Current Issue : May - June 2022




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Articles May-Jun 2022

PALM SUMMIT Conference & SeminarNew!

Knowledge Quotient at PALM AV-ICN expo 2022
PALM SUMMIT Conference & Seminar

Manufacturers and distributors spend three fruitful days at PALM, exhibiting and showcasing their latest products, but beyond the enticing exhibition stands, are fringe events like the PALM Conference & Seminar Programme that are arguably the most valuable feature of the three days, wherein delegates ... read more

Articles May-Jun 2022


Global Pro Sound & Light Technology

PALM has selected the Top 50 Pro Audio and Lighting Products & Technology, trending in the National and / or international markets. The demand for advanced technology has made the industry competitive with global brands unveiling the latest product technology and new versions of equipment with upgraded ... read more

Articles May-Jun 2022


Glimpse of One of The Plants at Noida, U.P.

This year PALM + AV-ICN is honouring the AHUJA FAMILY for their Leadership of over Eight Decades in the Pro Audio Industry with the Lifetime Contribution to The Pro Audio Industry Award at the PALM Sound & Light awards. This award recognizes over Eighty Years of innovation, quality & reliability of brand AHUJA in meeting the demands of Pro Audio products in India. This award acknowledges their commitment to... read more

Articles May-Jun 2022


Awarded for highest standards in adopting best innovation and vision in AV Architecture This award has been instituted for an AV Architect chosen by AV-ICN platform to be recognized for the quality of his body of work, incorporating the best innovation and vision in AV architecture. In this feature, we highlight one of the most prestigious projects accomplished by Narendra Naidu - The Statue of Unity... read more

Articles Mar-Apr 2022


PALM Expo was launched in 2001, in response to the top music recording engineers in Bombay desiring a dedicated pro audio expo. Bombay was the music recording capital and Bollywood Bombay boasted of the big studios and big sound rental companies and the beginning of the big stage... read more

Articles Mar-Apr 2022

Milind Raorane Sets the Tone at ToyRoom MumbaiNew!

ToyRoom outfitted its second outpost in Mumbai with Electro-Acoustic Design Consultant Milind Raorane to deploy a comprehensive Sound and Audio design that would enhance the unapparelled ambience of the nightclub. PALM +AV-ICN Reports.
Nex Protection Technology

Located in Kalina, Mumbai, Toy-Room Mumbai is established on the premises of the vibrant and stylish Grand Hyatt, one of Mumbai's sophisticated leisure and business... read more

Articles Mar-Apr 2022

Post Pandemic Video Conferencing RiseNew!

Abdul Waheed is the Managing Director at EYTE Technologies. A CTS holder from Avixa, Member of the Certificate Committee of AVIXA, has been in the AV industry for more than two decades, delivering many successful projects across various segments. Abdul gives his overview of the video-conferencing industry and the latest market trends.

ommunication, the human connection is the key to personal and professional success. It is very important to have effective communication... read more

Articles Mar-Apr 2022

The CHORDFATHER Experience New!

Neumann's first Studio Monitor Experience Center in Mumbai
Nex Protection Technology

Recently Neumann in collaboration with well-known music composer, producer, sound engineer, and live engineer, Sunny M.R.'s Chordfather Productions announced the launch of its exclusive Studio Monitor Experience Center for audio professionals... read more

Articles Jan-Feb 2022

Understanding the Dynamic Evolution of Projection Technology with NEC New!

Humans have always wanted to bring their imagination to life. Introducing 2K / 4K projectors that deliver superior colors’ and high resolution has made that possible.
Nex Protection Technology

The high detail, true color rendition and cinema-like quality video of projectors are being leveraged by Artists, museums, schools and businesses alike to educate, attract and engage customers or to uplift and inspire people in new and innovative ways...... read more

Articles Jan-Feb 2022

Integrated System Design Crafts a Savvy Aural Experience Hot!

HARMAN Professional Solutions & ISD install a comprehensive Aural setup at Pass Code Hospitality newly opened restaurants.
Integrated System Design

When Pass Code Hospitality opened three new bustling restaurants in Lower Parel, Mumbai, they reached out to HARMAN Professional Solutions and Integrated System Design to deploy a comprehensive Aural setup that enhanced each restaurant's theme well....... read more

Articles Jan-Feb 2022

Star Dimensions India accomplishes STATE-OF-THE-ART- LIGHTING ARCHITECTURE for the "BANDRA WONDERLAND" project in Mumbai New!

Ashish Mehta & Becket Tundatil Creatively Execute Seamless Architectural Lighting Design at the Iconic Bandra-Worli Sea Link.
Bandra-Worli Sea

Between 24th December 2021 and 2nd January 2022, the project came alive as the sun set on the city - with the entire 1.5 km of the Bandra Reclamation promenade being engulfed in specially themed displays that emphasized the four different seasons of the year, boasting different eye-catching..... read more

Articles Jan-Feb 2022

Understanding the Pro-Audio Market with Sennheiser New!

Sennheiser is a leading manufacturer of headphones, loudspeakers, microphones, and wireless transmission systems and has been creating unique sound experiences for customers. PALM+ AV-ICN got in touch with Vipin Pungalia, Director, Sales - Pro Audio & Country Manager, Sennheiser - India, to learn more about the company's plans for the Indian market.
Vipin Pungalia Pro Audio Country Manager Sennheiser

The live music industry had seen a boom before the third wave of COVID stuck. What are the current industry sentiments, and do you think that the industry is poised to see a boom again? India has always been a music-loving country, for global as well as local artists..... read more

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Pramod Chandorkar - Founder, SoundideaZ Academy

Recording & Microphones

Chandorkar offers expert tips on achieving a good recording with details about room dynamics, good microphones and their placement, and more.

Part 2

Recording Duff and Dhols

Indian percussions have a large variety of sounds. We have these sounds changing as per the region they belong to. For example the Dhol, which while played in Maharashtra, sounds completely different than the Dhol, we hear from Punjab. Though both the instruments are called Dhol but the construction, skins and style of playing varies. Its important that we should understand the style with which a specific instrument is being played before we decide to record it. As a recording engineer you should take effort to spend some time listening to the raw sound of the instrument when the musicians are doing rehearsals. Unless you know the raw sound well its difficult to get a good-recorded sound.

Instruments played by sticks like Dhol, duff, Chanda, Tasha etc. are very loud in nature. First we should identify the nature of the sound like a Dhol is used to create the low energy with an attack on the hit or the Tasha is used for the rattling sound in the high Mids. This information helps us to decide the kind of microphone we should use for recording them.

One important tip I would like to share is you will never get the right sound of these instruments if you end up doing a spot micking to them. These instruments are loud in nature and they need room for them to sound natural. I remember that for one of the popular song, we ended up recording 10 dhols and Tasha in a silent space, which was open air. That gave us the exact sound we were looking for. If you have a small room with very limited height and you intend to get the right sound from these instruments you will have to be creative to capture the ambience sound while thy are played.

In one more session when I was recording them in a small studio I ended up keeping the Studio door open and putting one Mic in the Lobby, which was very reflective and the combination of lobby Mic and studio Mic gave a me a great sound.

Bottom line is you should be creative and then there would be no limitation for experimenting.

Generally I would place a U 87 almost 3-4 feet away from a Dhol in the center and add two KM 184 on a height to capture the room.

For a duff I would use a Condenser Mic at about 2 feet from the top and incase I need to capture the Low sound I would add an SM58 from the bottom with a distance of 8-10”. Keep in mind the phase when using Mics like this.

Recording Backing Vocals (Chorus Sections)

Though this was covered in the previous issue, I thought of some more points to cover in this part

Good Recording of a group of singers together is a far difficult task than imagined. The most common practice used is to put 2 or 4 mics and let the singers adjust themselves. But it does not yield the best results always. It’s very important to ensure that the totality sounds as a group. To ensure that you should make you’re self aware of the individual tones of the singers in the session. You can get to know that when you attend the rehearsal. You can note the loud voices and specifically voices which stand out in the group.

Ideally I would make a male and female voice section separate in the same room then depending on the number of singers decide the number of microphones. Generally with a condenser Mic like AKG414 on a Omni pattern, I would accommodate 4-6 vocals making a circle. If space is an issue you can use a cardioid pattern and place them on one side. When we are doing stacking its important to ensure that the distance from the microphones is changed for each take. We tend to do multiple tracks of the same part of music; during this if you change the vocalist positions and distance from the microphone it will give you a very interesting sound of group vocals. If the part is really high and loud ensure that the singers step back and belt it out. This distance take will capture a lot of room and add life in to a track.

Bottom line is again experimenting to get the right sound. Close mics don’t work always. It has to be the right combination of close and distant mics . Also I would never use an EQ while recording. I would want to achieve the tonality by microphone placement. I would use a compressor just to ensure that I am not peaking.

Recording Strings Section

Recording good Strings Can be the Most rewarding and satisfying experience for a Sound engineer. The factors, which affect a good recording, are too many to consider.

Define the Space

Figure out where the strings will be in the mix, and the tracking will fall into place. Are the strings up front and bold, or are they providing a backdrop? If you are going for a “soul style” string section, you can place the string overheads surprisingly close to the players, because you may want the heavy harmonics and a sense of “in-your-face.”

For classical inspired rock, your power is really going to come from the guitars and drums. You’d be surprised how far you can place the string overheads because the strings are meant to create width and — and not fight with the power instruments.

With an orchestra, you will probably have both a close overhead set and a far room capture as you want both power and depth from your ensemble. Figuring out the strings role, and spatial relevance is half the battle.


Essentially, choosing the mikes is about that which fits the role best. Ribbons and Condensers can both sound fantastic on any string set with the right placement. It’s more about what kind of image you want.

If the Strings are a part of strings in the background, I’m going to reach for a set of ribbons. I want a lot of space, but not necessarily a lot of room, if that makes sense. And that ribbon tone seems connotative of that rock sound.

For Upfront Sound, I’m going for some condensers, set as cardioid, because I want those buzzing harmonics. For classical, I want some Omni condensers — a pristine capture with the sound of the hall equally involved.

Remember, these are just starting points. You may find that you’re getting results that don’t match up with expectations and that means figure out what you want and making adjustments.

Phase is a complex thing when it comes to strings. With all those harmonics hoping around, it’s practically impossible to get a spaced pair to have perfect phase. Perfect phase on a string ensemble of any size is impossible.

A spaced pair, even from an imaginary center point, will always leave some strings in phase and some strings out — and the harmonics will alternate between in phase and out of phase. But don’t worry! There’s an advantage to an out of phase capture: a wider stereo image.

So how does one get a wide stereo image and keep a solid mono sound? Two ways.

One is to set up an XY or ORTF configuration. The sound all reaches the mics at essentially the same time, so you stay safe. Another technique is to use a third “glue” mic. Your stereo pair might never be in phase with the strings, but they can be in phase with a third, omni directional mic. If you place that mic somewhere that seems to gather the whole ensemble sound evenly it will help the stereo pair feel concentric. And, when you fold to mono you won’t lose the sense of evenness of the entire ensemble. Usually this glue mic sounds like crud in solo. It’s meant to be tucked underneath the stereo pair, which is doing the majority of the work. The more glue mic you can get (or conversely less of the stereo pair) while still keeping an acceptable sense of width and tone, the better your mono fold will be. There’s usually a sweet spot that makes everything happy.

Finally The Bottom Line Is Experimentation is the Key. Only a good writing can lead to a good recording and eventually a great sounding Mix.

Happy recording.

Current Issue : May - June 2022




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