Nitin Bhongade Y3854756, Page no.

The reference style used is IEEE, this was a mistake to use this reference style hence penalty in
mark. At that time I was writing two papers at same time for different department and I made
this mistake. I kept it IEEE to show that I made mistakes and hence I have received significantly
low mark in this module.

“The Catarats to KSHMR”

In depth study of ‘Niles Hollowell-Dhar’s music production style over the years and analysis of
Musicology of production, sound design and Composition.

Nitin k Bhongade

Module: Musicology of Production

MA Music Production

2017-2018
 Nitin Bhongade Y3854756, Page no. 2

Introduction

Over the last two decades, developments in technologies for music production and sound design
are dramatic. With the freedom of the available instruments and technology, these improvements
encouraged artists and producers to improvise and broaden the musical genres they played to
create signature sound and style of music. This paper analyzes production work of NileS Howell-
Dhar, adaptation & innovation of dance music style.

Niles entered in world of ‘Electronic Dance Music (EDM)’ as member of “The Cataract” with
David Benjamin. The ‘Duo’ started their career at Los Angeles, CA. They majorly concentrated
on Hip-Hop & Electronic Dance, perhaps considering the audience and current scenario in music
market at that time. The band’s hit with song called “Club Love” which went on to be featured
on the hit reality series Keeping Up with the Kardashiansin early 2010[1].

After departure of David Benjamin, Niles released some tracks with EDM artists like Martin
Solveig, Borgeous. This was perhaps the moment for shifting towards EDM from Hip-Hop and
Electronic dance. After Releasing couple of tracks and famous EDM a charts Topper “KSHMR
& Dalls K- Burn”, he started to pursue more EDM (Bigroom room/ElectroHouse) style tracks.
He also started to improvise EDM with Orchestral Music. He started to bring influence of Indian
Classical Music into EDM, a blend of western composition structure with Indian classical music
can be found in tracks. This is where he made his signature style. Now he is worlds one of Top
EDM producer, DJ and record label owner. He made statement to EDM world that made many
more producers to follow his style and bring more organic instrument into EDM world

In this paper, I have tried to analyze his production style and his decision making strategies in
both production and Composition elements.
 Nitin Bhongade Y3854756, Page no. 3

Chapter 1:The Cataract

This project started after Nile spotted a rap track by David Benjamin at his university; he then
made his version of the same track. This response brought them together, this paradigm of
remixing claim to have effect on musicking1, which is very useful for both original artist and
remixer. This collaborative music making practice is important for artist who wants to
collaborate with music makers, & doing remixes for people is great way to communicate
improvisation skill2. After coming together; Nile and David formed “The cataracts”. The cataract
released their first album in August 2006 named as “Technohop”, which consist of electronic
dance & hip hop music. “Blueberry Afghani” from the album got hit and was most downloaded
track [1]. We can trace his cross-culture application in music from name of this song,
‘Blueberry’ a english word and ‘Afghani’ is ‘Pashto’ word. After analysis of lyrics it can be
concluded, it may be the reference to ‘type of weed’ which portrays relationship between
‘cannabis and hip hop’.3 This release was also somehow influenced by culture and social staging,
cultural & sub cultural capital where sonic signatures were mainly focus on people listening to
hip-hop[2](See appendix 1A). Nile’s application of machine music to production is noteworthy,
use of synthesizer, sampler, vocodor, pitch variation on vocal were used on almost every track.
Perhaps availability of equipments was the reason to influence uses these techniques. After
entering in mainstream music, duo made fundamental shift toward songwriting & production via
applying ‘collaborative practice’[2] in their songwriting & record production. Now, rather than
solely depending on particular style, the duo started to adapt new techniques. They started to
collaborate with other artist like Dev (singer) & signed to major record label “Universal Music”
which enabled them to work with famous artists like ‘Far East Moment, Glasses Maleon’ [1],
perhaps the intension might be to engage with new consumers targets, and incorporating ongoing
music scenario into their music. Their mainstream Success came from a Collaboration with Far
East moment & Dev song called “G6”, which was sampled from original track of Dev and The
Cataract. This mainstream success led them to collaborate with Hip-hop legend Snoop Dog.
Throughout the timeframe of The Cataracts, Niles production technology has not shown any
particular changes in sound or style, apart from typical hip hop production it consist of vocal

1
Musicking is social and academic context of music by Christopher Small
2
ibid
3
The Cataracs ft. The Pack- Blueberry Afghani, https://www.youtube.com/watch?v=AQcxPrIvIbw
 Nitin Bhongade Y3854756, Page no. 4

processing through synthesizer, pitch blending of vocal samples and chopping vocal to make it
more machine sound, probably to blend in hip hop culture. Despite not showing major creativity
in production, it is worth mentioning his strategies toward music business and establishment of
brand.

Chapter 2:KSHMR

The KSHMR Project was started as a new brand in EDM world targeting Dance music audience
worldwide. Nile still had to start from scratch to build brand, he followed same paradigm of
blending in with current scenario in EDM and establish himself as EDM artist. One of his track
was success, a song name “Burns” which was imitating sound of current big artist of that time
“Hardwell, Tiesto”. Track was later released by ‘Hardwell’ on his record label. Improvisation of
current EDM tracks was perhaps was motivation for Nile to go out of Genre and bring versatile
sound in it. In his Masterclass [11] “tell story with songs”. According to Nile “EDM music will
not stand the test of time because it is made for live utility rather than for the soul”. Perhaps the
reason why most of the “KSHMR” songs tells a story though musical arrangements and takes
you on journey which is unusual thing to have in dance music, perhaps dance music has been
used more as utility than for soul. The whole idea of imitating orchestral ensemble into ‘intro &
verse’ of a song with organic sound, and use of organic instruments is to bring soul to music. The
organic instrument sounds more pleasing to human ear, and its acoustic sound sources have a
tendency to have more richer and amalgam of harmonics, producing significant richer and
complex timbres due to dynamic micro shifts in pitches, tonalities (and many other acoustic
factors), which synthesizer can barely coordinate without incredible exertion and preparing
assets. [12].

After analyzing musical context of KSHMR songs shows use of “Indian Classical Music” scales
and attribute of “Raga4” has been used in most of orchestrations, this might be because of artist
heritage. This unique innovative approach separates him from other artist. In his song “Dharma”
he has used ‘Carnatic scale’ via applying characteristics of “Raga”, this has been case for many
of his track. Microtone is horned technique in Indian music; western world might see it as out of

4
Raag is colouring of mind with music
 Nitin Bhongade Y3854756, Page no. 5

scale because there are no particular options of microtone in western scales. Changing note by
subtle microtone can evoke distinct emotion. [4]Ornamentation is another performance technique
of Indian Raags, in which, it add extra nuances on melody, which has been applied. Meend (add
glinding of notes ), Kan,Ghamak ,Andolan are types of ornamentation used in Indian classical
music[8]. Meend can be interpreted as application glide between two notes, can be in same or
different octave or same. Kan is always applied with grace note, Ghamak is rapid paced
oscillation between two notes delivered on intension, Andolan is a moderate swing or oscillation
that initiate from a fixed note and touches the periphery of a different note[8] .

Implementation of “Call and response” technique can be seen in most of his tracks. In music, a
call and response is a progression of two particular expressions normally written in various parts
of the music, where the second expression is heard as an immediate response on or because of
the first [10]. In song ‘dharma’ the Chorus (also known as drop in Dance music), lead sound
calling another sound which in response playing other notes, which keeping chorus interesting.
Sonic Theology, which is chanting name of lord, has been stated as powerful tool to modify
physical and mental state of body, for instance chant of lord in Church or Allah in Masque. In his
Track “Shiva” which uses Mantra (sonic theology) of Indian Lord Shiva as Vocal for dance
track. Indian classical signing can also been seen in his projects, which uses characteristics of
Raga. Despite using orchestration, this innovative idea of using sonic theology as psychological
element which can be applied to music is seen in his work.

Imitation of real melodies implemented with “different velocities” and “pitch blend” in
Midi/Piano roll/composition can be seen in his tutorials. The is because in real world
performance, performer cannot hit same note at twice with exact velocity, for imitating that
arranging and constructing MIDI notes with different velocity is necessary. Vibrato moment, and
small fluctuations in pitch used to make a sound more expressive, this is used in many of the
track via midi section by creating envelope which controls pitch also explained in his “Lessons
of KSHMR”[11].

Volume inconsistency is another technique used to create ensemble’s simulation, it is common

Perform," which is the process of mixing music as it is performed. Live performance is

In journal “Mixing as performance” by Brendon Anthony, where he states “mixing is more than
the sonic refinement of audio signals—it also involves a creative process (mixing as a
performance) that satisfies the mixer’s musical and emotional connection to the song. It can be
learned that for having emotional connection with consumer of music, mixing engineer has to
implement “Mixing as performance”. This can be achieved by application of automation system,
which enable audio mixer to imitate human-like performances, & allowing producer with a
further detailed palate from which to create [7]. This trend can be analyze in KSHMR’s
production, where he manipulates volume levels, note velocities, pitch control , also use
characteristic of live performance while producing and arranging. This whole theory of “Mixing
as performance” validate his idea of using mentioned characteristic for imitating real world
performance to bring soul into dance music. Bending the rules of ‘Consonance and Dissonance’
in melodic progression with real world instrument, he uses notes that are out of key and use of
accidental notes in orchestration to create tension or flow through instrument is noteworthy [11]

Considering Audio production aesthetics of KSHMR, a lot has been changed. Stereo image of
his tracks are wider than his previous projects. Application of ‘mid & side processing’ can be
seen in his production.

“Mid/Side processing works by decoding a stereo signal into two components. The 'Mid' channel
contains just the information that appears in both the left and right channels, and the 'Side'
channel contains all the information that differs between the left and right channels. Once
encoded into M/S, these two signals can be processed completely separately, before being
matrixed back into conventional L/R stereo5.”[5].

The use of dynamic controller & frequency shapers are often use to maneuver or influence the
consumer’s interpretation [2, page 55], It can be seen in his production where track sound more
powerful and punchier, reason might be functional staging of sound[3]. Considering playing
environment where more than 1000 people will expect same intensity of music it is necessary to
have track wide and loud enough. The loudness war could be another reason for having louder

5
Sound on sound , Published on march 2011
 Nitin Bhongade Y3854756, Page no. 7

song. There are few ways to achieve these result, perhaps parallel-compression is more effective
which provide more control to user. The Fundamental theory is to duplicate sound or track, and
then process only duplicated sound or track with compressor, then adjust level of the two tracks
(original and manipulated) as per need [6]. Several elements can be tweak to achieve desirable
result, for instance, slow attack to achieve more punch and fast attack to achieve to more volume
and loudness. While duplicating track, phasing can be an issue, hence we must look after it by
trying to apply a phase shifting plug-in at the top of your parallel compression chain [7].
Frequency shaping paradigms like linear phase, and EQing sound to enhanced tonality with
keeping the frequency range of sound in mind. Taming overly aggressive sound or frequency via
applying multiband compression, when signal reaches at certain level it automatically pushes it
down to set level to sound more pleasant [11]. Timing for impact is dramatically changed, rather
than putting drums straight into arrangement; now he lines up every other instrument in
particular way which helps sound of any instrument to not be tainted. Melodic drumming
“Salience before storm” terminology at verse/drop can be seen. Usually keeps his verse/drop
section bit louder and punchier, perhaps keeping storytelling in mind, & and every story has to
have perfect climax. He treats verse/drop as climax of his story/journey. Real world instrument
can get lost in mix, reason being their ADSR (attack, decay, sustain, release) properties. In dance
music, element are perfectly placed according to beat, and with less attack, instruments seem to
fall back in mix. Use of negative delay, sample shifting, warping of audio can help in this
scenario. These entire elements are already available for applying to production, but KHSMR’s
unique approach in arranging these production aesthetics and compositional element are unique,
something cannot be seen in previous EDM (Progressive/Elelctro House) era.

In typical EDM or modern house music, drums are usually repetitive. Ditching older approach,
KSHMR creates grove rhythm considering melody and orchestration. Fundamental techniques of
house or dance music production like, chord progression, 4/4 side chaining compression on other
elements to make space for kick, EQing kick and bass in way that they don’t create phasing or
clash into each other in frequency spectrum, use of reverb and delay etc. are being used.
However, reverb and delay are being used in combination/bus-track to process them in isolation,
also application of ‘frequency band specific side-chain compression’ to avoid clashing in sound
[11]
 Nitin Bhongade Y3854756, Page no. 8

The house music has changed over the time, and an artist’s influence is one of the most
important element is responsible for these changes, use of technology is another. In 1990 House
Scenario was mainly focused on drums and synth, rhythm provided via percussive elements.
Nowadays there are several sub genre of house music like, progressive, Anthem, Electro,
Bigroom, Tech, which all have their individual elements and somehow influenced and changed
over time by artist. It can be same with KSHMR’s sound, which blend elements of house music
with orchestration.

The business models in the music industry are structured according to the nature of the demand
[2]. The business model used in the music industry is designed to put a strong emphasis on the
nature of the demand as the main focus of the company. Considering economical and music
business element of any music category, it very curial to expand listener, audience, consumer.
Reception-based approaches [2, page no 224] were somehow responsible for blending music
from two different culture. This techniques helped artist to expand his music in Asia, Middle
East, where majority of people aren’t much familiar with western music, but still can connect
with KSHMRS songs. Another thing has changed over year is his performance, he performs as
DJ. This strategy resulted in KSHMR headlining ‘India’s Biggest Dance music Festival’ for last
3 years, also opportunity to produce exclusive anthem song for festival. In previous project he
was mere producer and songwriter, now he is DJ, record label owner, music promoter and A&R.
As explained in “Can you feel it? DJs and House Music culture in the UK” by Tony Langlois, DJ
don’t rely only on performance and Music for earning, they go promoting record label and
various artists works. KSHMR’s Dharma Record label now is part of one of successful record
label in EDM industry Spinning Record. Considering business, he now also promotes label and
his signature sound. This strategy resulted into more festival DJs and producers following his
footstep on producing track with more real world instrument, which aiding record label to sell
more music & expand audience and consumer. Music mapping shows (Appendix 1A &1B)
consumer who will listen to cataract will also possibly listen to nearby artist, same with kshmr.
These mappings represent their audience, & positional consumer.

Conclusion:

Over the period of time, dance music has changed. Old house music has been improvised via
innovative technology and artist’s intension. Niels work as The Cataract and as KSHMR shows
 Nitin Bhongade Y3854756, Page no. 9

various methodology which can be useful for artist promotion and success. Initial stage of any
artist is challenging, cleaver way to get into industry is to follow current music scenario &
collaborative practice. However, remixing is an art can help artist to get reorganization, which
has been used by Nile very significantly. Availability of asset for production and song writing
plays important role in creativity and quality of production. Initial tracks of Nile in “The
cataracts” are not industry standard, but work for artist promotional purpose. Staging of tracks
and sonic signature according to audience is key element of success in music business.

KSHMR creativity & decision making strategies are noteworthy. Despite having idea of
Orchestration for dance music, he started to produce according to markets demands and current
scenario. Imitation of orchestration in dance music is remarkable. Musical contexts are very
creative; use of Indian Classical music, sonic theology, ancient middle Eastern and Indian
instruments & sound is unique. Impersonation of real world performance with automated system
and envelope, performance error, and most importantly “Mixing as performance” is significantly
implemented. Music Psychological elements such as call and response, Sonic theology, Raag can
be seen in production. EDM requires a lot of synth and processed sound to fit into the genre, yet
natural or organic sound is employed instead since it is more acoustically pleasant. The point of
telling stories & taking on journey is not new thing to have in music, but using it in dance music
where listener don’t expect to see this element of music, are actually appreciating it. The
processing of sound and post-production techniques are creative and represents style of KSHMR,
for instance, Pitch Blending.

Business establishment can be learn from his footsteps, DJ and EDM producer doesn’t have to
solely depend on performance and sale ,they can also be promoter, record label owner. I think
KSHMR has innovated entire different genre of dance music which perhaps will last longer.
Remarkable strategies used for this new genre of his own. I personally think that having
individuality in our own musical style is very important, which can be carried out by
representing yourself rather than going with flow. KSHMR has set an example for EDM and
Dance world that anything can be achieved if you connect better with audience and can deliver
emotional journey than just utility experience.
 Nitin Bhongade Y3854756, Page no. 10

References:-

[1] https://en.wikipedia.org/wiki/The_Cataracs[last accessed on 20 feb 2018]

[2] Simon Simon Zagorski-Thomas (Author) “The Musicology of Record Production”

[3] “The stadium in your bedroom: functional staging, authenticity and the audience-led
aesthetic in record production” by SIMON ZAGORSKI-THOMAS

[4] ] Avantika Mathur, Suhas H. Vijayakumar, Bhismadev Chakrabarti and Nandini C. Singh
“Emotional responses to Hindustani raga music: the role of musical structure” [ frontier in
psychology (avaialabe freely online)]

[5]https://www.soundonsound.com/techniques/creative-midside-processing[last accessed on 5
March 2018]

[6]https://samplesfrommars.com/blogs/tips-tricks/17081303-use-parallel-compression-to-
achieve-punch-fatness [last accessed on 6 March 2018]

[7]https://www.musicradar.com/tuition/tech/8-ways-to-use-parallel-processing-more-effectively-
606230 [last accessed on 6 March 2018]

[8] https://arpjournal.com/mixing-as-a-performance-creative-approaches-to-the-popular-music-
mix-process/[last accessed on 10 March 2018]

[9] Pratyush “Analysis and Classification of Ornaments in North Indian (Hindustani) Classical
Music” [Pompeu Fabra University] “(Avaiabale online freely)

[10] https://en.wikipedia.org/wiki/Call_and_response_(music) [Last accessed on 12 March

[11] https://splice.com/lessons-of-kshmr/orchestral-ethnic-instruments-part-2[last accessed on 15

[12] https://www.quora.com/What-is-the-basic-difference-in-perception-between-acoustic-and-
electronic-synthetic-sound [last accessed on 2 March 2018]
 Nitin Bhongade Y3854756, Page no. 11

Appendix

1A - Music Map of The Cataracts

1B- Music Map of KSHMR

Appendix 2

Track List and sound of KSHMR

A-The cataracts

https://thecataracs.bandcamp.com/album/technohop-vol-1-lp

https://thecataracs.bandcamp.com/

The club Love - https://www.youtube.com/watch?v=jgMua7U7j3Q

B- KSHMR

Dharma - https://www.youtube.com/watch?v=YUMdd27gYbk

Shiva - https://www.youtube.com/watch?v=OSumeNU3zn0

Lion Across field - https://www.youtube.com/watch?v=-0c7MhcsdlA&t=391s

Burns- https://www.youtube.com/watch?v=5iKfq61BPFk