Rakesh Ranjan has operated on nearly 170 published films so far. He started as a production sound blender, and progressively toiled his way up to being the sound artist and director of the audiographer. Not until he enlisted in the Film Institute (Pune) did he become sensitive to how music for movies gets recorded. And the main thing that fascinated him to join the FTII was, he was more absorbed in the technology, the microelectronics of it, rather than the music as such. Since childhood, electronic gadgets used to fascinate him.The real attraction to sound was music, film songs. It would perhaps be a sound he heard when he was traveling to his village, Chakwai, now in Bihar, as a youth. The community youngsters would go into the sugarcane crops to steal sugarcane.

Their uncles, who possessed the sugarcane crops, would come and see the children have inserted their fields from the ‘khaskhaskhaskhaskhas’ sound the breeze carried to the sets of the movie, the noise of the kids scrubbing past the additional 7 feet tall sugarcane plants. Yes, idyllically, what they need to also write along with the script is the soundscape of the flick. And if the screenplay does no interference it in some angle of the scenario, then at least give it to the writers verbally or as a distinct file; explanations on what kind of noises they ‘hear’ in some note worthy scenes, how they translate some shots in sound. Jewelry crackles when the artists move about and that too generate turbulences in music. See, the documenting mic forgives none, it’s the most honest gear and captures the whole lot that strikes it, it is not partial, and it is not discriminating.

The above are the few components that we look out for in particular before major shooting begins so that the creator and manager have time on hand to apply any proposals. He considers the music qualities as melodies because the tonal superiority of all the sounds plays a very vital part in the story, and this differs from topic to topic. He directs sound quality by working on the tone quality of the actor’s speech in his or her footfalls and other dissimilar sounds. For me, this acoustic space is somewhat very near to the tale, because it unknowingly affects the insight of the spectators and lures their attentiveness to what the oddity is feeling, listening and responding. It is very problematic to explain quality, especially sound touches. The texture is a sensation, which he gets when he is paying attention to something, be it the conversation, melody, or the results, or even muteness.