain number of years or reach a certain level to earn the
right to vehemently complain about the sound system.
On a related note, SA probably has this tendency to jack up the volume
beyond limits because he himself puts out such little volume on his own.
This is something I can neither defend nor understand.

Post by naniwadekar
Audience tends to complain about sound level direct to the
performer, not to sound engineers.

Not true at all.

Post by naniwadekar
I don't know what monitor speakers are or how widely
they are used. I do know that at many of the concerts
I attend, the equipment used is 'just basic/standard'. It is not
difficult to select proper volume level. Sometimes, sound
engineers ask me about the sound level before the concert.
'Thodaa baDaa - thoDaa kam' is all that they need to know.

Monitor speakers are not wildly special or "non-basic/standard" equipment.
IMO, they are a critical part of *any* musical performance unless you're in
a tiny room. Their wide use, or lack thereof, does not correctly indicate
their efficacy. They are just speakers with technical specs slightly
different from "regular" main speakers, but they sit on the stage facing the
artists. The sound you hear on the stage can be very different from that you
hear sitting in the hall, and since those on the stage often don't get the
benefit of the sound going out from the "main" speakers to the hall,
monitors help avoid the feeling that you're singing (or playing) into a
vacuum. Most good mixer/amplifier combos have separate outputs for mains and
monitors so that two different levels (and even different mix-es) can be fed
to the two separate sets of speakers.

Post by naniwadekar
OTOH, if Karekar did feel like complaining about the
volume, it must have been really very loud; no ?

I have no dispute that the volume level was likely way too high - but I
think most of the disapproval thus far expressed has to do with SA's
demeanor and insistence rather than the actual volume level. I believe it is
SA's call to make, but that he need not be rude about it. Privately speaking
to the sound technicians and saying, "Look, while many folks want to help
out, please take your primary input from me." From Rajan's description, I
also firmly believe that monitors, if not already there, would have helped.
On another note, amongst a crowd of listeners with varying opinions on
volume (and believe me, given a chance, they will all be expressed), I *am*
more likely to listen to Prabhakar Karekar given his experience as a
performing musician.
Sanjeev

My favourite (unfortunately) concert complaint. However experienced the
performer, however great a musician they may be, the one experience they
*never* have is to sit in the audience listening to themselves -- but
they don't seem to appreciate this fact!

We have often bemoaned the ruining of concerts by inept sound people
with bad equipment, but it must be hard for them to resist the demands
of the artists. They are, after all, interested in getting other gigs;
they have a living to earn.

And it must be hard to tell a singer with decades of experience and
seniority that nasty little tricks like moving closer to the mic do
*not* give emphasis, but just give too much bass and overload the system.

And amplification in a small room? Oh please...

Enough from me. I must have posted on this subject altogether too
often; must be very boring...

[Bhimsen]

Post by Sanjeev Ramabhadran

Post by Rajan P. Parrikar
Earlier in the evening, Ramrang inaugurated the sammelan and
was then felicitated. When Ramrang inquired why he, an unknown,
had been given the task of declaring the festival open, the
honcho of the international club explained that all the big
shots were away at the Governer's mansion that evening for
another function.

Wow - the candor is much appreciated, I think...

Post by Rajan P. Parrikar
The opener featured the "Pandit and Genius" Sanjeev Abhyankar
who, I understand, is considered a vocalist in certain bozo
ghati circles in and around Pune. I took a well-deserved
batatawada break during his show but got back in time to
witness a tantrum. Abhyankar and his 'hero' tabalchi (Mukundraj Deo)
had both demanded a decibel level setting well past the
threshold of pain. Prabhakar Karekar walked in and was felled
by the shock waves issuing forth. Recovering somewhat, he
politely asked the audio tech to lower the volume. But
Abhyankar would have none of this: "Do only what I say," the
paragon of humility and role model for the youth, barked back
angrily. A humiliated Prabhakar had to quietly slink into
his chair.

Tantrums aside, were the folks using any monitor speakers? I would think a
good set of these used judiciously in conjunction with the mains should
effectively appease the most maniacal volume demands.

I am glad you brought that up. I have been to few ICM concerts very the
musicians prefer not to use monitors during the concert. They rather rely on
house sound to judge the volume and the quality of the sound. Of course,
they can't really judge correctly (voulme and to some extent quality)
becuase they are not facing the speakers. This ends making the house volume
really loud. Uncomfortable, to say the least.

I recall an incident about a year ago where I was assisting the sound manage
r. Buddhaditya Mukherjee had done the sound check few hours before the
concert. During the concert, he kept insisting on increasing the volume.
Meanwhile, we had 3 people (in the back row and front row) get up during the
concert and ask us to lower the volume. When you lower it he hears it and
wants it back up...

I think using monitors would solve lot of these issues.

Post by Sanjeev Ramabhadran
On another note, PK
being a musician has a much better than average sense of required volume,

Generally, I would agree. But I have yet to see a musician actually ask to
lower their volume.

Post by Sanjeev Ramabhadran
and SA probably didn't have to be rude...however, misguided directions from
the audience to the sound board can often be a performer's pet peeve. These
two (SA and MD), as a pre-emptive move, may have been growling menacingly
without considering where the suggestion was coming from.
Sanjeev (Ramabhadran)

Bhimesen.

[Sanjeev Ramabhadran]

Post by Bhimsen

Post by Sanjeev Ramabhadran
Tantrums aside, were the folks using any monitor speakers? I would think a
good set of these used judiciously in conjunction with the mains should
effectively appease the most maniacal volume demands.

I am glad you brought that up. I have been to few ICM concerts very the
musicians prefer not to use monitors during the concert. They rather rely on
house sound to judge the volume and the quality of the sound. Of course,
they can't really judge correctly (voulme and to some extent quality)
becuase they are not facing the speakers. This ends making the house volume
really loud. Uncomfortable, to say the least.
I recall an incident about a year ago where I was assisting the sound manage
r. Buddhaditya Mukherjee had done the sound check few hours before the
concert. During the concert, he kept insisting on increasing the volume.
Meanwhile, we had 3 people (in the back row and front row) get up during the
concert and ask us to lower the volume. When you lower it he hears it and
wants it back up...

As you say, it sounds like monitors would have helped - a sound check done
on an empty hall doesn't completely hold up when you fill the room with
people, as sound gets absorbed.

Sanjeev