The art of sound recording
Md. Salahuddin at work.
While watching a TV show in the comfort of home or a movie in the theatre, we are keen to notice the works of the director, actors, music composer, singer, scriptwriter and so on. Seldom do we acknowledge the endeavours of the sound recordist, without whom we might still be in the era of silent films.
In a recent interview with Mohammad Salahuddin, a sound recordist working for Bangladesh Television (BTV), The Daily Star was updated on the various techniques used in recording and about Salahuddin's career graph.
The Daily Star (TDS): When did you join BTV as a sound recordist?
Salahuddin: My official date of appointment is March 15, 1983. This year marks 25 years of my career as a sound recordist.
TDS: Have you worked at any studio other than BTV?
Salahuddin: Back when I started out as a recordist in BTV, I used to work mostly at night. During the day, when I had free time, I used to try out various studios and learn different techniques. However, now I do not work in any other studio.
TDS: Tell us about your first experience in recording?
Salahuddin: The first programme I worked for was most probably "Sur Bitan" or Sur Sagar. Eminent music composer, Abdul Ahad was the music director of the show.
TDS: How and where did you acquire the basic training in sound recording?
Salahuddin: After joining BTV, I learnt mostly at work. I also trained under TV engineer Abdul Qayyum and later from my guru, sound recordist H. Francis.
TDS: You have worked for two international events -- the 2nd SAAF Games and SAARC Conference. How did you feel being a part of these huge events?
Salahuddin: I was given the responsibility of recording the music and songs for the two events, which included the recording of the inaugural and closing ceremonies of SAAF Games and the SAARC Conference. The music was recorded at the Radio Auditorium at Agargaon and at BTV station. Under the guidance of noted music composer Samar Das for SAAF Games, and noted artist Mostafa Monwar for SAARC Conference, I executed my duties with utmost dedication. It was a great opportunity for me, and I want to thank BTV for that.
TDS: What would you say are the differences between mono recording used in the 1980s and the more recent track recording?
Salahuddin: In the '80s, the mono tape recorder was used, which basically required a good coordination between the singer and the orchestra. Even If there was any minor mistake, the whole song had to be recorded again from scratch. At present, the technique of track recording enables the song to be recorded bit by bit. This technique is definitely more convenient for everyone.
TDS: What about the use of acoustic instruments?
Salahuddin: Radio and TV still seem to use acoustic instruments. However, the use of acoustic instruments has gone down significantly in film music and audio albums. I think this is mainly done to cut production costs.
TDS: What are your hobbies?
Salahuddin: I like to spend leisure time with my wife and two sons. I am also fond of writing plays and songs for TV and radio. One of my plays for children, “Projapotir Shoi”, has already been aired on BTV.
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