Striking the techno chord
Technology and internet have changed the face of music and videos. Madeeha Syed analyses how making music has now become everybody’s game

UNLIKE other nations in the world, we cannot boast of a rich musical history where pop music is concerned. Taking its roots in the late 1960s, pop music suffered great opposition in the late seventies and in the early nineties – people believed it was against the cultural identity and norm for (the then) youth. Concerts and the concept of live music till recently, after the media boom, were few and far between and in some cases, completely unheard of.

Our history in technological advancements follows a similar if not bleaker route. Most people consider the introduction of the internet synonymous to the technological advancement in Pakistan. However, almost a decade after the internet became widely used around the country, we cannot still boast of having made any noteworthy breakthroughs or of having ‘developed’ a technological industry like our neighbouring India’s. We are still in the stages of developing.

Having said that it cannot be denied that the internet and technological advancement made around the world have benefitted the media and the music industry in Pakistan. Sophisticated software, cheap, but highly developed hardware leaked or brought into the country has facilitated numerous music production studios and the setting up of country-wide (network) radio stations. They have encouraged video directors to experiment more with their video-making techniques. Most of all, this has encouraged aspiring musicians, producers and music video directors to enter the market.

If anything, technology and the internet has it made it easy for all of us to be rock stars in our own right – whether we are jumping on stage holding an expensive guitar bought on our last tour abroad or streaming away our tunes via the internet from home, in this day and age, one can be assured that no one will be left out.

Living in today’s highly informed age, if one watches a video of television recordings or live coverage of concerts of yore, it would not take a genius to figure that most of what was being shown will probably not be considered acceptable today. The music predominant in those songs was borrowed heavily from synthesisers, the subject and tunes of most of the songs were copied off popular songs abroad, the singers almost never sang out of tune and lip-synched a little too happily with oddly-animated expressions on their faces — it was all too ‘perfect’ and too ‘staged’ to be considered ‘real’.

For the longest time, musicians performed on CD or what is also referred to as on DAT – Digital Audio Tape. Live performances consisted of either no musicians, or just barely a couple, some of who did not even know how to hold a guitar properly. Yet, they pretended to strum away or play the keyboards while the artiste ‘sang’.

Truth was, even without the extra musicians or even a microphone properly working, artistes were able to sing flawlessly to songs and music blaring out of the speaker sets. Most people did not know how a live sound differed from a recorded sound and flocked to concerts because in reality, there were not that many avenues available for entertainment to the public. Of course, there were few who came to see the artiste on stage.

With increased awareness facilitated in part by podcasts of concert videos available to ardent music lovers over the internet, concert goers now know the difference between a truly live performance and a performance on Digital Audio Tape (DAT). Sophisticated sound systems and the availability of cheap monitors have also eliminated excuses that an artiste might have for not performing live, whether for a television recording or otherwise. Sound can be transmitted clearly or distorted there and then depending on the requirements of the artistes performing and the organisers.

However, if on the one hand, technology has facilitated the use of unadulterated live performances, it has also made audio ‘cheating’ on a live performance just as easy. It was recently revealed that a very popular local pop singer known for his ability to sing prolonged notes beyond the humanly possible, uses a programmable software which helps him extend the range of his vocals, especially when singing certain notes, while performing live.

The use of software and technological gadgets is also increasingly becoming a norm in live performance. One such example is Sajid and Zeeshan. The duo from Peshawar is known as the only truly two-person band in Pakistan in a sense that the vocals and the entire music, live or otherwise is done by two individuals only. Zeeshan also has to his credit the first fully animated music video.

Reaching what one would consider the height of multi-tasking on stage, one of the two band members can be seen hitting off beats from a programmable beat-player, working on his keyboards, swishing over the motion-sensor device to distort the overall sound, working the turn tables and playing the harmonica – via a mouth organ attached to the keyboard set.

In fact, other than the keyboard set, this musician does not use any of the conventional musical instruments used while recording or playing music live. He is the personification of a desi musician of tomorrow – when it comes to the hardware and software he uses for his music.

From national radio to the people’s radio:

FM100 hit the airwaves in the early nineties and a couple of years later, FM101 followed. The introduction of FM Radio in Pakistan was an important milestone since people could now listen to music anywhere they went and could keep up to date on developments in the music industry without having to go to the music store and consulting the store owner about the latest releases. This was in part facilitated by the fact that the same music was being heard throughout the country – radio jockeys became the first kind of behind-the-camera celebrities.

From two stations to now having more than 25 radio stations operating around the country and counting, technological advancements have a big role to play in the ease with which these radio stations are able to set up. Where previously expensive equipment only few could afford and with studios crammed with wires and devices that seemed on the verge of exploding if touched, the radio station of today is more modern, the studios are sleek and devoid of messy wires. The equipment is cheaper and now, a station does not need to have boosters set up in every city they intend to transmit in. They simply stream their transmission over the internet.

For example, a show that is meant to go network (transmitted throughout the country) that is being recorded live from Karachi is streamed via the internet to a branch of the same station in Lahore, from where they broadcast it all overall Lahore. The gaps of dead air during a transmitted show is more often than not, the result of a fluctuating internet connection.

Also, if one is a little too eager, one can also by-pass having to buy an expensive license and investing in costly hardware and software for a radio station. People are increasingly turning towards establishing their own internet radio stations, with audio streamed over the internet to people who log into the radio station’s website. A major example would be of the internet radio set up by the artiste management agency, Jilawatan, which subsequently closed down.

Coming to a more recent example, the Lahore University of Management Sciences (LUMS) launched their own internet radio station a couple of months back. Their launch was accompanied by the live streaming of a concert held by none other than the musical duo mentioned above, taking place within the university premises. Friends of LUMS alumni did not have to buy tickets to the concert; as long as they had a good internet connection, they could listen to it anywhere.

Technology has more than just changed the face of music, it has made music more of a ‘now’ thing than of a ‘learn how to sing/play the instrument first’. It has eliminated the geographical constraints and allowed people the luxury of attending a concert without being there physically. Where DAT performances are looking down upon now, it has also encouraged artistes to look for more sophisticated techniques of cheating their audiences. It has given enough space for those who otherwise would not be able to cut a record deal to put their music up for millions to listen to anyway. From the garage, bands are increasingly moving towards an internet domain. It has allowed the neighbourhood geek to become a rock star.

“Audio technologies have helped music production, but has not helped the average singer” — Zeeshan

Zeeshan Parwez is a Peshawar-based music video director and one half of the band, Sajid and Zeeshan. He has to his credit the first fully animated music video.. Question: What kind off technology do you use when producing/making music? Answer: There are two diverse domains in the field of audio engineering and recordings. There is analogue and then there is digital. Everything I do is done via computers, so it is all digital. But it has been sensed that analogue equipment sounds much better than digital, even though there is no logical explanation for this. So everything is processed on two PCs that I have kept in the studio only for audio purposes. Q: How do you think advancements in audio technologies have helped average singers sound better? A: I think audio technologies have greatly helped music production, but has not helped average singers much. Technology can help enhance the average singer's tone quality and correct the faults in pitch of the singer, but at the end of the day an average singer and producer’s faults become evident when trained ears review it. Technology cannot cover that up. It can help you make great music, compose things with ease but average singers should be warned if they are completely relying on their systems. Q: How would a regular person set up their own studio? What would he/she need? A: A regular studio nowadays needs to be built around a PC with hi-specifications that gives you enough room to be creative. It also needs supporting devices like mixers, microphones, amplifiers, patchbays, effects processors, good cabling throughout, soundproofing, sound cards, headphones, good ergonomics and comfortable room. In a country like ours that has limited resources to offer, an average person will have to start off with equipment that is not top notch. Q: You are also known as an animator. What do you use when animating your characters? Do you think animations are playing an increasingly major role in how music videos nowadays? How has technology affecting the making of music videos? A: First of all, I create my characters and design their respective roles in order to give me an idea of how they should look. After that, everything is drawn digitally on computer using softwares like Photoshop, Flash and Combustion. I do not think animations are playing a key role in Pakistani music videos. We have a long way to go. People/Artists here are not willing to invest too much in animated videos. Animation costs a lot, so they think it is a better idea to make something on film instead of creating animated videos which they think the general lot would not be able to grasp. This is what is preventing animated projects to see the light of the day. Internationally, it is different. Everything is covered from resources to finance. If that was the case here in Pakistan, I would be the first one to make a bet with anyone supporting the fact that Pakistan has got amazing talent in the animation field and we can do it better than anyone else. Technology has greatly helped people like me to make music videos. You have loads of data on your computer which you just copy and paste together and voila! You create! It is amazing. Q: What kind of technology regarding audio and video is predominantly used in Pakistani studios nowadays? A: Video is totally done through PCs. All the processing for film is done abroad. It comes back digitally transferred and you work on it. As far as formats like DV, HD and Digi-beta are concerned, once the footage is shot, it is directly placed on the systems and it is ready to be edited, composed and finalised. In terms of audio, there are very few studios in Pakistan that still record on master tapes (analogue) because digital has become way too convenient for everyone to use. There is still a debate among the-minded about which format to choose. Analogue sounds warmer but digital is more convenient and is not at all time consuming, unlike analogue recording. — MS

Riding the wave

For those of you with an avid, can’t-live-without love for music, coupled with an exhibitionist streak to show it off, setting up your own internet radio station could be your current calling. For one, they are cheaper to set up than a conventional FM radio station. They are also faster and easier to establish and since the station is yours, you can say whatever you want and how ever you want to, without fear of repercussions. It would be wise, however, to examine the copyright laws and royalties governing the type of music you plan to play before you play it. Companies such as Live365 that have already paid these royalties allow you to take advantage of their agreements. One other firm worth looking into is LoudCity.net. LoudCity.net automatically tracks the songs you play and allows you to operate a legal radio station for a subscription of only 20 dollars per month. This subscription covers the royalties for all of the songs you play. The hardware and software you need: 1. CD player 2. Software to rip off audio tracks (copies audio tracks from a CD onto a computer’s hard drive) 3. Recording and editing software 4. Audio mixer 5. Outboard audio gear (equalizer, compressor) 6. Digital Audio Card (also comes automatically bundled with your PC) 7. PC computer dedicated solely to broadcasting with encoder software 8. Streaming media server Getting audio over the internet is pretty simple: 1. The audio enters the Internet broadcaster’s encoding computer through a sound card. 2. The encoder system translates the audio from the sound card into streaming format. The encoder samples the incoming audio and compresses the information so it can be sent over the internet. 3. The compressed audio is sent to the server, which has a high bandwidth connection to the internet. 4. The server sends the audio data stream over the internet to the player software or plug-in on the listener’s computer. The plug-in translates the audio data stream from the server and translates it into the sound heard by the listener. You should also have a microphone if you plan to talk on air. PirateRadio.com provides you with free downloadable software you can use to set up as well as a whole listing of internet radio stations on World Wide Web. If you are using a dial-up internet connect, you can subscribe to the streaming services by websites such as Live365.com to improve the quality of your online radio broadcast. — MS

First Published:
Sci-Tech World,
September 8, 2007