[Reader-list] Talkin Sound (conversations with Mr Nakara - Enbee Audio)
ISh
ish at sarai.net
Fri Apr 22 14:00:30 IST 2005
Talkin Sound (conversations with Mr Nakara - Enbee Audio)
Hi all
Following is a conversation with the founder of Enbee Audio Mr. Nakara.
He is a multi talented Audiophile who has been manufacturing Hand made
music systems for over 35 years now. His latest range of speakers and
amplifiers (100/75 watts RMS) produce one of the best sounds I have ever
heard. And another way to put it will be that I heard one of my favorite
CDs for the first time when I heard it on the Enbee Music System (i.e.
John Mc Laughin plays Bill Evans). And as for the other cd’s I heard on
this amazing music system it was an out of the world experience likes of
which I have heard very rarely and that too only on very high end music
systems. I can not do justice to the Enbee music system in words as it
is an experience and one would have to be there to experience it. So
please make time and visit the Enbee show room with your CD case and sit
back and listen.
This is a conversation with Mr Nakra about sound, his designs and his
life(to be contd..) It was not a straight forward interview as he is
very passionate when he talks about this subject, and to give a
structure to it (like interviews) will limit his out put. So most of the
time the conversation ebbed in and out of very technical details which
are also important but will be covered later when this project actually
kicks off (details later)
Thanks for Reading
<>ISh
_______________________________________________________________________
Q: question
N: Mr Nakara
Mrs. N: Mrs Nakara
(side details/observations .. in these brackets)
<technical details – in the angled brackets>
(When I entered the Enbee Show Room there was a discussion going on
about Vat between Mrs. and Mr. Nakara and it’s confusing ends. And how
it affects the small time manufacturers with no differentiation on
volumes etc. Tax on end-price or each product or part ….10% …20 %...
12.5 %.....12,400,.. and on and on)
Then the conversation shifts to cameras and hunting ... a friend of mine
is telling Mr. Nakara about the digital cameras and memory sticks (CF
cards).
N: we used to go out hunting every sat and sun we used to see beautiful
shades of trees and they are of a kind which you don’t find here in the
city. . there is so much construction next to the road. Once I saw the
sun like this big red ball and it was beautiful, I just got off and ran
out to take a picture but I couldn’t find a place from where I could
take it as there were electric cables everywhere. And till I went
further up the sun had gone down.
Mrs N: we had seen the sun twice like that. Once was at the time of
sunrise. The Sun completely engulfed the car as it was red (aah).
N: Photography puts life into you. Unfortunately I do not do my own
developing. In school we used to do black and white and dotting. (school
was Bishop Cotton, Shimla)
Q: was this in the 40’s …
N: oh.. Much Earlier
Mrs N: in the 30’s
N: we used to do dodging and reduce the light . And then in the dark
room you can see what is coming out , it is like a painter giving the
final touch.
Q: Can you tell us something about records and players lets start for
Gramophones.
N: The sound box is the gramophone should be made out of film material/
aluminum
Or paper, so that is the amplification thing. Then we have the chrome
arm. Then you have this arm inside which is not the tube complete it is
also exponential
<TECH: the details of the conversation( on records/needles) further can
be best explained with the help of a diagram with the technical parts later>
The basic reproducing factor is here (needle head) and the grooves in
the record. The grooves are cut horizontally in a record and in fact for
stereo recoding the grooves are cut at an angle.
Shellac records used to wear out the pins really fast like the copper
tip pins. So when we were kids we were given records and when the pins
used to finish off we would go down in the mountains and pick thorns of
a tree(kikkar in hindi) and break them carefully and pattern them out ..
the finest sound you get from them(the thorns) and not from the steel
pins. One thorn would work one side and produce lovely sound. The kikkar
would be nature polished. (laughs)
Q: and they will duplicate perfectly
N: Yeah . Now what is sound? If there is no air there will be no sound.
On the moon I can not talk to you. (picks up a papper and moves the
papper around …)
There is sound just now.. it is starting to do vibrations and produce
sound. This is where one starts perceiving sound. Sound is nothing but
vibrations and sound can not go on traveling endlessly. Electronic
wavelength can travel endlessly, it has a property that if there is a
obstruction in it’s path then divert and continue. This is not so with
sound waves. So we use this property to make sound proof rooms Eg glass
window with air in and then another glass window with air between it so
this is how you cut out the noise and sound pressure.
One thing you should have clear in you mind and that is there is nothing
perfect in the world. That is to say there is no perfect conductor,
there is no perfect insulator. Everything will have it’s capacity to
stand and resist the flow of electricity when passed through it and
beyond which it will break down and it will burn off. No insulator is a
perfect insulator . Insulating properties keep on varying by aging also
so is that case with conductors. That holds true for everything.
<TECH : (6:30—15.33 on track 3-- Tech explanation for records and
needles. Tracks and tracking gear, record grooves. Needle balances etc>
Q: Tell us more about Perceiving the source of sound?
N: See there could be a gathering/group that is producing sound. There
is a tabla some vocals and a sarangi player for example. So once you
look at the configuration of the stage at least you should be able to
feel in that manner itself. For eg the tabla player’s sound in more
prominent on the left and the vocals on the right side so partiality to
the left should be given to the tabla and vice versa the right should be
given to the vocal. But
I found a very nice way to go about it specially for location recordings
because you can not go about carrying all this equipment on location
recordings like on top of the hill in Kashmir. You can not subject these
people to a studio you see that is not their natural environment. The
best technique I found was to cross two microphones round 90degrees on
their axis(demonstrates a crossed pair mic’ing technique.. which he
swears be) So in this case (of crossed pairs) the sensitivity is spread
all across and you can pick up beautiful sound.
So like in photography there is lot to learnt in the process of going
ahead and doing the work, when you come out of an institution if you
honestly ask me you are at a book level. Where you don’t have any
experience you haven’t had exposure to face the odds that might come
your way and you have no experience of evolving your knowledge into an
art. You have to be applying the ideas etc and that’s where the learning
starts. That is like if you have read a book you know less than the
writer , even if you have read 10 of his books 10 times you will know
less than the writer. See you can never equal that .So after acquiring
the knowledge of the books you have to develop your skills and
experience and then go beyond and when you try to do the practical
implementations is the time you start to learn in reality and grow.
===More about the Past =========
Q: how did you get into sound and not some babu job?
N: I had joined the British Trade commission . I has there as a
Marketing research officer and I worked there for 9 months. I was there
I hated their system of files piling up. …..
(describes of the whole babu system and his futile attempt to change it….)
He then left the British Trade Comission and did a vocational course in
electronics from City and Guilds, London and then went to United states
of America and did his PhD in electronics in the 40’s)
(He carries on …)
N: I had majored in television and at that point of time except teaching
students I could not do anything. I knew so much about Radios.(narrates
another fable)
I had once gone to an electronic shop in California and these people
were having problems with noise which I fixed and the owner as very
impressed so that put more confidence in me to work with radios. Their
Radio were of the make ‘Elecraft’ and there was a distortion in the
sound and I fixed it in 10 mins which they could not do for weeks.
That was my D-day.
<brief technical description of how he did it .: Disk 1 -Track 5 – 7:30
to 9.30 >
then the owner gave me a job as a supervisor.
While working for the Trade commission I felt like a personified clerk.
It was the same things that I was doing over and over again , and I
concluded that this wont give me happiness. I decided that I will not
work for any one else….
The thirst in you is not quenched you see for knowledge and to do
something creative.. And if a person has a creative bent of mind you
have an urge to explore something extraordinary and I suppose that is
when money becomes secondary. You have to channel your energies to the
areas of your interest to evolve an identity. You want to know more
about the work you do so that you can do justice to your work. Then that
becomes the concept. The entire field of electronics is very vast and is
very interesting.
Q: Tell us more about your system design.
The biggest challenge has been of reproduction of sound equal to the
live performance. At least that was the basic criteria. There has been a
lot of gimmicks and techniques to create dramatics in sound. They may be
fine for exciting a person but ultimately when you season out you want
to be as natural as possible, that is to be closest to the natural
sound. You are not working hypothetically as one is working with
something visible and audible.
Like there are different schools of thought for kathak and tabla even
for audio design like there are different schools. So you have to decide
what school you belong to and should know the limitations of that school
of thought. Then one should try to move towards natural reproduction and
try to follow that. What you want is clear from the start and you are
trying to accomplish that.
Then there is this fundamental of stereo recording which a lot of
companies including HMV got it all wrong. Nobody was sure of it and the
information(Audio data) was dotted wrongly into the channel. Then there
was these stereo recordings with Tabla’s daiyan(right) on one side and
baiyan(left) on one side. Now that is very stupid as it moves away from
the natural recording aspect.
Now if we look at the Audio best design interiors like of an opera house
even there the audience will not get direct sound(which will be around
8-12%) . Most of the sound that the audience will be getting will be
refracted sound. So your recording and reproduction should be based on
this principle and that is the idea. You are spending money to enjoy it
a live environment. It is like you are not listening to the speakers,
they don’t make their presence felt.
There where a lot of reluctance to my designs, like why are you moving
away from the convention (shows a few photographs of his designs
--pregnant and froggies—these will be covered individully in detail
later under design evolution).
<Then Mr. Nakara explains the basics of Speakers .how they are
constructed along with each component etc >
More information about the reader-list
mailing list