Non-Malay speakers key to judging hit songs, says music maestro Ramli MS

Music maestro Datuk Ramli MS has a unique method for determining if a song has hit potential: have non-Malay speakers listen to it. He believes individuals unfamiliar with the language, such as those from Bangladesh, can offer a neutral assessment of a melody's strength without being swayed by lyrics or the singer's background.

"If you want to know if a song will be a hit, let outsiders like those from Bangladesh listen. Don't let Malays, don't let your friends listen. They (foreigners) are neutral listeners," Ramli explained at the Big Stage Rocketfuel finale press conference. "If 10 people listen and nine of them say it's good, I guarantee that song will explode (be a hit). That's what we used to do."

Ramli, whose full name is Ramli Mohd Salleh, 67, asserts that music's universal nature allows it to transcend language. When someone who doesn't understand the song's language is still captivated, it signifies strong melody and vocal quality. He also emphasized the critical role of record labels in maintaining quality control before releasing music.

"Based on my experience, if you release a song with insufficient quality control, people will look down on it. Listeners can dismiss it, saying 'he sings like this'," he warned. He advised that if a song doesn't meet the standard, it's worth returning to the studio and investing an additional RM2,000 or RM3,000, as a good song can last for 20 to 30 years.

Furthermore, Ramli highlighted the importance of vocal supervisors in shaping a singer's performance during recording. "Then, you need to know who the vocal supervisor is because it's very important. They will shape your identity. You need to find a good one. It's okay if the song has the potential to be a hit, spend a little more money," he urged. He reasoned that the return on investment for a song that lasts a decade after an initial expense could be hundreds of times greater. Ramli cautioned against over-reliance on autotune in the digital age, stressing that live performances should not differ significantly from recordings.