Anirudh Breaks Down ‘Raga of Revenge’ | The Music Behind DC’s New Sound REACTION!!

Have you heard any of the Harry Potter book quotes where they replace the word wand with willie? >> No. >> This is one of the better ones. Lost in visions of this happy prospect, he flicked his willie a little too enthusiastically so that instead of producing the fountain of pure water that was the object of that day's charms lesson, he let out a hoselike jet that ricocheted off the ceiling and knocked Professor Flitwick flat. Honestly, it happens to us all. >> Read Harry Potter and replace Wand with Will. There's a whole audio thing on Tik Tok and Instagram where you can hear it. It's hysterical. >> The biggest, the baddest, wackiest, funniest, filmiest show on earth. [music] >> Hey, welcome back to Super Corbin. >> I'm Willie. You can follow us on Instagram, Twitter for more juicy content. Thank you very much on Patreon and follow T account. Subscribe and hit that like button. >> You've seen Willy Wonka, but have you seen Wonka's Willie? Willy Wonka. Willy Wonka. Willy Wonka's chocolate tears. Willy Wonka tries chocolate tears. He does. >> Whoa. He's amazing. >> What is this? >> He's amazing. >> Who is Willy Wonka? You idiot. >> No. Today we got a uh Anie thing where he um breaks down one of his songs. >> Oh, I thought he was going to cry. >> Exactly. [laughter] >> Uh so we he's going to just be in studio and he's going to I think break down how he created the song a little bit. That' be kind of fun. >> A song we know. >> Yeah. Well, it's from the DC. It's you'll you'll recognize it when you see it. >> Okay. >> Songs weren't the issue. >> No, the songs weren't the issue [laughter] >> with that. But um and well that's one of the things a lot of people that even before we saw it but and and after is that a lot of people were really enjoyed the score of the movie. Yeah. >> Um so you'll recognize it but he's going to >> we were enjoying that and we also we were we didn't have a problem at all with we were like Bill Cash. >> Yeah. Here we go. >> Yeah. using >> as I told you I'd come up with the the melody line the [music] but I didn't have an idea that I should vocalize it so I just recorded a vina [music] >> what's a vina >> the formula is that towards the end >> it looks kind of like a but we had >> I I always like to, you know, do some crazy combinations. [laughter] That's my problem. Hi guys, this is Anerud and you're watching me [music] on Mashable Toad food. >> Me and Lok go back many years now and our combination is like a special one for the audiences here in the south. So when he was becoming a hero, first I was like why do you want to do it? [laughter] But then I think now everything has come together so well and with the director Arun. So with Loish it's always been in a way that he just lets me do my thing in the sense I just hear the story from him. He tells me the script and whenever he shoots something he'll show me some stuff but apart from that we don't discuss much when it comes to music. He just gives me a it's a free slate. So this was basically made not as a track. Uh if you want to know more about this Raga of Revenge, it was made because this film's trailer was to be played in Khan. So just couple of days before we had to submit it probably about 48 hours before that, it came to us saying okay you know what we're going to screen this uh trailer in Khan in the film festival. So you got a score for this uh trailer and uh [music] when the trailer released in fact uh it was supposed to be screened only in KHN because we thought you know it's actually pretty cool why don't we release it online as well because it was a little earlier to when the film is coming so generally we release trailers closer to the film right like let's release it online on uh on YouTube and then um when it released there was a lot of requests for the track to be released separately. I loaded the visual and then um I thought okay you know what this is going to be screened in Khan and so let's be as Indian as can be. So that was the idea in my head and because you to make it Indian I thought why not make a south Indian rhythm with a Hindustani [laughter] vocal you know okay you want to show them India let's show them both the north and the south [laughter] that was the idea so basically I started only with the rhythms first we have a wonderful rhythm producer who works with me called Karthikamsi started basically with this >> just for the rhythms that's what um is that common like Hansim has a writing team and he'll have people >> so the idea >> write parts for him >> you know 68 south Indian beat [music] but then >> he'll say he'll say give me a south Indian 68 rhythm and I want 25 bars of it >> show both elements of the north and the south >> and I want to be we started the track >> 67 68 beats per minute >> I just came up with idea of that >> have you seen the average auto insurance rate in California >> no I'm so glad you came to tell me cuz it's been on my MIND I COULDN'T SLEEP LAST NIGHT LARRY IANS ARE PAYING OVER 2,800 per year on average. >> Son of a >> The vocal line came next. So once I got the vocal idea as well, then we started producing it. And then because this is a revenge based story and it's a hardcore like you know action film, thought why not we start off you know with some nice uh orchestral uh music. I wanted to sound like this. >> [music] >> If you don't if you don't know what that is, each of those little bars is [music] a track of music. Each of those tracks has its own EQ volume setting. >> Strings first. So the strings [music] obviously have it's like a proper you have your cellos, vias, violins, all that happening. >> [music] >> Obviously the second half of this we wanted more thumb. So that's where the Brams and the brass section join. [music] So we added these brams which are very popular in you know orchestral music right now. So we added those brams just to give that kick towards the second half of the as we as we're building the intensity of the of the track before the strings came in uh on top of the rhythm. I came up with this uh little guitar line which is which goes like this. [music] I thought it sounded cool with uh with the with the beat, you know. So, basically, if you heard it with the beat, I always like to, you know, do some crazy combinations. As I told you, after I came up with the rhythm idea and the vocal idea, the first thing I did was groove to this well RPG. I thought this was cool by itself. And then uh I added a oud to it, you know, just to give that little low end. I didn't want to add any bass guitar in this song because I felt the low end of the oud or the uh electric guitar should be the bass. Then what happened was you just added some electric guitars [music] to go with this and then as as I told you I'd come up with the the melody line the but I didn't have an idea that I should vocalize it. I thought it should be on a instrument like a Vina. So I just recorded a Vina. Vina was supposed to be the highlight along with the rhythm elements and of course electric [music] guitar. Then uh thinking about like okay why not we just try some vocals on it vocals and we just added that got the ven down because that wasn't the driving factor anymore and then we came up with the vocals. >> [music] >> So I strongly believe that you know everybody says you know the melody is the reason why the song works but as a guy who gets a kick out of producing music I strongly feel that any tune can be made into something which works [clears throat and music] [singing] >> as it keeps increasing you just keep going crazy with all the elements. [music] So that was the whole idea behind it. But mainly the driving factor of the song I thought was the groove and the vocals because South Indian rhythm meets a Hindustani tabla meets a Hindustani vocal. I want to do just some you know allaps and all that just to you know fill because I love the vocal coming in the second but I like why not show a trace of it here and then take it over so that then we got this [singing] >> [screaming] >> Jesus Christ. [laughter] >> The highlight about this vocal is that it's not just one voice. Wherever needed, we added like a chorus also to it which we recorded here and I think about that's about 10 guys. We kind of comped it into one and then what happened was this was the main vocal which we had. What I really liked about this is that towards the end I just want to keep as I told you all the elements should reach their pinnacle towards it's a trailer right in a trailer the formula is that towards the end you reach a peak so once you reaching that we had >> [laughter] >> Is that a working tick of his his mouth? It absolutely is. >> Crazy shouts and all that >> when he's working the whole track. Then obviously the we had the Brams to because there's no bass in the song. So the Brams and the the low end of the guitar have to take care of the those frequencies. So [music] >> like typical you know uh Brams which happen. So I strongly feel that >> what's he saying? Braum. >> This guy is the >> bra. I've never heard that term. I don't know what he's referring to. [music] [music] >> [music] >> No, [music] >> another production hack if you must say. Obviously towards the end where I showed you that the vocals go crazy, the rhythm should also double up there. >> It's actually a cinematic sound effect. Okay. when he does that crazy shout. We should double up double up on the tapes is what we thought. >> Yeah. >> A Bram A Bram is a cinematic sound effect that is a loud, ominous, low pitched brass and synth blast that's heavily used in movie trailers. >> Oh, cool. Nice. Uh, learn something new every day. Yep. >> I I like that a lot. Um, I love the [snorts] >> see nerds nerd out on their on their craft. It's it's always fun to see. But yeah, Han Zimmer has a team of uh writers. >> I wonder how common that is. I'm assuming it's pretty common >> when you hit that level >> like to because >> best I can equate it to is in NFL football, you have a passing game coordinator. We have a run game coordinator. >> Great, great analogy. >> Like these like there's the guys that are there's a head coach and then there's the two there's a person in charge of the offense, offensive coordinator and then there's a defense coordinator. And amongst those, you have an offensive line coach, you have a run scheme coordinating defensive coach, you like there's all these different branches that have their specific focus. And then obviously the music director right here, but I'm I >> I guess it just never occurred to me because I' I've never been in the music world. Um that they would have like uh rhythm, you said rhythm, and so you'd have would you have a string person? You'd have a >> Yeah, you could have anybody and everybody for all kinds of things. In fact, I don't think we asked him, and I would love to ask that, especially now that he's worked with Hans. I I don't think we asked AR if he has a team that he works with the way that Hans does. Um, where and I don't know that Lucas Lucas probably h he for sure has assistance and stuff. >> Could have asked for Shaw, too. >> Yeah. Uh, but the reason I know this about Hans, it's public knowledge, but I have a longtime friend, Pedro Aost, who's worked with Hans for years and years, and that's how I knew that was from him and someone else who's actually on Hans's writing team. Um, and what you you have is literally cuz I mean, the amount of work that he's given to do and the amount of time he has to get it done, >> multiple projects simultaneously, it's very easy to do. For example, I want a rhythm section. He can say to somebody, look, remember the rhythm section we did for Man of Steel on this particular track? I want something that sounds like it but not identical. I want it at that beats per minute and I want it to be heavily make sure we accentuate orchestral sounds. So, I want timony and I want a lot of orchestral lowend. Uh, don't put a drum kit in it. Make it all toms. Uh, maybe some congas, but don't make it sound too tribal. And that's it. >> Mhm. >> That saves him the time. And then they send him the however much he wanted of it and he can say, "Okay, I want this changed." Simultaneously, it's just like what he does as an arranger. He can say to somebody who, "Okay, the song's going to be this many beats per minute. It's in this key and I want to create a melody line through this. I'll give you a piano underscore." And he may give a piano underscore to everybody and say, "Okay, write a string thing about this. Write this and put them together and say, "No, change that." They'll hear and saves him a lot of time. >> But he gets the final say on, >> "Is this the sound I want?" So, he's basically having the people be his instruments. >> Yeah. >> Um, it's funny because obviously I don't know anything about music, but this >> the music producing on the computer makes the most sense to me >> of >> cuz I like I can visual like put things together and that I don't know how to do it. >> Yeah. [laughter] >> You would do you'd pick it up very quick. >> I don't know how to like and not in terms of like do the I know how to do the software. I don't know how to do like like I I can tell you like in my head that this is what I hear. Do it please. [laughter] Back in the day all all I had back in the day when I was recording stuff um was a four track. >> So I could record stuff on the four track and I knew how to bump the track so I could turn the four track into like a seven track. >> You never produce music, right? In terms of like >> not like that. No. No. Only my own stuff that I recorded. Even when I did my own album uh later when I did the time to dance >> uh Sky produced that >> and actually Sky engineered it and then we gave it to uh somebody else who produced it like did the final engineer master of it. >> Tell me the difference between producing and engineering of music. >> So an engineer is there on the day. >> Okay. >> They're in the booth and you're recording and they're recording you record. >> Okay. and they're keeping those tracks and you're talking about what you want to do. Engineers are often the arrangers. Sometimes they're not. So the arranger will be there. What the arranger does is the arranger decides this song that you wrote. Let's say I brought a song to them on the piano and that's all I have. >> Okay. What do you want it to sound like? Well, we're going to make it. It's is it going to have a horn section or not? Yes or no? The arranger is the one who decides what other instruments are going to be included. Engineer is there on the day recording everything as it goes. The producer is the one who masters it. So they take everything that the engineer and the arranger put together and now they make it sound. >> They're the editor of the movie. >> Yeah. They're the editor of the movie. That's the best way to describe it. Um and you can hear it's really interesting. You'll hear things and you'll ask who produced this because it has a particular it's so so essential to the final end. And producers also typically have a lot to say and sometimes there were multip Quincy Jones he engineered, he arranged and he produced and so when you say somebody mastered it, that's really what they mean by they they were the producer. They're the one who took everything and made sure every level. >> So you're engineering it, you're recording it, you're doing this. You might have to bump some tracks, but the person who does the master is going to decide, are the vocals going to be out in front or the vocals going to be back behind the track? Are we going to have the drums be really, really hot or are they going to be here? Where are those levels going to be? Is it going to sound condensed? Is it going to sound open? Are we going to put a lot of reverb? And you have to make those choices on every track. And and it's it can be really tedious work unless you've got something really simple like you're recording the police because the police just go in the studio and record and you're done because it's a live band of three guys and they don't really add anything else. But when you've got full-blown orchestral things to do or you've got really big productions, but like Brian Epstein, he was not he was the manager of the Beatles. Uh gone it. Um, damn it. [sighs] I have to look it up because my brain isn't working. Uh, they he's the fifth Beatle. Um, Brian Epste was their managers was their manager. Uh, George Martin. >> Oh, >> so George Martin was their producer, but George was critical to what things sounded like. example, Elanor Rigby is what it is. Because George said to Paul when he showed him the song which was on the piano, he went, "It's just vocal and strings." And Paul said, "What? Just vocal and strings?" Are you sure? Just vocal and strings. I hear it. Trust me. And George wrote the string arrangement. Paul wrote the song, but the whole idea of Elanor Riby being just strings and all of it, the violin, the cello, and that whole arrangement, that's George Martin. [snorts] >> Cool. >> Yeah. >> Um, love stuff like that. >> Yeah. So, he can do everything. >> Yeah. >> He can sing, he can write, he can arrange, he can engineer, and he can produce. >> Also has a tick. >> One. Yeah, I saw that. He's got a working tick. I think >> a lot of people have working ticks. Yeah. like when they're working, they don't notice that they're doing it, but they'll bite their lip, bite their tongue, like they'll like kind of fidget a little bit. Yeah. >> It's their way of like um it's called stemming is actually what it's called. >> Is that what that's called? >> It's usually a >> It's a neurological thing, right? >> Yeah. Yeah. >> Uh usually has to do with um some type of um spectrum. Not saying he's autistic, but he might be on the spectrum. And then when you do something to kind of um kind of cope or um I don't know the exact word, but it's called stemming. Sometimes people >> a lot of people back in the day I think a lot of artists for them when they were working was cigarettes. >> Oh yeah. >> Right. That was their way of having a tick that they could manage and cope and Right. >> Yeah. >> The whole people >> that was I want more stuff like that. This is very cool. I would love um Hollywood does it or they used to the the whole breakdowns of scenes. So we've seen it sometimes with directors. They'll break down a scene. Yeah. >> And what they did. >> I personally would love to see >> an editor would be cool >> like from start to finish the composition of something. I've seen it for example with John Williams. If you haven't seen the John Williams biography on I don't remember where it is, maybe on Apple. It's so good. But to watch from composition on the piano >> and then when they're in studio with the film above them and the whole orchestras >> Yeah. >> there and you know those musicians and I know this from Pedro who's worked with John and has done these types of things. >> You show up and there's the chart and the you're going on the one that is the score that's going to be in the film. You're gonna you might run it once maybe, but for the most part, you are expected to sit down and play every note perfectly for film because they have they have no time to just run it, practice it. You got to site readad it and be spotless. >> Wasn't Carnivis like he was a spot fill in. >> Yeah, I think he was at the orchestra >> uh for trumpet >> in San Antonio. Yep. >> He was trumpet, right? >> Yeah. >> Like he they would just if somebody couldn't go, he just go and you'd have to basically site readad. >> Yeah. Uh, and so just cool, >> amazing. But what's funny is a lot of site readers aren't good by ear. Like I remember talking to this piano player, brilliant. Throw a chart in front of him, played it, and I said, I'm amazed by that. I can read a vocal chart. I'm not flawless when I first read it, but I'm pretty good with the vocal chart. You put a piano chart in front of me, it's going to take me days to try to figure out a piano chart in front of you. He says, "Yeah, but can you play by ear?" I said, "Oh, yeah. I play really well by ear." He says, "Couldn't do that to save my life." Really? Please. >> I need it. I need the chart. >> That's weird. >> Isn't that weird? >> Interesting. Anyways, uh let us know what you thought about that. Any other videos we can react to like that down below. >> The biggest, the baddest, [music] wackiest, funniest, filmiest show on Earth. >> [music]