Sound Designer, Immersive Mixer and Composer for film, installation and games.
FTII-trained, now completing the Erasmus Mundus Joint Masters in Sound (ReSound) at IADT Dublin, Universidade Lusófona Lisbon and LMTA Vilnius. Dolby Atmos certified, with credits on festival-winning films and a creative practice that explores where science, philosophy and sound meet.
Festival record of the film. Credited as composer, additional sound designer and mix engineer.
Co-created LOFTA Fair with a team, judged the best proposal for drawing young audiences to the Dublin International Film Festival.
Location recording, sound design, original scores and final mixes. Press play and the bar at the bottom takes you through every piece in turn.
Composer | Additional Sound Designer | Mix Engineer
FTII | Short Fiction | April 2025
Scored with the household objects of the film's own world, so each instrument carries symbolic weight in a story about patriarchy.
Designed the suspense and horror sequences and delivered the final 5.1 mix with full deliverable QC.
Sound Recordist | Sound Designer | Composer
FTII | Short Fiction | June 2025
Full sync-sound setup with a Sound Devices 888, Shure ADX wireless and Sennheiser MKH 8000 series mics.
Contrasting soundscapes for two merging realities, and an organic folk score rooted in rural Maharashtra.
Sound Recordist | Sound Designer | Composer
FTII | Documentary | February 2025
Recorded on location across eight multilingual stories and shaped seamless transitions between them.
Sound Designer | Foley | Composer | Mix Engineer
Trailer | December 2025
The trailer's soundtrack replaced end to end with original Foley, sound design, score and final mix.
Also: live mixing engineer on Tulasi Dalamulache, a 15-input analog broadcast mix for an FTII multicamera concert (2024). Associate recordist and music mix engineer on Trigger. Assistant sound recordist on In Pursuit of Purple.
Work where sound is the subject, not only the soundtrack.
Director | Sound Designer | Composer
ReSound Thesis | In Development | 2026–2027
An audio-first visual experience for introspection, 15 to 20 minutes long, where sound leads and image follows.
It moves between the sounds of the world at every scale, from the molecular to the cosmological, drawing on entropy, emergence and non-dual philosophy. Mixed in Dolby Atmos 7.1.4 with binaural versions. A companion installation opens in December 2026.
Creator | Systems Design
Spatial Positional Audio Network | Ongoing R&D
A sensor-based system that turns real-time position data from performers and microphones into spatial audio.
Designed for film production, game audio and mocap stages, Dolby Atmos mixing and music production.
Researcher | Sound Designer
Installation | Carnegie Library, Dún Laoghaire | May 2026
An audio-visual installation on how microtonal ornamentation shapes raga identity, using Darbari Kanada, Jog and Kafi, with Carnatic guitarist Abhay Nayampally and sitarist Paulson K J.
Includes a research paper, musician interviews and audience response data. Visit the Antara site
Producing as HavinBae since 2019, across many genres, plus records for independent hip-hop and R&B artists.
Dubstep and techno hybrid built for the club.
A 4:30 experimental piece across five genres, co-created with Olivia Soenarto and mixed in Dolby Atmos.
A minute-long flip for the TuneCore x Ritviz #FlipTheBeat challenge.
Listening for the pulse underneath the story.
I don't follow a single school of thought. My philosophy is still being built, out of art, everyday life, the cultures I have lived in, the people I meet and, above all, science. I studied physics before I studied sound, and the two keep meeting. A molecule, a forest, a city and a galaxy all swing between order and disorder, and sound, which is vibration and nothing else, is the most honest way I know to feel that.
I make work in a deeply personal way and then let it go. While a piece is being made, everything I am goes into it. Once it is finished, it belongs to whoever is listening, and I try not to hold on to what it should mean.
I want the same piece to reach everyone. Someone who has never thought about sound should simply be able to enjoy it. Someone who keeps coming back should find another layer each time, and then another. That is why, in my films, the sound leads and the image follows, and why I mix in Dolby Atmos for closeness rather than spectacle, so the listener sits inside a space instead of in front of it.
Trained at the Film and Television Institute of India, with a background in computer science, physics and mathematics.
Sound. Location and sync sound, boom, field recording, Foley, ADR, dialogue editing, restoration, 5.1 and Dolby Atmos mixing, live broadcast mixing.
Music. Scoring, orchestration, electronic and acoustic production. Guitar, synths and flute.
Software. Pro Tools, Logic Pro, FL Studio, iZotope RX, Melodyne, Dolby Atmos Renderer.
Interactive. Wwise (in progress), plugdata and Pure Data, Csound, Bela, sensor-driven spatial audio.
Certified. Dolby Atmos, Audinate Dante.
Languages. English, Hindi, Marathi, Malayalam and Tamil, with basic Spanish.