Cinematic Mix | Bansuri Rec

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I'm especially proud of my work on the Wuthering Waves game soundtrack, where I recorded the session flute (Bansuri) tracks for 'Where the Reactor Drive Shines' and 'When the Solistree Slumbers'. My role was to bring an organic, atmospheric texture to these massive, cinematic gaming scores. It was an awesome creative challenge because game music requires a really deep level of sonic storytelling—the playing has to be incredibly precise but still carry enough fluid emotion to immerse a player into the world. Seeing those tracks come together and hearing how the traditional woodwind elements fit into that huge, modern sonic landscape is definitely a high point for me.

Q: What are you working on at the moment?

A: Few Mixes for some Indian Indie Artists.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Not Yet! but I sure do pan on making multiple connections!

Q: Analog or digital and why?

A: Why not Both!

Q: What's your 'promise' to your clients?

A: It will be fun working with me!

Q: What do you like most about your job?

A: Making Music is so Fun!!

Q: What questions do customers most commonly ask you? What's your answer?

A: The most common question I get by far is: 'How many revisions do we get?' My answer is always the same: 'Until you're happy.' I work under a philosophy of underpromising and overdelivering, so I don't put a cap on tweaks or lock you into a specific number of rounds. We keep going until the track sounds exactly the way you envisioned it in your head.

Q: What's the biggest misconception about what you do?

A: "The biggest misconception is probably that mixing or session tracking is just a purely technical job—like it's just about turning knobs, cleaning up tracks, or playing notes perfectly on a grid. In reality, it's way more about psychology and storytelling.

Q: What questions do you ask prospective clients?

A: What did you feel while making this tack and what would like the listeners to feel.

Q: What advice do you have for a customer looking to hire a provider like you?

A: I know it's difficult to trust other with music that you have created, but it's better to have multiple ears and multiple hearts behind making up a track better!

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: My Flutes, My Laptop, My Headphones, My Midi and Lastly my Mic!

Q: What was your career path? How long have you been doing this?

A: It's been upwards of 4 years pursuing Music and Audio!

Q: How would you describe your style?

A: Intresting Blend of Indian and Western Styles.

Q: Which artist would you like to work with and why?

A: I’d love to work with Amit Trivedi and Hans Zimmer. Amit Trivedi’s music is just super cool—the way he blends unconventional production, raw emotion, and unique sonic textures is incredible, and I’d love to bring my score mixing or flute tracking into his world. With Hans Zimmer, it’s all about the storytelling. The way he builds massive, atmospheric soundscapes where every single element serves a narrative purpose is the ultimate masterclass. Working on a project with him would be an incredible opportunity to see that deep storytelling process firsthand and contribute to that level of cinematic depth.

Q: Can you share one music production tip?

A: Use references! Make Music with other friends!

Q: What type of music do you usually work on?

A: I usually spend my time working on a mix of Indian Indie, game scores, orchestral projects, hip hop, and Bollywood. Because of my background, I love blending cinematic depth with organic, traditional textures, but I'm always looking to push boundaries and expand into other genres. For me, good music is good music, and the goal remains the same no matter the genre: dialing in the right emotion, giving the arrangement breathing room, and making sure the final track connects with the listener.

Q: What's your strongest skill?

A: "My strongest skill is definitely my listening ability. And I don't just mean listening technically for frequencies or balance—though that's a huge part of mixing. I mean listening to the story the artist wants to tell, understanding the exact emotion they want to convey, and then translating that into the mix or the flute tracking. Being able to truly hear what a track needs before even touching a fader is what helps me take a project from just sounding good to actually making the listener feel something.

Q: What do you bring to a song?

A: For me, it’s all about emotion and helping tell the story that the music wants to convey. Technical stuff like balance, depth, and spatial placement are just the tools; the real goal is making sure the listener actually feels what the artist intended. Whether I’m mixing a massive, atmospheric score or tracking a subtle, fluid Bansuri line, my focus is entirely on serving the narrative of the track and giving it the breathing room it needs to connect.

Q: What's your typical work process?

A: My process is pretty straightforward: I start by asking the artist what they want the track to make the listener feel, and then I work backward from that. Once I have that emotional goal in mind, I jump into the technical side. If I'm mixing a score, that means organizing the session, setting up my routing, and focusing heavily on depth and spatial placement to build that specific vibe. If I'm tracking Bansuri, it means layering takes that match the mood perfectly, whether it needs a structured melody or just some fluid, atmospheric textures. I run everything out of my studio, and my philosophy is pretty simple: underpromise, overdeliver, and give unlimited revisions until the track sounds exactly how you envisioned it

Q: Tell us about your studio setup.

A: My studio is built around a hybrid, high-efficiency setup designed for fast workflows and absolute accuracy. At the center of everything is a MacBook Pro (M4 Pro), which handles massive, heavy-session tracking and mixing without breaking a sweat. I work across multiple DAWs depending on the project—mainly Pro Tools, Cubase 15, Logic Pro, and Reaper—so I can jump into whatever ecosystem a client or collaborator needs seamlessly. For tracking, I run a Neumann U 87 or the Neumann TLM 103 (the 'Rime' edition) through a UAD interface. That chain is my absolute go-to for capturing the authentic, organic warmth of the Bansuri and any other acoustic elements. When it comes to monitoring and mixing, precision is everything to me. I split my time between my Sonodyne SM AK 100 monitors and my Neumann NDH 30 open-back headphones. The NDH 30s are incredibly honest, letting me make surgical decisions regarding balance, depth, and spatial placement so I know the mix will translate perfectly anywhere.

Q: What other musicians or music production professionals inspire you?

A: I’m massively inspired by people who know how to blend deep musicality with serious technical craft. On the composition and scale side, Hans Zimmer and A.R. Rahman are huge for me—the way they use space, texture, and emotion to tell a story is incredible. On the engineering and mixing side, I look up to guys like Alan Meyerson and the late H. Sridhar. Meyerson’s ability to mix massive, complex orchestral scores and give them that signature clarity and punch is masterclass level. And Sridhar’s work with Rahman basically set the standard for sonic innovation and fidelity in Indian cinema. Their workflows and attention to sonic detail definitely shape how I approach my own mixes.

Q: Describe the most common type of work you do for your clients.

A: I mostly split my time between two things: score and song mixing and session flute tracking (Bansuri). On the mixing side, I take cinematic and orchestral tracks and handle the depth, balance, and spatial placement to give them that massive, wide soundscape they need. I'm all about making sure the emotional core of the music actually connects. For session work, I record high-quality flute layers for artists and composers globally. Whether a track needs a structured melody or just some fluid, atmospheric textures, I lay down a few different options and send over clean, edit-ready stems. I run everything through my own setup, and my whole philosophy is pretty simple: underpromise, overdeliver, and give unlimited revisions until the track sounds exactly the way you want it.