Didier Weiss is a name people in the sound industry recognise instantly. He is French, and lives and works from Pondicherry. He developed an unusually keen ear and passion for sound as a schoolboy, and that led him, somewhat unexpectedly, to a career in sound. <img alt="" src="/imagedata/2009/aug/sound.jpg" align="left" border="2" />African musicians who visited his studio in Paris used to call him 'the magician'. How he came to India is a long story. He made his first recording in the days of vinyl, and when he was just 14. The regular sound engineer didn't turn up, and 40 musicians were sitting around wondering what to do when someone suggested he try his hand at the console. He did, and the results stunned everyone who heard the recording. A time came when he had a choice between Africa and India. His heart chose India, and he has worked here since 1999. Didier specialises in audio design and consultancy. It's not just film and music recording studios that require audio consultancy. Auditoriums and shrines are among his clients. I had the opportunity of meeting Didier last week, and I am going to tell you a fascinating story I heard from him. Among the studios Didier helped design is one in Chennai belonging to A R Rahman. Music buffs usually know little about what goes into the production of a good recording. Some of the back-end things that go into it, besides musicianship, are room dimensions, interior design, gear, the sound engineer's knowledge and ability, and finally, as Didier underlines, intuition. Rahman's studio, it turns out, had superb insulation. Studios are insulated so that outside sounds don't spoil what's being recorded, and also because you don't want the neighbours hollering at youu2026 it's possible they can't stand your music, or you're doing your takes at a time when the rest of the world is asleep. When the certification experts came into Rahman's studio, they said, "Ah, this is very very silent... a bit too silent." You see, it was so dead (Didier prefers 'dry' to 'dead'!) that the experts believed the music would get mastered at a volume a bit too low, and the score would get lost when played at the movie halls, the quietest of which can't avoid some ambient sound. And so the designers went back to add some sound to the quietness. They pumped up the volume on some speakers so that the hiss would fill up the room. It was wonderfully educative to hear Didier talk. And the lesson for me was a little paradox: Perfect may sometimes be useless.

Didier Weiss is a name people in the sound industry recognise instantly

Sound and silence

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Sound and silence

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