Film & Trailer Composer

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

A: Bhayanaash, an album for Warner Chappell co-composed with Dan Elliott, which won the World category at the Production Music Awards in London in 2025. It was my third PMA win. I’m proud of it because it takes Indian sounds into dark, large-scale cinematic territory that you rarely hear.

Q: What are you working on at the moment?

A: A few Trailer Albums and a series of trailerized versions of film songs for trailer houses.

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

A: Clear communication, music that fits your picture and story, and delivery on time. You’ll hear a sketch early, so there are no surprises at the end.

Q: What questions do you ask prospective clients?

A: What is the music for? Which reference tracks capture the feeling you want? What length, deadline and budget are you working with? What rights do you need?

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

A: Send references, even rough ones. Two or three tracks you like tell me more than a long written description, and they make the whole project faster.

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

A: Bhayanaash, an album for Warner Chappell co-composed with Dan Elliott, which won the World category at the Production Music Awards in London in 2025. It was my third PMA win. I’m proud of it because it takes Indian sounds into dark, large-scale cinematic territory that you rarely hear.

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

A: I have over 11 years in the field. I trained in Indian and Western classical music, then studied Film Scoring at UCLA. Since then I’ve written for production music libraries such as Warner Chappell, BMG and Universal, scored films and documentaries, and recorded sessions for Hollywood composers.

Q: How would you describe your style?

A: Cinematic and emotional, with a strong sense of melody. I love using world instruments and voices so they sit naturally inside an orchestral or hybrid sound, rather than as decoration on top of it.

Q: Can you share one music production tip?

A: When mixing world instruments with an orchestra, don't bury them in the same reverb. Give the solo instrument or voice a drier, closer sound and let the orchestra sit further back. The ethnic part then feels intimate and authentic instead of sounding like a sample pasted on top. Also leave space in the arrangement: if a bansuri or vocal carries the melody, thin out the strings in that same register.

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

A: I start with your references, the picture or brief, and the deadline. I send a short sketch early so we agree on the direction before I build the full piece. Then I produce, record live parts and deliver mixed files and stems, with two rounds of revisions included.

Q: What's your strongest skill?

A: Making world music sound authentic and cinematic at the same time. I’m trained in both Indian classical and Western orchestral music, so I can write a Hollywood-scale score and then sing or play the Indian parts myself, without anything sounding like a stock sample.

Q: What's your typical work process?

A: 1. Brief: you send references, the picture or lyrics, the length, deadline and budget. We can also do a quick call. 2. Sketch: within a few days I send a short demo of the main theme or vibe, so we agree on the direction early. 3. Production: I build the full piece, recording live vocals, instruments, and work with session players if needed. 4. Revisions: two rounds included, with clear notes and timestamps from you. 5. Delivery: mixed WAV files plus stems on request, ready for picture, a library or release.

Q: Tell us about your studio setup.

A: My studio is in Mumbai: a Mac mini with 64 GB of RAM, a Komplete Kontrol keyboard, Analogue gear, Maschine and Mics. I also have a collection of Indian and world instruments, that I record live. I work remotely with session players and studios when a project needs them.

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

A: Original scores for films, documentaries and games, often blending orchestra with Indian and world instruments. I also record live Indian vocals and harmonium for composers and producers who need an authentic sound in their own projects.