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What makes MSV pleasantly different?-XVI

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PostPosted: Fri Sep 26, 2014 12:47 pm    Post subject: What makes MSV pleasantly different?-XVI Reply with quote

Dear Friends,

The need to simulate certain sounds, as a means of improving the effect in a movie song can always arise in the work of any MD. These days simulators with pre-recorded effects are available. In the days of ‘live’ recording, hurdles were too many and the MDs had to devise their own strategies to reproduce typical sounds. Most animal sounds were drawn from exponents of mimicry; but items like moving trains, cars, horses, chariots and aircraft’s takeoff or landing had to be simulated.

In this game, MSV has established supremacy by absolute authenticity of sound and by using the sound to a scale that fits the song as a ‘tailor-made’ outfit. My suggestion is –MSV not merely utilizes a simulated sound but tries to elegantly segregate it into musical notes such that the sound simulated comes as a perfect foil to the required effect.

To simulate a sound, alacrity of mind is the prime requirement. Essentially, it is ‘exploiting’ the ‘noise’ from one or more objects that we may use for non-music purposes like measuring scale, comb, sticks/shaft of varying length, utensils of kitchen utility, wood-cutting saw, sandpaper, bamboo bits with the hollow cavity, corrugated tubes etc., MSV has had the blessings of the Ultimate, in the sense that a number of innovators were on his orchestra.
Though, they had their regular role in handling music instruments, they have been experimenting with opportunities to use ‘unconventional’ outfits to simulate an effect or two or more. The spirit of ‘explorative experimentation’ has been a part of his team of musicians.

My surmise is that, unless they have been toying with such ideas and experimenting with probable items for simulation, it would not be that easy to ‘generate’ the intended effect at the required moment.

Besides the items listed above, certain improvisations to outfits like ‘Ghatam’, specific modifications to pieces like ‘Tundhana’, playing Bongo in left-right orientation reversal or using sticks to tap the playing surface on Bongo or ‘Thavil’ have all been done by MSV’s group. Once done, these efforts look simple; but to conceive and execute them to perfection can never be just for the asking. Innovative approach sustains itself in an ambience where it receives appreciation and application.

Obviously, MSV’s group has had the right balance of experiment and execution which promoted the spirit to higher levels.

Any elaboration on this would be redundant, if we recall the ‘impact’ created in many songs. In fact, the majesty of orchestration reached a Zenith, not in the reach of lesser mortals. Also, the appropriate use of such ‘additives’ indicates the range of compositions that MSV has liberally churned out in his career in an era bereft of facility but devoid of ego.

Horse- hoof simulation: ‘Iravukkum malarukkum’ [nenjam marappadhillai], ‘rAjavin pArvai’ [anbE vA], ’kAdhal rAjjiyam’ [mannavan vandhAnadi], ‘kadavul orunAL’[shanthi nilayam] TAPPING OF BAMBOO
Steam engine simulation: ‘chithirai mAdham’ [rAman ethanai rAmanadi] RUBBING SAND PAPER PIECES

Frightening night effect: ‘thEnAtrin karaidhanilE’ [Utharavinri uLLE vA] VIBRATING THE SAW BY THE EDGES

Ball-racquet impinging: ‘parakkum pandhu parakkum’ [paNakkAra kudumbam] POP SOUND BY HOLLOWING THE MOUTH AND SLIDING OFF A FINGER THROUGH THE MOUTH EDGE. [Recall how actor Nagesh generates the sound to Balaiah in the ‘story-telling’ scene in kadhalikka nEramillai]

We should, with respect and gratitude recall the greats- Gopalakrishnan, MS Raju, Meesai Murugesh, Sai Baba, Sadhan and names not listed here for their contribution to simulation.

At this juncture, I appeal to Mr.Vaidy of our forum to discuss the services of such artistes who still stay away from the lime light.

More to follow

Warm regards K.Raman Madurai.
Prof. K. Raman
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