Drum and microphone: Zakir Hussain's dialogue with technology

In the heart of Indian classical music, the tabla has long stood as a voice, not just a percussion instrument.

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Its rhythmic tones, mimicking the human voice, have entranced audiences for centuries. However, with the rise of sound amplification technologies, a new layer was added to its story—one in which the microphone, a seemingly alien gadget, became integral to the tabla’s performance. Zakir Hussain, one of the world’s most celebrated tabla maestros, stands at the intersection of tradition and technology, embodying the evolving role of the tabla in modern musical spaces.

The microphone, as some early critics observed, was once seen as a disruptive force in classical music, especially in Hindustani traditions. The early 20th century witnessed debates about the use of amplification in live concerts. While some purists viewed it as a threat to authenticity, others saw it as a tool for broader accessibility. As concert halls grew in size, and audiences expanded, the need for microphones became undeniable. For tabla players, this shift was particularly notable, as the delicate nuances of their intricate compositions risked being drowned out in large venues.

Zakir Hussain, who rose to prominence in the 1980s and ‘90s, was among those who skillfully navigated this shift. His approach to the tabla was revolutionary—not only in terms of technique but in how he engaged with technology. Hussain was one of the first to embrace amplification as a means of enhancing the tabla’s expressive potential rather than diluting it. In doing so, he redefined the role of the tabla, both as a traditional percussion instrument and as a global voice capable of transcending geographic and cultural boundaries.