SOUND.COM invest in additional KLANG:konductor system for A. R. Rahman live events

Founded in 1998, SOUND.COM has pushed the boundaries of technical excellence and service provision for turnkey audio rental solutions. This year, the company has invested in DMI-KLANG cards, to accompany their fleet of DiGiCo consoles and also the KLANG:konductor system, for use with their extensive range of other consoles.

The company is owned by Warren D’souza, a driving force in Indian audio excellence. He is known for his mixing skills and his investment in the industry, not only because of the amazing events the company handles, but also due to his investment in a young and highly skilled workforce. 

Sumptuous arrangements and up-tempo tracks, mean that KLANG is especially suited to Bollywood music and is gaining popularity with Indian artists. SOUND.COM is finding that this demand is also being compounded by the many international artists requesting it for their Indian tour dates. Most recently, Academy Award winning instrumentalist and composer, A. R. Rahman, has been using the immersive KLANG:konductor system for his live dates. 

A.R. Rahman is a prolific composer, responsible for many movie soundtracks and Bollywood classics. He wrote the music for the movie Slumdog Millionaire and is responsible for the mega hit Jai Ho. Mark Thomas, long-time SOUND.COM employee and monitor engineer for A.R. Rahman, explains how the KLANG system delivers the space needed for the complex soundscapes that are involved in his music.

“KLANG’s clarity in rendering spatial audio means that even complex mixes with many layers remain clean and intelligible,” Thomas explains. “Using KLANG’s immersive in-ear mixing technology has significantly transformed how I approach mixing. The depth of spatial audio that KLANG offers has allowed me to elevate the sonic experience in ways that were previously difficult or even impossible to achieve. KLANG’s spatial audio tools enable me to place each element in a mix with a heightened sense of direction and depth, crucially without muddling. This means that whether it’s intricate arrangements or the layering of different instruments, I can ensure that every sound feels like it’s coming from its own distinct position in space, creating a more dynamic and immersive monitoring experience.”

Creating an immersive experience is not only a technical support, Thomas also supports his artists creatively. Using KLANG has developed a deeper connection with the music, allowing a greater emotional impact to be achieved with his monitor mixes.

“A. R. Rahman’s music carries a lot of emotional weight, and the ability to use KLANG’s immersive sound features helps me enhance that emotional impact,” he says. ”The technology allows me to move sounds around the musician/singers listening plane, creating more emotional highs and lows, and helping the performer feel more connected to the music.”

The performer’s connection is matched with by the ease of operation for the monitor engineer, KLANG:konductor offers seamless integration with any console. There is also a seven-inch touch screen on the front of the unit with full KLANG:app control. KLANG is compatible with a range of audio network protocols, ensuring that, regardless of engineer preference, all SOUND.COM’s consoles or additional local hires can be used with the KLANG immersive mix system. 

For musicians and artists, there is also a range of choice. Thomas has found the KLANG:kontroller is the best interface for orchestras, delivering tactile control from an ergonomic device. For Bollywood bands, where musicians often play multiple instruments, he finds they are happier adding KLANG:app to their existing iPads.

“There’s a huge demand for KLANG, both cross-platform and also with higher channel counts, so that was a key reason to invest in KLANG:konductor,” he says. “India is a major stop for touring acts, we’re really on the map now. Many of these artists are using KLANG, so we’re seeing a big uptick in enquiries about it.”

From September onwards, the live event season really gets under way in India, with many performances across the country. A. R. Rahman has also toured extensively this year, and with such a variety of work across vastly different, multiple venues, it is inevitable there will be some issues. For Thomas, the ease of communication with Phil Kamp and the KLANG team means that he always feels supported.

“I have spoken to Phil many times, we often hire locally, so sometimes I encounter questions about compatibility, but he is always available to help me sort out little things like that,” Thomas notes. “The KLANG team are very supportive and the musicians have been very happy with the results so far. In short, KLANG has been a game-changer for me, particularly when working on A. R. Rahman’s music. It allows me to maintain the clarity and emotional depth of his compositions while pushing the boundaries of how the music is experienced by the listener.”

D’souza has been pleased with the integration of KLANG into the company’s existing inventory. It is an investment that will not only provide excellent service for years to come, but more importantly improve the experience of the artists and engineers that he and his team serve.

“Our KLANG:konductor and DMI-KLANG solutions are both highly popular and effective, and we share a fantastic relationship with the KLANG team,” he concludes. “In keeping with our tradition of naming our consoles and rack-mounted equipment after Star Wars characters, the Konductor has been christened ‘Podracer.’ The name draws inspiration from the immersive spatial surround effects of the Boonta Eve Classic podrace in The Phantom Menace, famously driven by Anakin Skywalker.”