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Jyothi Varma
The wizard
of sounds
AC TION
audio technology.
H
is father wanted him to become a violinist; he “There is a general
aspired to become a cinematographer. But des- feeling that if the film
tiny willed otherwise; it was sympathetic to his is loud, it sounds good
passion for cinema, though, in guiding him to an allied whereas it is not so in
specialisation—sound engineering. the case of international
Rajakrishnan has made the cut in the film industry benchmarks. The dia-
as a talented sound engineer. logues in foreign films
When we met him at his studio at Kodambakkam are set at a very low fre-
in Chennai, Raj was excited about the buzz set off by quency so that the surrounds
some of his recent movies such as “Urumi”, “Traffic” and other effects also reach
and “Madirasippatanam”. the audience,” he says.
A passion for cinema was perhaps natural in To a layman, a movie is just
the case of Raj who grew up seeing artists all about the actors. “However, I dare
around him. The son of late musician, M G Rad- say that a film is all about light and
hakrishnan, he recalls his father’s advice, “You sound,” says Raj. Perhaps the first time
need only your ears for this job”. An economics people recognised the presence of this
has worked in about 150 films across all languages. Music
graduate, he moved to Chennai to seek advice from fam- breed of
directors Ousepachan and Rajamani, were among those
ily friend Priyadarshan who at that time was setting up a cinema professionals was when Resul Pookkutty won
who spotted his talent and endorsed him to others.
studio. the Oscar.
Raj bagged the Film Critics Award for his work in “Anan-
He began a six-month training under Deepan Chat- Raj is also into sound designing; he designs the sound
thabhadram” besides being nominated for the Shantaram
terji—recordist for the legendary R D Burman—who was for a whole movie. A lot of creativity and imagination is
award for “Sukhanth” and “Kancheevaram”. He has also
tasked with establishing Priyan’s state-of-the-art studio. in play here. “The usual method used to create an essen-
composed music for “Winter”.
Those initial days were quite intimidating for a youngster tially outdoor sound like the trotting of horses is by filling
The first independent work Raj did was for “Aparichi-
who could not make head or tail of the high-end machines empty coconut shells with mud and banging them on the
than” which he rates as his best sound mix because he
in the studio. floor,” he explains.
was given ample freedom.
So put off was he by the sophistication of audio engi- Guess how you get the creak of opening a door? Twist
The biggest challenge according to him is the poor
neering that at one point he called it quits and returned a crushed plastic bottle!
acoustic standards in many theatres. “I get into lots of
to Thiruvananthapuram. It was at this juncture that one “Mixing is like a bit cooking. You have all the ingredi-
detailing when I mix in my studio. But to get this effect
of his friends told him about Deepan Chaterjee’s high re- ents with you. It’s your skill
in theatres of Kerala is very difficult since the acoustics,
gard for his talent. That testimonial was just the dose of that brings out a good product. The ratio, mix and the
sound system is under par. Even if the weakened sound
self-belief and confidence that Raj required to return to procedure should be proper,” he says.
effect is due to a malfunctioning speaker in the theatre,
Chennai with fire in the belly. And, he went on to establish the blame is placed on the sound engineer,” he rues.
himself as an accomplished engineer in the industry. He feels that theatre owners and operators need to be
In an impressive career spanning 13 years Rajakrishnan n
sensitised on the advancements in sound engineering and