Autograph of ARR

Review about ARR

Gulzar:
“He is a milestone in Hindi film music. He has single-handedly changed the sound of music in the movies. He has broken the mukhda-antara-mukhda scheme of composition and replaced the traditional patterns of tuning. He can tune to a near identical rhythm in two different songs. But these songs will still catch the listener off guard even when played immediately after each other. Instead of having the fixed format, the song can also run like free verse with his kind of music.”

Ranjit Barot:

“In the Hindi music industry, if Kumar Sanu or Udit Narayan don’t turn up, the music director starts panicking. But Rahman would probably look around the studio and experiment with some unknown and untrained voice. This man is a whiz coz he eats, breathes and sleeps music. AR Rahman has revolutionised the Hindi film music. Before we did Humma Humma for Bombay, the two of us composed jingles together. Rahman’s USP is his ability to combine slickness with melody. The songs from Roja still haunt me. Few can make a successful transition from doing 30-sec jingles to 5 min songs. He’s a genius.”

Nadeem-Shravan:

“The most amazing quality about Rahman is that he has been able to create a ‘national sound’ which in spite of his strong south-Indian feel appeals to a pan-Indian audience”.

Subhash Ghai:

“Rahman is the biggest representative of Indian music. He is an example for future generations. He is the best fusion of art and science in music”. One of his favourite directors Ramgopal Varma says,” It is a challenge to picturise songs set to Rahman’s music.”

Ustad Zakir Hussain on the album ‘Colours’:

“He was barely 19 years old then but had mastered many different styles of music – western classical, jazz, rock and Carnatic. Even after his work was done he would stay in the studio, sitting through other musicians’ pieces, eyes and ears tuned in, constantly imbibing. Very intelligent, smart and creative. He started as a young boy working with great composers like K V Mahadevan, for example. He knows the public pulse and has given the public a very intelligent combination package. This reminds me of R D Burman. These guys made it possible to bring together all elements of world music.”

Lata Mangeshkar:

Rahman is known to record only during the night time. But he records with me during the daytime… when my voice is fresh. I don’t like recording at night. And I’ve heard that Rahman records mostly in the night. But he made an exception for me. When an artiste shows such consideration for another artiste, it feels good. Aur kaam bhi achha hota hai. (Even the work done is good), Rahman doesn’t take long over his recordings. Jiya jale was recorded in 40 minutes.”

Srinivas:

” He’s totally absorbed in his music and there’s nothing else that affects him. For him music is God. And he gets the best out of a singer.”

P. Unnikrishnan:

“I have sung more than 500 songs till date but this first song of mine is something I will remember and cherish all my life. The most wonderful thing is that today ARR is the most sought after Music Director in the whole country but as a person he has not changed and even today he is the same calm, composed, humble, committed, unperturbed ARR. Thanks to Rajiv Menon for having introduced me to such a wonderful artist.”

Harris Jayaraj:

“I have learnt many things from many music directors. If you single out A.R.Rahman, I can quote his relentless labour, high enthusiasm, and commitment to the tasks at hand. He would never compromise on the quality of a song. He is quality-conscious and individualistic.”

Vairamuthu, the Lyricist:

“I am considered to be a great poet, but I don’t have any words to describe his genius. A.R.Rahman is not a normal music director. He has some God given gift in him. Otherwise, how can he compose such soul-stirring numbers? He is a rare pearl in an ocean of music.When one composes a song he is always worried as to whether the song will click or not. But Rahman is one composer who does not care about the commercial success of the song. He is always confident that if a number is composed wth a good heart and self-confidence it will be a big hit. He is like a younger brother to me. The total submission of his (A.R.Rahman) life for the cause of music; his thirst for creating not any chaff but only grains appeals to me the most!”

Vaali the Lyricist:

“I have been in this field for decades and have seen a lot of music directors come and go.. But this young boy has held me spellbound! His talent, energy, enthusiasm is a lesson to all youngsters. He is always experimenting and is always open to new ideas.”

Pandit Vishwa Mohan Bhatt:

“Rahman has a good understanding of both Western and Indian classical music. I was asked to play for Mani Rathnam’s film Anandam (renamed “Iruvar”) which Rahman has scored. He has high regard for others, and gives due respect to other forms of music. I find Rahman very innovative, and wouldn’t mind doing more films with him.”

Vishal Dadlani the Composer:

“I’ve listened to the music of Dil Se.. a hundred times and, each time, I learn something new. It is like an encyclopaedia on production.”

Singer Harini:

“The best part about singing for Rahman is the freedom he gives the singer. Even for my first song he let me sing the way I was comfortable with, eventhough I was a nobody then.”

Roopkumar Rathod:

“Singing for Rahman was a wonderful experience. I really enjoyed the song. A R Rahman is a wonderful, humble person to work with. A complete workaholic and very involved with his music. He is very creative and undoubtedly talented.”

Singer Abhijeet:

“It is every singer’s dream to work with A R Rahman because he makes you feel like God. I worked with Rahman for a beautiful song called E Nazneen suno and for Nayak. Of course, I did get nervous when I had to record with him, especially since he records at an unearthly hour like three in the night. But he makes you feel as if you are AR Rahman and he is just an ordinary fellow. Other music directors should learn to be humble like him. Today’s music directors do not respect their singers. If one singer is not around they replace them with another. Also, they demoralise you when you are in front of the mike.”

Director Shankar:

“A.R.Rahman – the name speaks for itself. He knows what clicks and what does not. He composes music according to the demand of the situation. He slogs so much to see that a song is good. He does not want to give anyone in the world the chance to tell him that his compositions are bad. What I like best in Rahman is his fighting spirit and ‘never say die attitude’.”

Lyricist Mehboob:

“If there is one person whom I revere after God, our prophet, and my family then it is Mr. AR Rahman. He is like a brother to me. I adore him so much that I have no words to describe my feelings for this gentleman.”

Shyam Benegal:

“I admire three things about Rahman. Among the young composers he probably is the most original. He has a strong sense of melody and his harmony is unbeatable.”

Director Bharathiraaja:

“I wanted a change and that’s why I shifted to Rahman. There is something in his music that intoxicates you. You work with him once and you will never want to work with anyone else after that.”

K.S.Chitra:

“I have worked with all the music directors in the south before Rahman came in. When I sang for him the first time I found that I was doing something really different from what I had done before. I like Rahman, the music director. But I like Rahman the person even more. I don’t how he manages to keep his feet firmly on the ground even after tasting so much success in this field. He is the only Indian composer whose stuff stands out.”

Director Rajeev Menon:

“He’ll remain my only choice and preference. He’s part of my family. We’ve been working together for the past 14 years. In fact he was the one who got me into filmmaking, while I called him for a lot of my advertising assignments.”

K.J.Yesudas:

“He is a genius musician knowing the psychology of youth.’ Veteran singer Manna Dey remarks “I do not think too much of today’s melodies. I do admire A.R.Rahman, for he is a master of rhythm. He is extremely experimental, and leaves no stone unturned in trying out new things.”

Vishal Bharadwaj:

“A. R. Rahman has elevated the quality of film music to an international level. When you hear Michael Jackson and Rahman at one go, you can’t tell the difference in sound quality. Rahman is a terrific composer. He is a genius.”

Singer Suresh Peters:

“I was a drummer, not a singer and Rahman was a keyboard player. Both of us were working in a band called `Nemesis Avenue’. He was a very talented composer earlier itself, but everything happens only when the time comes. He started composing jingles and they started clicking. He was then signed on by Mani Ratnam and then there has been no looking back. I appreciate Rahman’s sense of arrangement. No one can teach Rahman how a song should be composed. He is aware of all the latest in sound techniques. He knows what will appeal to people and what will not. He is very versatile and different from one film to the other. As long as he does not repeat himself, nothing can stop him from reaching the top .”

Pravin mani:

“Rahman gives a lot of freedom to his technicians and all those-involved with him, while working. Moreover, he is extraordinarily creative. Rahman is the greatest person i have ever-seen in my life. He is really a humble person. though he has risen to very high levels, yet he is the same person and behaves the same way as he used to do in his earlier days, mingles freely …, and that shows his greatness.”

Kavita Krishnamurthy:

“It’s such a pleasure to sing for A. R. Rahman. He’s such a simple guy. He has no ego hang-ups.”

Singer Sadhana Sargam:

“When Rahman calls you go without asking questions because you know it’s going to be worth it.He’s a reserved person and talks very little but he makes you give your best. He keeps a cassette ready wherein he has sung the song himself and listening to it makes your work so much easier, he allows any number of retakes. If you’ve sung half a line beautifully and haven’t sustained that in the other half, he’ll retain that half and make you work on the other half. The result is magnificent. . And Rehman makes his pleasure very evident when he likes something you’ve done… then he won’t even be shy.”

Asha Bhonsle:

“He understands the youth of today, he has brought about a freshness, a new sound to film music. He’s always experimenting, doing something different which is very inspiring for the playback singer.”

Shankar Mahadevan:

“I think A.R.Rahman is an absolute genius and is one of the few music directors who completely knows what he is doing. It’s an absolute pleasure working with him as he is a cool and modest guy.”

Sarod maestro Amjad Ali Khan:

“Wonderful! He has a new approach, he has given a new direction to film music. I think even the established music directors want to sound like him. Perhaps all his songs won’t be remembered and hummed after decades. But for the time being, Rahman’s tunes are extremely enjoyable.”

S. P. Balasubramanium:

“The man responsible for the variety in today’s music is A. R. Rahman.”

Hema Sardesai:

“When Rajiv Menon recommended me to A.R. Rahman, he never gave a second thought and called me over the phone to be in Madras the next day for the recording. Even though I was on cloud nine, deep down I was feeling as if somebody had pulled a trick on me. God has been great! He came into my life as Rahman sir.”

Sukhvinder Singh:
“A R Rahman not only gave me the break (in Dil Se), he taught me a lot of techniques in composing music arrangement and recording. He was the one to impress upon the need to be technically perfect before any producer could be expected to invest in you.”

Javed Akhtar:

“I think he is an all rounder, I mean his grounding is very very solid. He knows Indian classical music, he is in touch with Indian folk music, he knows about western music and he has really studied western classical also. He knows about Middle Eastern music. So there is no wonder you see different colours in his songs. But Indian music has borrowed albeit being influenced by Middle Eastern music in past also. But, you see, when Rahman takes a raag or if he takes a folk tune, or if he takes notes of say Arabian music or South American music. When this music comes to Rahman, it becomes Rahman’s music his influences are beyond film music and he has a kind of courage where he is not afraid to experiment, he is not afraid to fail and that is why he succeeds. We remember only those people who were not only successful but they have brought something to the arena that is new. Now this is a another leap, a quantum leap that Rahman has taken and he has given a kind of new sensibility to Indian music listener and the music maker. The sound, the orchestration, the very structure of the song. He has challenged the basic structure of Indian film song and he has altered it, changed it. And, I think his contribution is totally unprecedented. Successful people come and go. Ultimately it’s the pathbreakers who’re remembered with the passage of time. People who have walked on untrodden roads. Success is worshipped momentarily, and then forgotten. It’s not enough to be successful. It’s important to attempt something new. Rahman’s contribution to film music will never be forgotten. He has given a new dimension and understanding to sound. Working with him is definitely a great pleasure. I get along very well with him. He is one person who is only interested in his work. Inspite of his stupendous success, he is so humble and down-to-earth.”

Sandeep Chowta:

“Rahman revolutionised sound. He’s a trend-setter in more ways than one. The only thing common between us is the fact that we started out in advertising and moved on to films. There’s just no comparison otherwise. Rahman is a legend of sorts. Rahman is unique. He doesn’t have set ragas. Yet his chord progressions are beautiful. People sometimes compare me to A R Rahman, it happens. People like Lata Mangeshkar, Asha Bhosle and even Andrew Lloyd Webber have paid tribute to him and called him a legend. I can’t even begin to fathom the reasons for the comparison. He’s in another zone altogether, he is amazingly brilliant. If people compare me to him, I’d take it as a compliment.”

Bhupen Hazarika:

“People become immediately entranced by whatever Rahman composes. He is a phenomenon. He’s young and talented. And he has his fingers on the pulse of the new generation. Like Salil Chowdhary he knows both western and Indian music styles. He’s a great talent but his talent shouldn’t be overutilised.”

Andrew Lloyd Webber:

” I think he has an incredible tone of voice. I have seen many Bollywood films, but what he manages to do is quite unique–he keeps it very much Indian. For me as a Westerner, I can always recognize his music because it has got a rule tone of voice of its own. It’s very definitely Indian, yet it has an appeal which will go right across the world. He will hit the West in an amazing kind of way; that is, if he is led in the right way. He is the most extraordinary’ composer who is still true to his cultural roots, ‘ and deserves to be heard by an international public”

Ramgopal Varma:

“There is a bigness in Rahman’s music. Every note reflects the mood of the song. When I used to hear his music for my film I used to wonder if I was feeling my story as deeply as he was”

Jayanth Deshpande the Music Critic:

“The unique brand of classicism brought into Bollywood music by A.R.Rahman mirrors not only the variegated tapestry that is India, but also the global musical culture. Rahman borrows ever so subtly from American soul or Gospel. He draws generously from rap, disco, folk, reggae, qawaali, Hindustani and Carnatic in his rhythms. And the vocal ornaments of Carnatic music or ever present. Orchestral textures and harmonies typical of Western music often grace the background. His is a truly international music with a distinctly Indian feel. He has experimented as perhaps no other Indian composer has before him or does now. Some may be tempted to call it Indian fusion music of a highorder. I’ve heard his music being used as background in a German TV feature unrelated to music or India.”

Deepa Mehta:

“Brilliant, I think he is the most consummate composer that I know of in the world. His music comes from the characters and is an extension of them. I think he is the best.He is the most brilliant film composer in India today and is in such demand that he has altered his normal working day to begin at six in the evening and go through the night, so that he can compose undisturbed by producers’ calls. A.R.R. is a very young man of prodigious talent with an immense sensitivity to the film’s context and characters. Whatever I say about his genius will be stating the obvious. He finds the sound for every character in the film. He finds the character’s sur. Raag, rhythm, reggae, folk, classical, he’s got it on his finger tips. He’s so cinema literate. He can discuss Ingmar Bergman’s Autumn Sonata and he can talk about Subhash Ghai’s Taal, all in one breath.”

Govind Nihalani:

” I am a lover of music. Some years ago a friend of mine gave me a cassette of ‘Roja’. I was amazed after I listened to the songs. I decided right away that A.R.Rahman will give the music for atleast one of my films. Immediately I came to Chennai and spoke to him. He is an absolute genius. Very Modern! His range of imagination is expansive. He doesn’t treat his profession as just composing music for films. He is able to lift a film to a new level with his music. Just as a painter is identified by his artistic style he is identified by his tunes. Even If i say I am satisfied he does not stop. Uncompromising spirit!! I am not saying this just to praise him. A. R. Rahman is the only composer in India upto international standards today. In fact I will go so far as to say that he is a composer of the next millennium. He is not a person who merely makes tunes. He is someone who creates music. He is constantly observing the trends and developments in his profession. I believe that is also a reason for his success. First , he reads the script and takes detailed notes of the situations, the mood, and the characterisations. Sitting before his keyboard in the studio at night he would say, “Give me a word!Give me a phrase.” And he would work out a rough tune on the spot. Then he records it with a singer. But the real magic starts when once he has the song before him on his computer screen. He plays with it, takes a phrase from here and puts it there. Block by block, verse by verse he builds up his song. YOu can see the coloured bits forming fascinating patterns.” He paid the ultimate compliment when he said ” Its like watching a master sculptor in action.”

Subhash Ghai:

“Rahman is the rhythm of ‘Taal – The Rhythm’. I wouldn’t be able to make Taal without this remarkable musician, this great soul who was born to give Hindi music a new life. I am privileged to work with a man who has been inspired and blessed by God above. I don’t mind changing all my nights into days to work with him. You know this great man only creates fresh tunes in the night and sleeps during the day. Rare man, rare way of working. That’s how all great men are. He creates according to the director’s need. He is a widely knowledgeable composer, with knowledge of all kinds of music of the world. He can play Western Symphony with as much ease as Hindustani or Carnatic classical which is a very rare quality in composers. Rahman has a strange kind of spirituality within which he lives. He knows technique, has a rare sense of sound and a great ear. He can make any besura (tuneless) voice sing well. This is obvious from singers who have sung beautifully for his albums but have not done well later. I love him both as a composer and as a friend. He is very sweet to talk to. The only thing is you talk and he listens. He has a sharp intellect and understands not just the sound of music and quality of voice but also the market forces and how to move from post to post. Rahman is undoubtedly a genius. He’s divine and simple. ” Rahman’s favourite singer Hariharan says, “His strength is the way he designs sound. He has revolutionised film music. He is perpetually on a quest to get the best out of you and makes you feel at ease which is important. I have sung some of my best songs for him.”

H. Sridhar the SOUND ENGINEER:

I had known Rahman many years before I started working with him on Roja. While he was doing jingles, we would often meet and compare notes on music trends and synthesisers. Rahman’s biggest asset is that he treats each song as his first song. He prays before each session. I believe there is some power in his God, faith and religion. I can give you countless examples when he became so inspired after his prayers. He is very open-minded about what a song needs and gives each song a completely individual taste. It is the way he soothes you into a song that I call his signature. There is a visual texture in his mind when he composes music. When you see the song picturised you can immediately connect. Rahman allows musicians to be themselves. He understands their soul. He also has a fabulous way of getting notes out of a musician without telling them in so many words. Rahman never ceases to amaze me. He is such a fine musician apart from being a music director; his strength is fusion. He is also a techno-junkie. If you give him a set of headphones he will most probably rip it apart to understand why it works so well! I sometimes say that we are techno-brats. But Rahman knows that a song shouldn’t speak the technical language but should have soul. Rahman is humble and very generous with money. He hates to see people suffer. I think his philosophy is that people should derive happiness from his music, even if it is a sad tune. He has this tremendous need to be perfect.”

Apache Indian:

“He’s very talented as a songwriter and singer. I think he can do great things.”

Mani Ratnam says:

“I have found that Rahman is a favourite because he is new and above all different. He knows the pulse of the audience. He has a very good sense of tune. He knows what kind of orchestration is necessary for a scene and what music suits the mood of the scene.He has the music in his mind, and uses every musician as an artiste, probably because he has been an instrumentalist himself. He tries to extract something extra from every one of his musicians as well as his playback singers. He believes in their additional input. Rahman improvises. I found in him a new and different composer who never compromises on quality. Rahman is every director’s dream.” He has no ego problems and tries to come out with a new number with the same kind of passion with which he did the earlier one. But he is best summed up, perhaps, in the words of Cinematographer-director Rajeev Menon who worked on many ads and the films ‘Minsara Kanavu’ and ‘Kandukonden Kandukonden’ with him, ” Music comes to him instinctively. When you see him play, his skill is such that you really believe God exists in his work.”

The Times of India:

“Men we regard: Our tribute to the men without whom this world would be quite, quite insipid” in which it picked Rahman as one of them and wrote “Music maker A.R.Rahman has given these raucous and raunchy times melody and mood. His style is individual to the extent of sounding repetitive sometimes, but when you hear his work, you feel at last the kind of involvement with the spell of sound that was R.D.Burman’s. What is most attractive about Rahman’s music is his ability to link modern rhythms and experiments with sound with our enormous legacy of classical and folk music.”

India Today:

“Sometimes a song is just a tune for a music director, whose rhythm invades you, which you hum in front of a bathroom mirror that has a warranty never to break. Sometimes a song is just an intricately woven lacing of words that embraces you on a still, lonely night. Sometimes a song is just a voice for a music director, whose passion makes your hair stand. When A.R. Rahman takes you on a journey– and to hear it is to feel you have no choice but to journey with him…… .”

Shankar, Ehsaan and Loy

“Rahman is a great musician, a great human being, his music is fresh, and honest. That’s very important, writing something from the heart”. Adds Ehsaan Noorani, “A R Rahman is my favorite, he’s a genius, his personality reflects in his music, it’s fantastic, his music is so pure, it’s from the soul.” And finally Shankar Mahadevan, “A R Rahman is my favourite because he’s a genius, he knows exactly what he’s doing, he’s very well versed in classical as well as western jazz, all kinds of stuff. And he’s open minded.”

Anil Kapoor:

“A R Rahman is Sachin Tendulkar of Indian film industry “

Hrithik Roshan:

” When the music is by A R Rahman u never think or say good or bad…u just say WOW its Rahman “

Himesh Reshammiya:

“Only if A.R Rahman asks me. No one else! He is the No.1. He’s the BEST. And he did say in an interview that ‘Aashiq banaya aapne’ is his favourite track of the year.”

Prem Chopra:

“A R Rahman….Sab se Mahaan “

Alka Yagnik:

“I haven’t worked a lot with rahman but undoubtedly whenever i have sung for him it has been a milestone in my career. He is very simple just as complex his compositions are although they sound very melodious. Be it for Swades, Lagaan or Taal working with him has always been a pleasure. “mehandi hai rachnewali” is a big craze abroad. Initially when i used to work with him i felt that why all these nightly recording sessions? But now i realize that he is actually very smart…no one disturbs you then and the work at hand becomes simple.his compositions are awesome he takes it from one xtreme to another and yet so beautifully that it is unimaginable so i need to concentrate more… he is very easy to work with very polite, very humble The atmosphere while working with him is very serene plus the aura of rahman if u personally meet him you realize it….how down to earth he is…I have never seen him frown …and he makes my voice sound extra sweet…whenever i ask him “what have you done to my voice it sounds xtra nice” he just laughs and says no your voice is like is that…. He is very wonderful person…humble, so down to earth and of course the most mindblowing composer”

Sujatha Mohan :

“It was AR.Rahman, who gave me the big break in Tamil with the song “PuthuVellai Mazhai” in “Roja” which got noticed and then there was that haunting “Nettru Illatha Matram” from “Pudiya Mugam”. The seven wonders song “Athisayam” from “Jeans” and the bubbly number “Poo Pookkum Osai” from “Minsara Kanavu” established me as a singer in Tamil.”

Dr A. P. J. Abdul Kalam:

“When A R Rahman sings Vande Matram in his soulful voice that reminds you of your motherland you forget your religion or his and give in to the spirit of patriotism. A R Rahman’s gift and and unique talent of music came into the light when he was 20 years old…this should inspire the young musicians”

Hariharan :

“My association with A. R. Rehman has been hugely successful. Songs like “Tamizha Tamizha” and “Uyire Uyire” were instant hits. Rahman is one of the music directors who has cut across all linguistic barriers. His music is enjoyed all over the country. How did he pull it off? He came at a time when the country’s youth, who had started gyrating to songs on foreign music channels, were looking for something different from Indian composers. Our concept of light music has changed over the years. The new listeners demand stereophonic music with oodles of metallic sounds. Rahman has fulfilled this.
Rahman’s approach to sound is vastly different from Ilaiyaraja’s. Notice their string arrangements. You can spot the difference. Both are masters in their own rights.”

Rakesh Omprakash Mehra:

“For me, the music of Rang De Basanti, philosophically is like the soul of the film. Rahman has been a very influencing factor in the way the movie has shaped up. Not only in terms of the music, but I have discussing the film with him since three years. I’ve been wanting to work with him since the past five years. I discussed various subjects with him, but then he heard Rang De Basanti. The fact that Rahman saw something special in my story made me think. He has interpreted the music of the film in a certain way and has juxtaposed the story with the sound. He is essentially the soul of Rang De Basanti “

Aishwarya Rai :

“You must give you the permission for them to let you grow on you, and then see if you can get them out of your mind.”

Kunal Ganjawala, singer :

“Many singers, including Kunal Ganjawala, have said that Rahman has them rehearse without raising a fuss, and the song is okayed within hours. He inspires singers but never overwhelms them. Sometimes, I wondered whether he is too nice a person to tell a singer that he did not like the way the number was sung,” Ganjawala said. “You secretly fear that he is not going to use the song!”

Anandan, Publicist :

“Once a music director overheard the four-year-old trying out a tune on a harmonium,’ Anandan said. ‘He quickly spread a cloth over the keys. Undaunted, the child repeated the tune, this time running his fingers confidently over the cloth. Who would have thought then that the boy would scale such heights?’

This “Mozart from Madras. I believe that every individual, even an atom, can move only with the will of God, I don’t take credit for doing all this. If I did, then I would fall flat.”

THE WHOLE CONCEPT ON HOW A R RAHMAN COMPOSES A TUNE

THE WHOLE CONCEPT ON HOW A R RAHMAN COMPOSES A TUNE

1. Rahman gets an offer from the director , and he studies the script everything . If he likes it then he agrees else he drop down the offer

2. Then he sees the actor/actress and accordingly determines the singer.

3. Rahman asks the director to give the exact situation of the song and why it is needed. If he is satisfied he

4. Then Rahman sits and composes the song on his own and in his voice records every song.

5. Calls the singers after 12 am in the night [ Mark it only after 12 am ] and makes them hear the tunes.

6. Recording starts . He never modifies the song as per the singer but he modifies the singer as per the song .

7. Every sound in the studio is recorded even if a singer sneezes or coughs it is recorded and it is edited . If u remember in Kadhal Virus there is a song by Mano~ O Kadhale. There he coughs at one part. He had coughed it in the first day and then Rahman never got any realistic cough after that so he simply included the original cough.

8. A song recording goes upto 3-4 days . Sometimes male and female singers are recorded differently and then successfully mixed

9. After the vocal is over music starts . He gives his idea to his musicians and then the musicians suggest the background tune . 90% times Rahman doesnt like them and then he himself gives them notes and the musician have to play them. Few songs however had tunes inspired by his musicians like his flutist Naveen and drummer Sivamani. The musicians love ARR since he gives them freedom and helps them grow their talent .

10.Later the vocal is added to music or vice versa and then comes the technical part. Every interfaces start working , every part is edited , reedited and software are used and lets not get much into it ,but by the time a song is finalized it is one month and the best version is out. Some say he uses technology, but come to his studio you will know he uses technology only to polish stuffs.

Mixing songs

He does all programming on Logic and also mix in Logic then he makes some pre mixes, like all choruses in two tracks, drums in two tracks, bass in one track if stereo then in two tracks and then he bounces all the tracks to EUPHONIX to give some analog warmth. But Rahman uses all Logic plugins FX.

Everyone is using Logic from Salim Sulaiman to Shankar Ehsaan and Loy. Logic is just like a Pen and Paper for a Poet. Rahman doesnt need any Logic even he can use any other software cause he has music in his mind.

What is Logic?

Logic is an audio recording and mixing software. Most of indian composers use this software. For more details check www.apple.com/logic/ . You can buy and download it if you have an Apple Mac Computer.

Rahman also uses or used Absynth. You can hear one preset from Absynth in Kannathil Muttamital title song. The flute kinda sound with a rough string sounds behind it in the intro. Most of the songs, especially in the last few years feature many synth sounds, probably from absynth, or some other softsynth. The beeps, filtered sounds etc in many songs like Yeh Rishta, Meenaxi and a couple from New, Kangalal Kaidu Sei etc can be done in Absynth. For more details check out www.native-instruments.com/

Audio Samples

Have you guys ever heard about audio samples. Well Rahman is the first person who used a lot of samples in his songs and the second person is Ranjit Barot. Ranjit used to work with Rahman. Ranjit programmed drums in Humma Humma.

And now everybody is using samples in Mumbai like Salim Sulaiman, Sandeep Sherodker, Jacky, Inderjeet Sharma, Ram Sampat & Sandeep Chowta. If you guys think that how can Sandeep Chowta make sound like A R Rahman, those are samples.

Here are some instances for Samples

1. Shabba Shabba with African voices. Those are samples not real Africans.

2. Spanish claps in Jumbalika. Samples again.

3. Chinese vocals in Latka. Its a Chinese Sample from the CD (Spectrasonics Heart Of Asia)

4. Background beat in Latka song from Indian. Later Anu Malik and many other used the same loops in many of their songs eg: Mehbooba song from Ajnabee.

5. Killer drum beats in Rangeela songs. Drum samples from the cd (Best Service XXL 1500)and its a long list.

6. Final beats of Mukkala Muqabla sounds like Dr. Alban Africa. That is too a sample. It is not composed by Dr.Alban either. Same beats used by Sandeep Chowtha in Kambath Ishq song.

7. Main Background beats in Mangta hai kya from Rangeela.

8. Early bands like Deep Forest and some Euro techno bands used this concept a lot. Thats why title bird sound of Thillana Thillana from Muthu sounds like Deep forest songs.

There are many other samples Rahman used in many of his songs. It is not copying but just using a commercially available sample.

When Rahman was recording for “Jaage Hain” the Sound Engineers told him that lets record the song in a low mod ie Track 5 and later FDM it to a higher track but Rahman sing it singularly in track 15. It is his original however Madras Choral sound was probably modulated.

Composing Back Ground Music

He doesn’t actually sees the entire movie , he makes the director explain the entire script 100% and in every details and then asks for a demo. However the first version of BGM he gives is modified and re modified numerous time after seeing the film. The BGM for the movie Guru was modified just a month before the public release. Rang de Basanti BGM was actually purely on script. Some parts of the movie was modified as per the BGM. Remember the scene when the rebels walked into the radio station and the music that comes behind it. The scene was actually pretty different but according to the music it was modified and the modifications came in their walking style, check the scene carefully you will find their feet falling on the ground as per the music tune. Rahman composed this music for a period of two years. If he really took two years to compose the films music then see his dedication. Amazing.

Rahman’s recording and mixing

Not just Rahman, about all music composers use loops or samples which they buy from distributers like Sony or Apple. Its like instead of calling a performer like a guitarist to perform for his/her song a composer buys his recorded piece and uses it. These pieces are royalty free its like the guitarist sells it to Sony on an agreement and Sony distributes it through out the world. That is why you find same sound effects in two different songs of Rahman some times. Loops are not necessary to be only a single note. It can be chords or even a piece or a scratch.

How many of you have noticed this in Rahman songs especially those who are musicians. All his songs irrespective of the mood has a constant ‘pads’ or ’strings’ backing. The chords played with the pads and strings is also not conventional. They are the 7ths, 11ths or Diminished chords. They give the song a ‘feeling’, a ’soul’. Quite Technical

A classic example is the song “Thirupachi Arivalaa” from Taj Mahal. Check out the pads in the songs. Another is “Aye Udi Udi” from Saathiya. Remove the pads these songs become soul-less and very plain.

The only other person who uses this same method is Harris Jayaraj. And for sure he learned it from Rahman .Wonder if more music directors should do the same.

A R Rahman started learning indian classical and carnatic classical in 1992. Since almost all his songs are Raga based just wanted to clarify that he learned classical before or after 1992.

How does he compose a new tune. Does he play it in his piano or does he write the swaram or how does he go about conceiving a song out of nowhere and create a master piece.

Its a fact that no softwares in the world can create a tune. The people who learned music will laugh their stomachs out if someone tells them that Tere Bina or any song is a product of a software. Now what can a software do. What does Rahman do in his studio with all those softwares. Why does he always updates his software. It is very simple. Just a brief concept.

1. Rahman records a songs over a period of 10-15 days. A singer sings one song perhaps innumberable time till Rahman gives a handsup. Once that signal has been got the singer realizes that his job is done . Now rahman sits over his singing and edits the bad parts and couples all the best parts and after another day of hardwork the singers work is ready. The singer never sang that song continously but his best parts are selected and sampled .

2. Rahman then records music or what you call as BGM. After that he mixes it with the vocal part. Then suddenly he may realize that both of them don’t gel well in frequency. And then freqeuncy division modulation takes place. Its a huge process friends which very well packs the music and vocal part.

3. Let us take an example of Shreya Ghosal. Rahman needs Shreya Ghosal to sing in track 15 ie the Highest. But Shreya can sing only till 11. So wat can Rahman do. Let her sing in track 8 -9 in which she is comfortable and then simply phase modulates the vocal to appear as if she sang in track 15. This is a very costly process and risky too so Rahman has done it only 5-6 times.

So A R Rahman is a genius , not a technician. He uses softwares but doesn’t use to “produce” tunes. Instead he use them so effectively to “edit” tunes. And that is why perhaps he is the best. He uses Technology but his originality is maintained in each song.

A software has no brains. It will do what you tell it to do. So if anyone program his software to sing “Sa Re Ga Ma Pa” then yes, you are right. Software can produce tunes. And everyone is pretty sure Rahman uses custom made softwares. The bottomline is Softwares Do Not Produce Tunes.

What do u mean by a Track ?

Many people have different definitions of tracks . “Track” is not a musical keyword but it pretty software related. We divide a tune into several sound parts. Every channel has a baudrate frequency. For example if you hum a voice in a low scale u may call it as a track 1. The song “Jaage Hain” goes very high enough to be called as track 15 . Empirically track is a pitch depth value versus volume. The intersection of the graph is the resonant value. This value is what the purest and the “Virgin tune” we call. It is difficult to acheive this reasonable value due to several reasons but Rahmans studio is feature adapted to it. Almost 99% of his songs are resonabaly valued .

We heard a lot of spectrasonics stuff in Rang de Basanti. Espescially the amazing pads from spectrasonics atmosphere. He’s also been using swarplug, an indian instrument plugin, which can be heard in water and the background score of RDB. The santoor you hear in “Chanchan” from Water is actually swarplug doing the job.

Its easy to use software but it ain’t easy to create stuff with software. Samples are an easy way out and most music directors are going the samples way because its easier and quicker.

This includes people like Salim Sulaiman sadly, they lack tunes. Himesh, lacks creativity and singers, Shankar Ehsaan Loy , these three guys are actually pretty good, Sandeep Chowta. He’s not even a music director according to criticist, more a DJ kinda fellow.

Someone like Rahman, takes the pain of creating his own samples as well apart from using purchased ones. Now thats a huge difference. This combined with the responsibilty of making path breaking tunes is a big big task. Make no mistake about it.

What thus we say can be summed up thus give the same equipments, computers, keyboards, the musicians, the software, the samples etc. To any other music director in the country they still cannot match A R Rahman it takes a genius to create something extraordinary like he does.

Being the user of these sound editing softwares we can give us suggestions. The usage of sound editing softwares such as Neundo, Cubase ,Sonar and Logic is very helpful and reduces our work in the technician point of view. Though these sounds are pleasant and filling they spoil the naturality of the song. But Rahman’ comprehension on the editing softwares and plugins and using them in his songs and BGM is fantastic. But that in itself is his drawback. A R Rahman has one of the largest collections of samples in Asia.

Music Director vs Music Composer

“Music director” is not really a Music Composer. He is basically the guy who makes the tunes for the songs. Then he gives it to the lyricist for the lyrics. This works vice versa too. Lyrics first and then the tune. Now comes the major difference between “Music directors” and “Music Composers” like A R Rahman and Ilaiyaraaja.

The Music Director hands over the tune and lyrics to the Music Arranger who will fill in the music into the song according to his knowledge and experience. The Music Director will only direct the music as in supervising the process but does not necessarily compose the BGMs, the rhythms, the chords, basslines etc. in the song. These are done by the Music Arranger, who will arrange for the violin sections, the brass sections, the percussions, the beats etc. acccording to what he knows.

Needless to say, the Music Director, more often than not, is not even proficient in playing a musical instrument. He need not be with the method mentioned above.

This is why most Music Directors sound the same movie after movie after movie. Because the tunes are different but the arrangement is the same. The Music Arranger guy is only doing his job and ending the works as per deadline. No creativity there. There is no effort to innovate.

A R Rahman though, it seems, sits and works on each piece of music in his songs. Each sound and each element of the notes are heard by him, evaluated and then entered into the song. Plus he has great musicians to bring out quality sounds.

In other words, Rahman actually designs the sound for each of his songs. To all those who scoff at use of technology in music this sound design is enhanced only because of the technology.

This sound design combined with great tunes make great masterpieces. Any surprise his songs are so good ?

A R Rahman ~ The Professionalist

1. A R Rahman is perhaps the most professional musician of India. He has this habit of looking out for talented musicians and then he calls them to his studio and records and samples their stuff. And then the musician packs his bags and is off to where he/she belongs. The best part comes now, whenever Rahman will use that sample/loop in any of his songs, he makes a point that he pays that musician his royalty !! Isn’t this wonderful ?

2. One of the musicians has played the Dholak in “Taal Se Taal Mila” and here’s the story. When the musician went to Rahman’s studio for recording the Dholak he was all set as he found the rhythm not that challenging. But the real fun came now. Rahman asked him to wear Ice cream sticks tied with rubber-bands to his finger (the Chati i.e. side which produces the high pitch sound). This was indeed unique as Rahman was pretty clear on what “sound” he wanted.

Thats A R Rahman for you. The best musician India has produced after R D Burman.

Something About Music Sampling For Starters

In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or element of a new recording. This is typically done with a sampler, which can be a piece of hardware or a computer program on a digital computer. Sampling is also possible with tape loops or with vinyl records on a phonograph.

Often “samples” consist of one part of a song, such as a break, used in another, for instance the use of the drum introduction from Led Zeppelin’s “When the Levee Breaks” in songs by the Beastie Boys, Dr. Dre, Eminem, Mike Oldfield and Erasure, and the guitar riffs from Foreigner’s “Hot Blooded” and Tone-Loc’s “Funky Cold Medina”. Samples in this sense occur often in hip hop, as hip hop sampling developed from DJs repeating the breaks from songs and Contemporary R&B, but are becoming more common in other music as well, such as by Slipknot’s sample player Craig Jones.

Early Cases

Sampling using tape recordings goes back at least as far as 1969, when Holger Czukay used traditional Vietnamese singers on his record “Canaxis”. Czukay and his former band used samples often throughout the seventies.

One of the first major legal cases regarding sampling was with “Pump Up the Volume”. As the record reached the UK top ten, producers Stock Aitken Waterman obtained an injunction against the record due to the unauthorized use of a sample from their hit single “Roadblock”. The dispute was settled out of court, with the injunction being lifted in return for an undertaking that overseas releases would not contain the “Roadblock” sample, and the disc went on to top the UK singles chart. Ironically, the sample in question had been so distorted as to be virtually unrecognisable, and Saw didn’t realize their record had been used until they heard co-producer Dave Dorrell mention it in a radio interview.

Types of samples

Once recorded, samples can be edited, played back, or looped i.e. played back continuously. Types of samples include:

Some facts about A R Rahman

1. A R Rahman records most of the songs in the late night because he belives that is the time at which a person’s sound will be at it’s top best.

2. Rahman allows singers to sing there own versions of the song separately and chooses best among them.

3. There are more than 1000 samples available in Sony and Apple.

4. Rahman has used a ghatam loop in the Rang de Basanti background score from Apple’s loop library. The same loop been used elsewhere. But it sounded a lot better the way Rahman used it.

5. The song “Maiyya Maiyya” has a flute interlude in the beginning similar to the one in Anu Malik’s “San Sanana” song in Asoka. The flute sample in Mayya Mayya is a commercially available sample. Both the Asoka song and Mayya Mayya have been arranged and programmed by Ranjit Barot.

6. Chinna Chinna Asai was composed as a ’sad’ full song initially but later was changed to a happy song.

7. ARR first composed only the first stanza of “Tu hi Re” song for Bombay. Later Mani Ratnam shot the song and after feeling confident of the song, Rahman completed the composition.

8. Thiruda Thiruda and Duet took most time in composing followed by Box-office Flop Mangal Pandey.

9. Maiyya Maiyya was recorded in Toronto and music was added later as usual.

10. In Thiruda thiruda there are two special songs in it. One is Konchum Nilavu which is fully computer programmed. Another is Rasathi where you can’t hear a single instrument.

No matter how intensively A R Rahman uses technology, but we are always astonished how he stands unique with same softwares. Its all creativity Guys. Always wonder how he pours soul in music and creates a situation through music, a world in which we are lost.

A R Rahman is a great Sound Engineer of all the times. There are certain frequencies which sooth our brain, may be A R Rahman know which frequency level or modulation will leave soothful impact on listener’s brain. Its possible and we can achieve such frequency levels through softwares.

Now its your turn ! Still not a Rahmaniac. Better late than never.