Home >> Podcasts >> Bhishma P. Trivedi on Sound Engineering for Films and Events
Show Notes

We’re back with another fantastic episode of Photosynthesis!

In today’s episode, we had the pleasure of chatting with Bhishma P. Trivedi, a seasoned sound engineer with many years of experience in the field. He has worked extensively across Gujarati, Marathi, and Bhojpuri film industries. He has also managed several live shows of famous artists. Currently, he works as a sound engineer in the UK for a media production company.

The conversation started with Bhishma sharing the beginnings of his sound engineering career – from his studies to landing his first job in a prestigious Mumbai studio. He also shared stories of his first film project as a sound recordist.

Bhishma discussed the different aspects of sound recording – covering live events, film recording, and post-production. We then dived into the technical side of things, focusing on live events and film production.

For live events, Bhishma stressed the importance of placing microphones carefully and managing sound to ensure accurate and high-quality sound reproduction. He explained the challenges faced in outdoor events, dealing with issues like delay and background noise.

The conversation shifted to the difference between sync sound recording and dubbing in films. He talked about the challenges of sync sound in India due to noisy surroundings. Wrapping up, he discussed how the art of sound engineering is evolving. He even emphasized that advancements in technology have made sound recording more accessible, but the creativity and passion of sound engineers remain crucial in achieving high-quality results.

A huge thank you to Bhishma P. Trivedi for sharing his insights. Don’t forget to subscribe and leave us a review. Until then, keep capturing those moments that tell a thousand stories.

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Transcript

Vineet  

Hello and welcome back to Photosynthesis, Indie Visuals Podcast, where we talk to some of the best creative people from across India. Photography, videography and now increasingly the technical aspects that go into filmmaking. 

Vineet  

Today we have with us Bhishma Trivedi and we are going to do a special look into sound recording today. He spent many years. We are talking from one very cold place to another from Delhi in India which is very cold right now to Derby in the UK, in the very centre of UK. Hi Bhishma, welcome to What Is Synthesis? 

BHISHMA P  TRIVEDI  

Thank you so much for inviting me and I shall accept it as a big opportunity to portray myself and my work in front of you and all your viewers.  

So first question I just want to ask you is how did you get into sound recording? How did you decide that this is the field that you really want to explore? 

BHISHMA P  TRIVEDI  

Okay, so let me tell you a quick info about myself, like how I jumped to the sound recording field or sound technical field. My life started in the creative art field as often basically a musician because my whole family is a… Like a… A music culture was there in our family, especially Indian classical music. So… 

from my grandfather to my father, my elder father, everyone was connected to music in some way or the other. So they wished that I learn music and become a good artist.  

BHISHMA P  TRIVEDI  

Shri Durjati Asmita, who had my basic primary education. I continued to learn from him for 3-4 years 

I was learning vocal and harmonium there. Then for 3-4 years 

BHISHMA P  TRIVEDI  

After that, his time and my time were not matching. And he suggested me that now I am suggesting you to go to another Guruji. So then, by doing upadhyay of Madhukar Bhai, in my city, Bhawanagar, my second Guru, with whom I got the complete education of music, music and literature. So slowly, I was involving in the vocal music. And I was like… 

I used to do it when I liked it. So, like, in my school time, in college time, it was like I used to sing on the stage, sometimes in annual ceremony or something like that. But, I got a training from my Guruji, Madhukar Bhai Upadhyay, that until there is really something inside, we should not show it. Like sometimes I said that this is a competition, or this is a program, or anything, where I want to show myself. So they used to say that I will fill up the form, but don’t write my name in the Guru. 

BHISHMA P  TRIVEDI  

The performance that I was showing, the attraction of the stage, showing that I am a good singer, it slowly disappeared. So I never wished to be a performer. Rather, I truly wished to be a lover of art. 

I was very confused because I don’t want to be a singer, I don’t want to earn a single penny from it. So what should I do? Should I stay connected with the art field? And should I do something that I don’t have to come in front of the public? So I was looking for a different way of doing things and what a career should I pursue? 

BHISHMA P  TRIVEDI  

My friend suggested me a course in Sound Engineering and I was asking for a brochures from different countries like brochures came from Australia and America and then I saw that what actually the sound recording courses are there that what kind of courses are there what technicalities are taught in it and what is our future after that 

So from one of my relatives I come to know that in Mumbai, the Mumbai University also has some certification courses for sound recordings. Later we came to know that Mumbai University is also getting this course for only 22,000 rupees.  

Vineet  

out. 

Vineet (09:48.522) 

Hmm. 

BHISHMA P  TRIVEDI  

some 120 people were interviewed in 2010 and there was a written exam. Out of those only 18 people were selected and I was lucky that I was selected in that. And then I started this sound engineering course. 

So basically it is just a certificate course, it is not a degree course and till today degree courses are not about sound. So that’s it, like I jump to this course and then I finish it within 11 months and then everything kept on going. You can, yes. 

Vineet  

And what is a career then how did you start off with your career in sound recording? What was the journey, what were the steps you took? Directly corporate side, filmmaking side, directly where did you go? First 

BHISHMA P  TRIVEDI  

So do it. 

BHISHMA P  TRIVEDI  

Okay, so yes, so, for is my so, so 

BHISHMA P  TRIVEDI  

In every area, different sound technicians work and that is different from one job So, we can see that in three parts First is the live stream where live events are held and it is very basic scheme to manage live events in every place in India according to the sound 

You don’t need a sound engineer, you just need to know how the mixer is operating, where the input is coming from and what effects you should put in it, what equalizing you have to do and then you should put it in your speakers. So this is a live event. The second part is that when the film is shot, then there is a record of the need that the 

the dialogue, the surround sound, the ambiance to keep the feeling alive and whenever the viewer is watching the film he feels that this is the scene of the train station this is the feeling of the bedroom or when there is chasing or fighting scene so wherever it is being shot to get a feel of it, the ambient sound, surround sound 

BHISHMA P  TRIVEDI  

The responsibility of recording dialogue is also the responsibility of recording the dialogue. This is the responsibility of the floor recorders, which is called sound mixer, sound recorders or floor recorders. This is the second stream I am talking about, sound engineering. 

Vineet  

Hmm. 

BHISHMA P  TRIVEDI 

be it advertisement, documentary, series or any other type of video production when it comes to post production time, when the shooting is done or when the whole schedule of the shooting is done then the editing, mixing, mastering which is done separately according to a sound and then it merges with the video later 

So there are three different variants of sound engineering. So in 2011, when I finished my studies, I was visiting every video studio in Mumbai. Everyone’s expectation is that I get a job in the studio. Because we didn’t know that going to the live or the film floor at that time. 

It was just a basic information that we can go to this field too. But every engineer has a dream that I get a good job as a recordist or as a mixer in a studio where I can work with a settled salary and pursue my passion. So then I was visiting different studios and asking for a job. 

BHISHMA P  TRIVEDI  

I was looking for a way to get a good job. But February 14th, I exactly remember, February 14th, 2012, I was calling there for a long time. And I got a callback from there. 

Like every person in Mumbai knows Empire Studio, which is the biggest studio ever in Mumbai. At one time, when there was no Yashraj, it was only the studio where 100 people could sit together or 50-60 people could sit together and record the entire symphony. It was such a big studio. 

BHISHMA P  TRIVEDI  

So I got a call from there that today sir is in the office, if you want then come to meet me.  

So I reached there in the evening. Then the boss called me. Like… Like Sajid Naryadhwala sir’s… I can say that his uncle and some relatives. The boss he used to call. And I got his reference from those connections. So I went there to meet him. 

and then asked where you are from, what you do and asked a question that shocked me like it’s okay that you have learned this, you have a lot of experience, you have done some freelancing but this won’t spoil my millions of mixer, I said why would I spoil it, no one will spoil it so he said let’s try for a month you will come every day here 

and we will see if we can make it or not. We will talk about your salary later. So generally in the film industry you don’t get a professional job directly. Nowadays it has changed a bit that when a person is an expert he gets a good return for his work and hard work. And nobody does free things. I am a Gujarati, business mind is inside, business is in the blood 

BHISHMA P  TRIVEDI  

I thought that I can give them a month. So for a month, the work started there. And then there were day by day different recording sessions there. From 2-3 in the afternoon, all the recording sessions started. And big artists used to come. Like… 

Pyarelal Ji had a show in Dubai every year. So to perform that show, they used to record a lot of things. In which 20-30 violinists are there, then violinists will come, like a string instrument, rhythm instruments will come. So every different type of instrumental sections were recorded there for 5-6 days. Then their tracks were made and then they used to go to Dubai and perform. 

So it was my first day because my start-up was such that I got the opportunity to work with a great artist like Pyarelal Ji. There was a sound recordist called Senior Chinmay Harshe. He is a very well known person in the Mumbai industry as a sound recordist. So I used to assist him in placing the mic. 

different instruments are placed in different places for example sitar, you have to place the mic in different places you have to place a different microphone tabla also has a different rhythm microphone you have to record with the same microphone you have to place it in the same way so that its sound produces a good quality so then 

After 5-6 days of recording sessions, editing is done. Because the software is done according to the technical requirements. So, for a month, he continued to assist. Then the scene was that Chinmayar sheh left his job as a recordist. And he said to me, Bishma, what will you do from tomorrow? This is my last day and I will not come from tomorrow. So, now… 

BHISHMA P  TRIVEDI  

Your senior in-charge who looks after the studio is not there, then how will you get work? If you don’t get work, then what is your existence there? So this was a scene for me, what will I do now? Then they said that Bishma, we will let you know, whenever Mr. Seth comes to the office, you will have to meet him, and we will talk about it later. So, 

Vineet  

Hmm. 

Vineet 

Yeah. 

BHISHMA P  TRIVEDI 

10 days, 15 days, but no call, nothing. And I was so fainted that what will happen now, man, such a good thing. Like I was holding a diamond in my hand. Because working in Empire Studio is considered a great prestige for our credentials. And then suddenly after a month, it happens. So I was very shocked that what will happen now. Now where should I try, at least I have some way through. 

But they called me back and I went to meet them. And basically they are Gujarati people. So they told me in Gujarati that Bishma, can you manage this mixer? I said yes, why not? I am studying this. I was assisting Chinmay sir. So I can manage this easily. 

Vineet  

Mm. 

Vineet  

Yeah. 

BHISHMA P  TRIVEDI  

I started working there, dubbing, dubbing for films, music recordings. So, I started making up stories. At some point, I was a lake in the confidence. When a great singer is standing in front of you, you can’t talk to him. You can’t say that, like… 

BHISHMA P  TRIVEDI  

When Sunidhi Chauhan, Shankar Mahadevan, Hariharan, Piyush Mishra, etc. are singing in the studio, you cannot tell them that they have not yet taken the part properly. But you have to tell them that they have to take the part again. Gradually, the experience was built there. 

time was going to come when the studio was going to shut down because the studio was very big and by that time all the MIDI and whatever work was done on the keyboard like you need the sound of saxophone or sitar or veena or tabla rhythm so all those loops etc 

Everything was done on the keyboard. Programming was done. So day by day, all the big studios were not working. And the famous and the ones who can afford such big studios they used to come there. So it started to happen that in a month there are only 6 jobs, 7 jobs. Nothing more than that. So they took a decision to close this studio. 

they are supposed to give that studio to color, like the film, whatever color work is done, or whatever editing work is done, whatever video production work is done, they were supposed to give it to the studio on rent. So they are supposed to close the studio 

BHISHMA P  TRIVEDI  

I was getting the experience but from home I used to get calls from my family saying that you have done what you wanted to do, you are getting good salary there but now you come back to Bhawanagar and handle the business. 

BHISHMA P  TRIVEDI  

So then I had to come back to Bhawanagar from Mumbai and it was very difficult for me because on one hand I have to learn business and on the other hand my soul is not in me. Like from morning till evening sit at the shop. So I continuously looking for a better opportunities. 

and I come to know that there was one USA guy, like he came from USA and he wished to make a film  

Vineet  

Mm. 

BHISHMA P  TRIVEDI  

Like if we talk about a film, it is made in crores when big artists are getting involved in it. But this guy’s budget was around 20 to 30 lakhs 

BHISHMA P  TRIVEDI 

 So I got a chance to work with a very creative person. And it was the first film where I worked with the credit of sound mixer. We stayed in the jungle for 4 months. And we recorded very good footage there. It was a horror movie. It hasn’t been released yet and it might have been in the box. But the way he made it, I learned a lot from there. 

and whatever mixers and whatever equipment he bring from USA they were not available in India like it was a very portable tiny recorder Zoom H6 like it is very well known nowadays all over India as well as all over the world that all the products of Zoom are very famous nowadays but I am pretty sure that I can claim on this that I was the first Indian who used the Zoom H6 recorder in India 

Vineet  

Hmm. 

BHISHMA P  TRIVEDI  

Till that film was done, I used to go anywhere for this project as a sound record. And whenever people used to see my tools, they used to say that how can you record sound in such a small mixer? Because everyone had that whole trolley setup, big mixers and everyone was used to working with very old stuff. So nobody was believing that this… 

small setup, your work can be done. So then I started working as a sound recordist from there. And then film after film, like, I worked so much that I worked in Bhojpuri, worked in Marathi, worked in Gujarati. And non-stop print work, print work, print work, big artists did big films. 

Vineet  

So now I want to get into the technical aspect of things.  

Vineet  

So, okay, so now let’s start with live event sound recording. What all does that involve technically? What is the team like? What, like, what do you need to know to be able to manage? Let’s say a large event like a concert or because you had talked about working with Ustad Zakir Hussain also, right? And you’ve worked with some of the greats. What, what all does this involve? What are the elements involved in this? 

BHISHMA P  TRIVEDI  

Yes. 

BHISHMA P  TRIVEDI  

Okay, so basically live event is what like this answer might make the thing very easier. From microphone to speaker, whatever frequencies are passed on, so from one end something is coming and from other end something you are sending. 

you are sending. So the process in between is operations here. And the base part of a sound, a live event sound, that you don’t have a chance to play back here. So, whatever is the engineer, he has to be very aware and very focused whatever he is doing or whatever he is playing with his mixer. 

that the artist’s expectation should be at the very accurate microsecond. If it doesn’t happen, then the thing is flopped. It’s gone from your hand. You can’t do anything. So I’ll show you some basic fundamentals of live events. Basically, like if we talk about a big orchestra, then there is drum. 

then there is trimbali, then there is dolak, tabla, then there are string instruments like at least the guitar will remain, electric guitar or acoustic guitar. Then comes the vocal section. So what we do basically, like this is a basic pattern of doing a live sound management. 

BHISHMA P  TRIVEDI  

drum, then tabla, then trimbali, then drolek. So step by step, first of all microphone placement is the most important. If you are placing the drum, then how do you place the microphone? Whether it is the sound of the bass or the sound of the dishes. 

Vineet  

Thank you. 

BHISHMA P  TRIVEDI  

or that basic rhythm sound. But placing the microphone and the right microphone is very important part in the live sound event. So, first of all, placement takes 1-2 hours and all this goes into management. So, 

We prepare our placements before the artists arrive. We prepare the placement of the speakers, the microphone and the connections. We start the balancing of the artists. 

BHISHMA P  TRIVEDI  

we check how the PA is listening to the audience how the PA is making the sound there are two things here if something is happening outside the audience then we have to make the sound in that way and the thing which you like you have to make your audience listen to it so both are very different things 

Vineet  

Yes. 

BHISHMA P  TRIVEDI  

artist will say that I want more reverb in this, so give him reverb but when you are listening the same thing for the audience, then it doesn’t sound right in any way, it is not right or it is not acceptable so by satisfying the artist, you have to operate that frequency and change it and make it acceptable for the audience 

Vineet  

So we are setting up two sounds, one for the stage and one for the audience. And they could be very different. 

BHISHMA P  TRIVEDI  

Yes, so nowadays, there are two engineers in all the big bands. One is for the stage and one is for the public. One will look at the speakers outside and the other will look at the requirements of the artist. Nowadays, two engineers work with all the big artists and two mixers are installed. 

This is how live events work. There are so many things in live, boss. Whether it is a small conference where you put a podium mic, then give one or two wireless. So this is a very basic thing where the engineer is not needed. Anyone who sits with an analog mixer knows. But when and why the engineers needed? 

If one person comes to your podium to speak, his voice is very busy. So you have to cut the base there and you have to cut the base so that the public doesn’t feel the sound of the speaker. This is the important part. And when a person whose high frequency is very sharp, 

BHISHMA P  TRIVEDI  

you can’t accept that sound. You have to operate it, cut the high frequencies, and the soul of the sound should not be lost. When you speak in a microphone, and I do so many operations, I complicate it so much that it becomes a robotic sound. So it is also not acceptable. The person’s voice should remain the same. Only an engineer can do this. 

very clear theory about sound technicalities and when he have a mass experience. 

BHISHMA P  TRIVEDI  

orchestra is also very much there. A basic orchestra is taken from where 2-3 singers are there. Hence there are some rhythmists and string instrument supporters. After that comes drama. So one thing I have not gained here is that after migrating to UK. In India, since the last 10-15 years, all that happens in big auditoriums like NCPA. 

BHISHMA P  TRIVEDI  

live symphonies are there. 50 to 60 people are performing their music. They are singing, they are performing their art. And meanwhile, artist is performing a drama. So this is the very challenging aspect of doing a live event. 

Vineet  

Hmm. 

Hmm. 

BHISHMA P  TRIVEDI  

industry ka shabda hai tamjam. To itna tamjam hota hai boss ki if you are not serious about your work, if you are not passionate about your work, boss you go out like ek din mein aapki chutti ho jayegi. So there are several responsibilities with this work. And drama is the most serious thing. Like jadata log kya maante hai ki chaar mic floor mic lag 

Vineet  

Mm. 

BHISHMA P  TRIVEDI  

Put a hanging mic in the auditorium or wherever the drama is being performed. And that’s it. Give the artist Apple mics, then your drama is done. But the best part while doing a drama sound is you have to give your soul to your technicalities. That by understanding the artist’s emotion, his voice, his thresholds 

BHISHMA P  TRIVEDI  

When the microphone is very near to your neck or to your mouth, when it screams, how much it will burst. And when the voice is louder than a limit, it will burst in the speaker. So you must know what to do and it all comes with only passion. So… 

Like this drama happened, then music, music is fine. Like, it’s all like there are some easy things, there are some very, very hard things. But, but. 

Vineet  

I am trying to learn garage band so I am unable to manage that But even within that, there will be a lot of difference in indoor and outdoor For example, Trevor Noah came to Bangalore, his event got cancelled because of the sound They couldn’t manage probably I saw this one video of Freddie Mercury performing in the play Basically he is clapping his hands to like We will rock you 

BHISHMA P  TRIVEDI  

Yes, yes, yes. 

BHISHMA P  TRIVEDI  

time. 

BHISHMA P  TRIVEDI  

Yes. 

Vineet  

It is going in waves, audience is clapping along in waves that sound is taking time to travel I never even thought before I saw this video that this is also a consideration Sound is taking time to travel from the first row to the end of the stadium How do you… 

BHISHMA P  TRIVEDI  

Yes. 

BHISHMA P  TRIVEDI  

Uh, look. 

BHISHMA P  TRIVEDI  

Yes, then the ohms of sound, or basically let’s talk in layman language, that the frequency of sound, basically it is a frequency, we are assuming the voice because it is audible, but it is basically what? One kind of energy, one kind of frequency, because it is generated from one place and it is produced at the other place. 

BHISHMA P  TRIVEDI  

As I said, placing microphone with instrument or any other speaker is also very important aspect of a live sound. 

Vineet  

Hmm. 

BHISHMA P  TRIVEDI  

you literally don’t need to worry about it. Because whatever it is, you just have to manage it from there. But when it is outdoor events, so it is very troubled thing that you should see everything in the right way, know it and in that way, the latency of it, 

BHISHMA P  TRIVEDI  

the frequency generated from the microphone. And the last row, when it is about a very big ground, or it is about the stadium, when it reaches the last row, it is latency. It will reach there late. So the management of the late reaches is very important. That most of the stadiums that are performed now, there are also installed speakers. 

Vineet  

Hmm. 

BHISHMA P  TRIVEDI  

that most of the time nothing is working there but when it is a big empty ground then where the sound is installed it is for particular events and then all that is packed up from there so when they place the speakers there that is a countdown that how much distance, how much sound will go and from where the latency will start coming 

Vineet  

So. 

BHISHMA P  TRIVEDI  

So now, when an experienced person, whether he is a sound engineer or not, in the live field, it is like this that not everyone is a sound engineer. A dedicated sound engineer travels with a big artist city to city, country to country. But the basic performer by city who rules the art zone, 

Vineet  

Hmm. 

BHISHMA P  TRIVEDI  

So there is no engineer with them, there is a person with whom only the experience of operating the sound is. But they also know that I have placed the speaker at one place, from there how far I have to place the second speaker. And in between the placement, you have to keep in mind that when a frequency reaches late, then how is its management? That you can manage everything from the mixer, so that’s it. 

Vineet  

And this is many years of effort and hidden trial and learning and assisting. 

BHISHMA P  TRIVEDI  

Live event is like this because most of the theoretical knowledge like I strongly believe that every person should have theoretical knowledge but as far as live sound is concerned, there is more practical knowledge there you will say that here it should be low cut, here it should be high cut if this frequency doesn’t whistle then it should be cut 

it won’t work any place because the place change if the place change every scenario change like a mini theater program and a big auditorium program or a open area program. One singer, one instrument, every thing, particularly the one you used in a small place, you are going to do that in a big open door open event. 

But when you are using the same microphone, same instrument, same singer, same vocals, everything is same, but all the knowledge change. So it is not possible that I have made an EQ of one tabla, that for tabla I have to reduce this bass, this sharpness to make the chatty. And if I have to do all this, then that same thing will not work in a different venue. So in live… 

Every time there is a query party, there is a new experience, new demand and new problems that you have to troubleshoot. So it is the most challenging part. 

Vineet  

Yes. 

Vineet  

Now let’s move from there to films. Sync sound, live sound recording, there are many nuances in this as well. There is a lot of art in this. What is the difference between sync sound and dubbing? And which part is used these days? 

BHISHMA P  TRIVEDI  

Okay. 

BHISHMA P  TRIVEDI  

Yes. 

BHISHMA P  TRIVEDI  

Uh. 

BHISHMA P  TRIVEDI  

Film sound recording, it’s all about like a budget, it is very clear factor. The more money you put in the sound, the more sound work will be done. 

BHISHMA P  TRIVEDI  

and then they work on the film schedule and then return it. So there are mainly two parts of a film sound. One is pilot sound recording and the other is sync sound recording. So the pilot sound is basically giving a reference sound to the camera. 

that the sound recording tool that you have, the mixer, from there an out comes out and goes into the camera and the dialogue that the artist said, he knows it during dubbing, like you are not following 100% accurate script, any statement that I will kill you, this is a statement, right? But when this dialogue was spoken, his feeling was different. 

Vineet 

Mm. 

BHISHMA P  TRIVEDI  

I will kill him he said something in a different way or he said something in English or Gujarati so all the changes that are done with impromptu whatever expression is used when the artist is dubbed in the studio during post production they know with what aggression and with what emotion I conveyed that dialogue 

Vineet  

Hmm. 

BHISHMA P  TRIVEDI  

the same aggression, the same emotion, or the same feeling that they could dub, that’s why it is called pilot sound recording. And sync sound, which has been used in the Hollywood industry for many years. And nowadays it is being used in our industry too. But India is totally like every place where you are shooting. 

there is no doubt to do sync sound so it started a little late in our time but nowadays due to equipment there is a doubt that everything can be done in sync sound and producers have a budget to go for sync sound 

Vineet  

So sync sound is… So you are saying that it took so much time in India because India was a very noisy environment. 

BHISHMA P  TRIVEDI  

Like, outdoor, all your shootings, or your shooting schedule which is planned outdoor, which is not inside the house, not inside the studio, that is not in your control. There are so many traffic noises around, or a bird has spoken, or someone is talking from a distance, then a microphone, like a small microphone, which is very expensive, but it can… 

grab so many unnecessary things from everywhere. Right? So, you can’t explain to the microphone that you can’t take this frequency and that frequency and you can’t tell it to the microphone. So when we talk about India, it is next to impossible to stop it while doing a recording. So then, Sing Sound, why? 

SYNC SOUND is not possible in India from 100% Like you can’t do 100% SYNC SOUND when it is a big brand film Why? Because many locations are like this Because there you won’t be able to record the sound you want So what can you do? SYNC SOUND as much as possible 

Whatever happens, you have to dub it a little bit. And then what happens is that when the situation is not on your side, then there are more takes. Like when the actor is giving his dialogue, at the same time, there is such an unnecessary disturbance that you can’t stop. So there will be a lot of takes for the sound. When you have decided that you have to sing sound. So then the more takes there are, the more time has gone. 

and the more time spent, the more money spent. So, in that sense, the whole technical aspect of Sing Sound is not 100% successful in India. That’s what I say. This is my point of view. 

Vineet  

but also using pink sound is a little more expensive 

BHISHMA P  TRIVEDI  

It is damn expensive because all the equipment is not just one or two guys can manage. For that, a team is required. 5-6 people. 

Vineet  

Where should I put the mic? 

BHISHMA P  TRIVEDI  

So then there is a whole trolley of sound in which all the things are there, recording, then the receiver of the lapel mic, then things to take its backup, then a whole setup, it’s like one kind of a trolley, which is the whole setup of the trolley. Then all the artists give him the lapel mics, then these three, like these days three boomers work. But you must know that what the boomer is, but I am still telling. 

Boomer is like a big road in which the microphone is standing. The schedule of the film is from 8 am to 8 pm. So the Boomer is standing with his hands like this. So this is the toughest job. Nowadays getting a good Boomer is how much microphone to keep. How to keep the microphone. 

Vineet  

Mm. 

BHISHMA P  TRIVEDI  

the whole shotgun mic, the road of the shotgun mic, then you can rotate it completely. But how should he keep the microphone so that the actor gets the dialogue properly, so that he gets the feeling as well. Like if you are recording your sound in the train, then the sound of the outside, the sound of the train, and the main important part, the dialogue, if all three come out well, then he gets the feeling that this person is standing in the train. 

and also the quality of the dialogue should not be bad that is how you have to set the boom then second is that they give lapel mics to every artist so that lapel mic is also a very expensive thing so in this way different microphones are kept at different places and used and as per the budget it is used for all things but sing sound is very expensive 

BHISHMA P  TRIVEDI  

and it is very tricky when you are doing a film shoot in India. 

Vineet  

complications do increase but on the other side dubbing also has complications that everyone has to coordinate the shoot 

BHISHMA P  TRIVEDI  

Yes, like, uh, 

BHISHMA P  TRIVEDI  

So then it is a waste of time. So most of the people, nowadays people are doing that. That whatever they are recording according to the sync sound, they will record it. If they do more operations on it, then the duties increase. When the audio file reaches the studio, that remove a lot of unnecessary things from that file, make it a good audible. And keep the filling too. Whatever the scene is, it has a demand. 

Because if there is no filling, then there is nothing. When we took the example of the train, if you remove the sound of the train from it, then that person will not be able to feel that the actor is sitting in the train. So that doesn’t mean anything. So that’s the thing. If you look at both, both of the things are tricky. But people are finding solutions in their ways. 

making the thing successful. Yes. 

Vineet  

And how is the art evolving now? Like so I saw this documentary, get back, three part documentary, which is made by Peter Jackson, which he could make it because the sound technology to extract their audio is now available. So they are sitting in the restaurant to cut John Mccartney. Now we can extract that audio and recreate that conversation. And the technology is not available five years ago also. 

BHISHMA P  TRIVEDI  

Yes. 

BHISHMA P  TRIVEDI  

Yes. 

Vineet  

How is the art evolving over the last few years? 

BHISHMA P  TRIVEDI  

So, the success ratio has been accepted or achieved. Only and only one reason is that nowadays the good mixers are there, good microphones are there. Now, you can record your own voice with Android phones and Apple phones. 

BHISHMA P  TRIVEDI  

that these days, Android and Apple have also introduced such things that where so many unnecessary things are running around you but you reduce that and your voice is recorded focussily. So now when it is… 

Vineet  

and a 3,000 rupees mic which is fantastic quality actually. 

BHISHMA P  TRIVEDI  

But now we have a mic for dialogue, whether it is from Sennheiser or any other big company, letrosonic, then when we talk about using microphone from Sennheiser, they are giving a good quality while recording a sound. So when all these things are available in the market and continuously 

whether it is a live event, or a film store recording or a studio recording. One thing I will say is that everyday something is coming in your way because it is a new thing. And people are, in our industry, for a while I have seen that there is no experimenting. 

BHISHMA P  TRIVEDI  

even if he is a good sound recordist, he gets the job. But what is the scene of today? That from every place, every person is doing something or the other and they are proving themselves with very less equipment that they are that much passionate that they can do whatever they want and make it possible. So I will say this today that let’s go, due to equipment 

have made it easier in equipment but people are changing. They are experimenting with the rigid mentality of the public. Now let me talk about myself because I was doing sing sound there. And I had given lap pulse to every artist. I couldn’t keep the boom mic there in any way. So there was a Tulsi in between. 

The Tulsi Kara was an outdoor scene in India. There were 5-6 houses and a Tulsi Kara was in between. People were discussing heavy aggression. But as per the scenario, I couldn’t place a boom mic there. Because it’s a long screen… 

scene and I needed those dialogues in any way. So what I did was I placed my microphone in Tulsi 11. So this is one kind of a trick, to maintain your quality, to record everything and I am getting a separate dialogue of every single one. But where will I get the demand of the scene, the feeling of the scene? 

BHISHMA P  TRIVEDI  

So the ambiance and feeling will be captured from the place I placed the microphone. So I have to do it and I did it my way. So my point is saying that I did this and I did it creatively. I did nothing like this. But the people are trying to do very creatively. People are putting their enthusiasm, putting their different ideology and creativity in a manner where they have their work. 

BHISHMA P  TRIVEDI  

So I don’t agree with that statement that only the equipment is doing the job well but people are putting their very hard efforts to make it positive. 

Vineet  

And I think that is a good spot now to end this conversation. Thank you so much, Bhisma. I learned a lot. This was like a great, very interesting conversation because we have not yet been able to explore this area. So thank you for shedding light on what is a very, very new area for me and definitely for a lot of our listeners. 

BHISHMA P  TRIVEDI  

Yes. 

BHISHMA P  TRIVEDI  

My pleasure. And I’m actually thankful to you. You reminded me of my journey from 2011 to 2023. And I’m really thankful that I got this chance to talk to you. Thank you so much. 

Vineet  

Thank you and thank you all for tuning in on YouTube, Spotify, Apple Podcasts or wherever you are and see you all next week. Bye bye.  

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