multi instrumentalist composer

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

A: I am incredibly proud of my work on Coke Studio Bangla Season 3. I was the featured Rubab artist for the track "Moha Jadu." It was a career milestone to bring such a traditional instrument to a massive, global mainstream audience.

Q: What are you working on at the moment?

A: I’m currently producing new material for some artist and tracking session guitars for several upcoming independent film scores.

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

A: I always recommend my mentors and long-time collaborators from the Bangladesh music scene if a client needs specialized mixing or vocal production.

Q: Analog or digital and why?

A: A hybrid. Analog for the "soul" (the instruments and the mics) and Digital for the "brain" (the speed and precision of the modern DAW).

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

A: I promise professional-grade, radio-ready stems and a commitment to making your song sound like a high-budget production, regardless of the project's scale.

Q: What do you like most about your job?

A: The "aha!" moment when a client hears a traditional instrument transformed by modern effects and realizes it's exactly what their song was missing.

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

A: Q: "Can you make it sound like the track 'Moha Jadu'?" A: "I can certainly bring that same Rabab technique and tonal quality to your project while tailoring it to your specific song."

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

A: That "ethnic instruments" only belong in folk music. In reality, a Dotara or a Saz can sound incredibly "cool" and "gritty" in a lo-fi hip-hop or alternative rock context if tracked correctly.

Q: What questions do you ask prospective clients?

A: What is the 'hero' instrument in this song?" and "Are you looking for a background texture or a lead melodic statement?

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

A: Be clear about the "emotion" you want. You don't need to know the technical terms—just tell me if you want the track to feel "lonely," "triumphant," or "mystical," and I will find the right instrument and tone to match that feeling.

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

A: My Pink Panther Custom Stratocaster. My Afghan Rabab. A solar-powered MacBook with Logic Pro. An Apogee interface. A high-quality pair of Adam Audio monitors.

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

A: I’ve been a musician first and foremost for over a decade. I started as an assistant producer during the AD era in some of Dhaka’s finest studios, including M Records. That foundation in the studio taught me exactly what a producer needs from a session player.

Q: How would you describe your style?

A: Energetic, melodic, and fusion-centric. I try to make my instruments "sing" like a human voice.

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

A: I’d love to collaborate with global producers like Nitin Sawhney or A.R. Rahman. Their ability to integrate traditional instruments into grand, cinematic soundscapes is exactly where my passion lies.

Q: Can you share one music production tip?

A: Don't over-process ethnic instruments in the box. Let the natural "wood" and "air" of the instrument breathe. A little bit of room ambience and a subtle tube-style compression is usually all you need to make a Dotara or Rabab sit perfectly in a modern mix.

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

A: A mix of World Fusion, Folk-Rock, Cinematic scores, and Contemporary Pop.

Q: What's your strongest skill?

A: Versatility across stringed instruments. Being able to switch from a bluesy guitar lick to an authentic Rabab or Saz melody allows me to offer clients a unique sound palette that most session players can't provide.

Q: What do you bring to a song?

A: I bring a "cultural bridge." I have the ability to take a modern pop or rock track and weave in the heritage of South Asian string instruments in a way that feels contemporary, not dated. I focus on "ear candy"—those small, melodic hooks that make a song memorable.

Q: What's your typical work process?

A: I start by deeply listening to the client's vision and the "soul" of the track. I usually provide 2–3 distinct takes: one that follows the melody strictly, and others where I explore more atmospheric or improvisational textures. I deliver high-quality, "dry" HQ WAV stems that are ready for immediate mixing.

Q: Tell us about your studio setup.

A: My setup is designed for high-fidelity "boutique" tracking. I use an Apogee Duet for pristine conversion and a Rode NT2-A for capturing the natural resonance of acoustic strings. My primary electric tone comes from my signature Pink Panther Custom Stratocaster running through a Headrush MX5 for versatile, studio-grade processing.

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

A: I’m deeply inspired by producers who bridge the gap between organic and electronic, like Emon Chowdhury (my mentor) and Habib Wahid. Internationally, I look to musicians who treat ethnic instruments with a modern, cinematic perspective.

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

A: I provide high-end session guitar and ethnic string recordings. Most clients hire me to add a "signature" texture to their tracks—whether that’s a soaring electric guitar solo or the soulful, traditional resonance of the Afghan Rabab, Mandolin, or Dotara.