Mixing the Soundtrack of Indian Feature Film “Udta Punjab” on Pro Tools | S6

Udta Punjab is based on a story that revolves around drug abuse in the affluent north Indian State of Punjab and how the youth there have been influenced by it. Abhishek Chaubey who has done critically acclaimed films like Ishqiya and Dedh Ishqiya directs it.

As with Bombay Velvet, Kunal Sharma did the sound design and Anil Radhakrishnan was the the location recordist. The dialogues and effects were mixed by Justin Jose and I mixed the music. The songs were written by Amit Trivedi and the score was written by Naren Chandavarkar and Benedict Taylor, both stereo mixed by Shadab Rayeen. Everything was recorded at 96kHz and we mixed the movie in Dolby Atmos.


The music was mixed on an Avid S6 M40 at Futureworks Sound City. This time, I will be talking about some of the ways we used the S6 to achieve what I think is a very organic score. But before that I will mention some of the techniques we did in the mix.


The Philosophy

One of the things that Abhishek and Kunal were very clear about was that they wanted to have the screen as the focus for the audience and for them not be distracted by the surround speakers. Because of this, it became very crucial to select what we were going to place in the surrounds and how we would do it. So, rather than panning music elements into it, I used these methods.

  1. Avid Pro Multiband Frequency-Split Pan
  2. Nugen Halo Upmix
  3. Split Reverbs
  4. Cargo Cult Slapper and Spanner
  5. Infinite Surround Delays

The Frequency Split Pan

The Frequency split pan was a technique I figured once I saw the Avid Multiband Splitter in action. The Multiband Splitter, like the Multiband Dynamics plug-in, can split the signal out to Auxiliary Output Stems (AOS). What this means is that the Multiband Splitter can provide the four bands it splits as an input to Audio Tracks or Aux Inputs. So, we have the low, low-mid, mid and high frequency bands. These 4 bands are routed onto four different Aux Inputs in Pro Tools. What I can then do is add reverb to the low-mid frequencies or a delay to the high frequencies. In addition, I can also pan these elements separately in the space. This allows me to spread the instrument in the surround format in a way that is very different from a regular pan or an upmix. I used this technique on pads, strings and effects. As an added benefit it means that the pans and position will then be based on the pitch of the instrument thereby giving it movement in the space without touching a single fader! You need to make sure that you set the output of the main track to a dummy output. The reason is you don’t want the sound to double up from the main as well as the split stems.

In the above figure, you will see how the low-mid frequencies have a Phoenix Verb on it and a Soundtoys Crystallizer on the high frequencies. But you can also see how they are panned in the surround space. You can also insert another Multiband Splitter and have the second one feed a separate set of four Aux Inputs and process and pan them directly opposing the first four dry sets. This can build a very ethereal space and was one of the things we used in one of the scenes where a character slips into a trance after taking an intoxicant. Slight movements were then given to the pan to make the whole instrument “swim” in the given space. In addition to this, the other way I created movements was by changing the crossover frequencies on the plug-in. This would mean that the Aux Inputs would then receive different parts of the instrument and the pans and process would move based on the pan positions. I absolutely love the way this works!

The Nugen Halo Upmix

When I first got to play with the Halo Upmix, I was taken by surprise by the way that it generates the upmix. It creates so much space and spread also gives you a lot of control over each element. It can also mix down to the exact source in stereo. One of the reasons we used this was because there were Piano and Clarinet parts that were processed by Naren and Benedict to sound completely different in timbre and harmonics. When upmixed to 7.1, it gave the instruments a completely new space and spread.

Split Reverbs

This was a technique I used for quite some time now, but haven’t written much about it. The idea is to have two reverbs that are fed by the the same bus , but one reverb has a high pass filter before it and the other has a low pass filter. What this lets me do is to have the lower frequency reverb separate from the higher frequency, which can be panned and levelled differently to reduce the clutter in the mix. But what it also gives me is the ability to make small movements on the two faders to create motion between the reverbs. This can quickly clean up the mixes and create spaces as fillers between instruments. Changes of even 10 percent between the reverbs create an organic effect that makes it easier to blend the instruments together.

Cargo Cult Slapper and Spanner

These plugins are very unique AAX plugins that serve a very specific purpose. Slapper is a very versatile Surround Delay whilst Spanner is a unique plug-in that serves to manipulate the spatial position of a mix element by manipulating the channels it can address. One of the ways I used Slapper was to create sends to a Slapper channel and automate the mutes on this channel. This was done in order to send single beats or words to be processed or delayed into the surrounds. Spanner has two amazing functions called Spin and Rotate. Spin will take your mix and spin it round. The speed of the spin is based on how much the knob on the control surface is turned. Rotate allows you to take your mix and rotate or position it to enable you to move ambiences, for example, based on how the camera pans. These functions are only available on knobs on a control surface. There is also a way to convert the spanner movements into Dolby Atmos Objects and you can see that in this blog article I wrote.

Infinite Surround Delays

This is one of the new techniques I made for this film. The method is an inspiration from the original method for creating a ping pong delay and also partly inspired by a layering technique that the famous producer and engineer Greg Wells uses.

The idea behind this is not new and has been used many times before the Ping Pong Delay plugin. The way this works is:

  1. Send from the channel via a bus to a mono Aux Input panned to the left. On this, insert a delay plugin with the feedback set to 0 and mix to full wet.
  2. From the Aux Input, send a signal at 0 dB to another Aux Input panned to the right with the same delay inserted with the feedback set to 0 and mix to full wet.
  3. From the second Aux Input, send a signal back to the Left, again with level at 0.

So, when the signal hits the left channel, it is sent to the left side after the delay on the plugin and also sent to the right. The Right will do its delay and send it back to the left. This will go on until there is a drop in the signal level. In the stereo world, this is how it looks:

The same principle was adapted for the surround version. What I did was to have the signal sent from the main channel to the Left, Left to Center, Center to Right, Right to Right Surround, Right Surround to Right Rear Surround, Right Rear Surround to Left Rear Surround, Left Rear Surround to Left Surround and finally Left Surround to Left. This gives me a delay that will circle clockwise in the mix room for a very long time or until the signal drops. Now, here is where I took the technique to the next level. I made additional sends that were routed randomly. This gave me additional movements of the delay across the space and I had around 10 combinations for this. All of the Aux Inputs were grouped and the send mute was also part of that group. This allowed me to select the movement by simply unmuting the send I wanted. You can also extend this to have the sends routed to objects or have filters on the delays to give you even more possibiilites. If you combine this technique with the split pans and have a single frequency band sent to this, the nature of delay will be extremely different. All of this shows that you have no limits to the creativity you can achieve using Pro Tools.

The Mix on Avid S6

One of the things I did to prep for the mix was to color code my tracks and create VCA Masters for the tracks. In this way, I was able to have just the required VCA Masters on the S6 in a Layout and spill the components I needed. I also had a VCA Master to control all of the other VCA Masters in the session so that I can also have control of the overall levels. I often do this to start the song very low in the mix (depending on the nature of the score) and then build that or ride it very subtly. This gives the song a very organic movement and it won’t feel static.

There were some features that I used and loved on the S6.


  1. Flip knobs to faders

I like to have subtle movements of the faders and parameters throughout the score. One thing I learnt after seeing Robb Allan mixing was to flip the pans to the faders and do the subtle movements using faders. This made making small movements in relation to the visuals far easier., especially doing it on multiple channels at the same time. I also sometimes do this with EQs for very fine variations and also with sends for reverbs or delays


  1. Layouts

I love the way we can use Layouts to configure the console. After all, mixing is about getting the decision-making to execution in the shortest time in order to keep the creativity flowing. In that respect, being able to quickly access tracks and individual parameters really helps this process. Also, having the separate Spill Zones on the surface can allow us to show selected track types without losing the Layout. So if for example on the 16 fader M40, the last 8 faders are my VCA masters, I can have the first 4 faders as my Left Spill Zone. I can then quickly display just my Auxes on it, make minor changes and come back.


  1. Track Type Display

While mixing so many tracks, sometimes I quickly want to change reverb parameters or overall levels. So, rather than banking through or recalling a Layout, I simply push the Type button on the Master module and select the Aux Inputs from the buttons on the Softkey in order to quickly can see all my Aux Input faders on the surface. I can then expand or adjust the required parameter or fader and get back to doing what I was doing. Quick!


  1. Screening Mode

This is a feature that made a big impact to the way I listen for the mix. Once my mix is done, I turn on the screening mode on the S6. This puts the Surface in a mode where all the displays are off. (You can come out of this by touching the Touch screen) This helped me a lot so that I can then listen to my mix without looking at the tracks or the faders. This is very important to me as a mixer as I want to be able to detach myself from the physical look and I don’t’ want to be influenced by the values that I see. If it distorts or clips and I hear it, I make a change. If not, for me it isn’t broken yet! Plus it also allows me to see how well the score or song sits with the visual on the screen. I’m not distracted with worrying about the pan position or level and if I am then it shows that wasn’t right in the first place.


  1. Expand Zone

This is another feature that I use a lot. An Expand Zone is a knob module that you can assign to display parameters from the attentioned track such as EQ or Dynamics or other plug-ins. I use it to show what is onon insert aso that if I wanted to work on reverbs quickly, I can simply attention that reverb return and get the reverb parameters spilled out.


  1. Sofkeys

I created a bunch of macros for myself on the S6 that help me with a lot of automation and tasks for Dolby Atmos. It is very similar to the one I have here. This helps me to stay within my creative space and not lose focus of what I want to achieve in the time I have. Unfortunately, I have a very short tone memory so I become impatient when I want to get to my outputs and hence have all of these customized so that I don’t lose time thinking of the technicalities.



The thing I love most about the Avid S6 is that I don’t have to necessarily learn the way the surface works. I can have the surface adapt to the way I work. In the end, it’s my workflow, speed and talent that the producer pays for. The more I can deliver without compromises, the better it will be for both. This was how the mix of the Score of Udta Punjab was done. I hope it was a useful read and some of the techniques here can be put to a lot of creative use irrespective of whether you are mixing for cinema or music.

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Pro Tools | Control — Creating Custom Post Macros

After the release of Eucontrol 3.4 and the free Pro Tools | Control app for iPad, I fell in love with its Channel view and Soft Keys view. When paired with the new Pro Tools | Dock, the combination becomes an amazing piece of hardware that is compact yet extremely flexible. In that respect, I decided to go ahead and make some macros for the common tasks I do for sound editing and Mixing in Dolby Atmos, along with some cool stuff for Cargo Cult’s incredible plug-in, Spanner.

You can Download my user set here, and once downloaded, unzip it and place the file into:

/Library/Application Support/Euphonix/UserSets/MC2User/MC_USER_SET_Root

This is where your custom XML goes. Please note that currently, this is Mac only as that is what I work on along with SoundMiner. The reason I made this is pretty simple. As a mixer, I am a guy who is very much against doing repetitive work with no creative output. Which is why I have come up with these! I will explain in the following videos what each macro does. Once you have the xml, you can access this page from the User Pages Button on the main page of the Soft Keys tab. This takes you to another page with the Tracklay, Dolby Atmos and Spanner Buttons. But before that, lets look at the process of creating a macro.

Pro Tools | Control Soft Keys Tab

Creating your first Eucon Macro

A Macro is just a sequence of key strokes or shortcuts that help you to execute multiple key strokes in one button press. For example, let’s say you frequently take a copy of an audio clip to the track below it, mute it and come back to the original clip selection in order to create a backup when you are processing a clip with audio suite. This sequence of events can be automated into one button. Simple tasks like these, once automated, save a huge amount of time that frees up more creative space for you. The EuControl Soft Keys are in XML format. EuControl has the ability to create and execute these macros based on the focused application.

But there are a few things to keep in mind before creating a macro. This is the method I adopt while doing this:

  1. Get the sequence of shortcuts right. Remember, there are many ways of doing the same task. but you want to be able to execute it in the least number of keystrokes. This is to make it as fast as possible and it is simpler to undo your changes. Also, bear in mind that Eucontrol can only accept a maximum of 20 individual steps, but each step can have multiple key strokes as long as they share a common modifier key.
  2. Once you have determined the sequence, make sure that you have the EuControl Soft Keys editor open beside you. This helps because when building complex macros, you can easily forget the steps if you don’t do it in parallel. I do this by performing each step in Pro Tools and putting the macro with each one. So, if I wanted to copy, move selection down, paste and mute, I would make a copy in Pro Tools, put the key stroke in the Soft Key Editor, go back to Pro Tools, perform the move, come back to the soft Key editor and put that shortcut etc. It may take a bit of extra time, but it is also very helpful to troubleshoot and be sure that your sequence is correct.
  3. Make sure your Button Layout is something that lends itself to muscle memory. If you need to access many pages to execute a set of buttons, then it may defeat the purpose of using a macro.

As an Example, let’s create a macro that copies a selection, pastes it into a track below, mutes it and returns the selection to the original track. For our purpose, lets make this on the Pro Tools | Control app. To begin, lets look at the sequence:

  1. Make sure clips are selected and command key focus is enabled. Then Copy with c
  2. Move selection down. So, the key stroke is ;
  3. Paste the copied clips. So the key stroke is v
  4. Mute the clips pasted. Usually, we would just do a Command+M. However; what if the selection contains clips that are muted before? We want to be able to maintain all the states of those clips too, otherwise performing a Command+M will unmute all clips. The easy way to do this is to create a clip group and then mute that, thus maintaining the original mute states. So the key stroke is Command+Alt+G and Command M.
  5. Move selection up. So key stroke is p.

Now that we have the idea set, lets build it. If you look on the Soft Keys tab on Pro Tools Control, there is a button on Page 1 called User Pages. We will use the pages in that to build our macros. If you haven’t pasted my macro XML yet, you will see this is a blank page that looks like this:

Blank User Page

What is important is to note the page number as we will need to know that to put our macro in. In this case, the page is Page 148. By default, it jumps to page 147 on the current Eucon Soft Key set. For now, lets create our button on page 148. To do this, click on the EuControl app on your task bar and choose EuControl Settings and then select the Soft Keys tab. Now, since we are creating a Soft Key on the Touchscreen section of the app, select Touchscreen from the drop down menu as seen in the Picture:

Eucontrol Setting Soft Key Section

Once there, we need to go to Page 148 because that’s where we will create our macro. Select Page 148 and select any one of the buttons you see on screen. If you want to add more pages, you can simply click the + sign beside the pages dropdown menu. Once you have selected the button, click on Command… This brings you to the Soft Key Editor.

Soft Key Editor

Here we see options like Key, EUCON, Page, etc. Each has a specific function. If you choose EUCON, you can access euconized commands like menus or preferences that are otherwise not accessible via a key stroke. But remember, we can have only one EUCON command per macro. In our example we are building the macro with keyboard shortcuts, so we choose Key.

Once there, the key strokes we need in order are C, ;, V, Command+Option+G, Command+M, P. That’s a total of 6 keystrokes. But, we don’t need to create 6 different entries for this. The reason is because the first three don’t have any OS Modifier keys such as command or control which would change their key value. (We are assuming the Command Key focus is on). So, we can build this as one Key Function. The Next one is Command+Option+G. This and Command+M along with P needs 3 different entries because their OS modifiers are different. So, when we finish building the macro, it will look as this:

Copy and Mute

Macro Button

Lets now name our Button as Copy Down Mute. Now, if you have clips selected, have an empty track below it in Pro Tools, go ahead and push the button and see the magic work!

Although this was a very simple one, there are a few things to keep in mind. For example, if you copy from a track with a surround output or an automated plugin to another one that doesn’t have these, then a dialogue box is thrown saying “Some Automation parameters in the clipboard do not match the paste destination”. This is important as we need to test the macros in various situations and figure out the best way to make them run. Now, let’s look at the macros in the custom Soft Key Page shared above.

Custom User Page

“The more you automate repetitive tasks, the more creative time you get. A click or keystroke saved, is a creative second earned.”

—Sreejesh Nair

Track Lay Soft Keys

1. Extend & Create 1 Frame Fade

This is very useful to me when I spot sound effects or ambiences from SoundMiner. There is a quick way of cutting a mixdown video or an audio track into the scenes. If you have markers on all your scene changes, then you just need to go to the grid display and change that to clips and markers. Now, hide all the tracks except the Video track and select the length of the video. Once you do that, head over to Edit Menu -> Separate Clip -> On Grid . The logic here is that since the grid is split to markers, it separates on the marker locations. Pretty easy! Of course you can still get scene based edits if you work using AAF transfers from Media Composer. Once done, it is then easy to spot an ambience from Sound Miner for that scene selection. When I export from SoundMiner, I make sure I have head and tail for the same. This is important as it is key to making the macro work. My usual method is to have ambience spotted and then extend the clip by one frame on either side and insert a one frame fade. This is now made very easy with this macro. The 5 frame version is the same with 5 frames of fade length.

2. Copy Fade from Clip Above

If I have an ambience that is laid in the exact length of the clip above it and it has a certain fade length that I want to use, I can use this macro to replicate that. Note that this won’t be able to replicate the fade type. The Copy fade from Clip below does the same but from a clip below the selected one.

3. Extend Whole Clip to Match Clip Above with Fade Length

Sometimes I want certain effects that I have to match the length of the clip above. This does exactly that but it also includes the clip fades. Once I run this, I can also run the Copy Fade from Clip above to get the same fades too.

4. Extend Clip Head to Match Clip Above with Fade Length

This does the same as above except only for the head of the clip.

5. Extend Clip Tail to Match Clip Above with Fade Length

This does the same for above but only for the tail of the clip.

6. Extend Whole Clip to Match Clip Above without Fade Length

Sometimes the clip above won’t have a fade or I need only the length of the clip between the fades. That’s when this is the one to use. The rest of them are the same with head and tail.

7. Duplicate Clip Backwards or Forwards

Duplicating clips forwards is easy. But for backwards, it was usually Control+Option+Command+Click with the grabber. This was a bit too much so I created the Duplicate clip backwards macro for this very purpose.

8. Export Tracks

This is a Quick access to export selected tracks to new session.

Dolby Atmos and Spanner Page

The Atmos Pan transfer copies your regular surround pan into an object plugin. There are a few requirements for the Dolby Atmos Pan to be executed correctly.

  1. The Object track must be below the track from which Pro Tools automation is to be transferred and of the same track width (Eg: Both are Stereo or Mono.)
  2. The Object track view must be set to Master Bypass lane of the Atmos Plugin and the main track must be set to waveform view.

1. Move Clip Down

This is the first step in Copying the Pan Automation once the above criteria are met. The video below shows what happens.

2. Transferring Pan

Once the above is complete, without clicking anywhere else (in order to not lose the selection), click the appropriate Soft key. This is based on the output you have for the source, be it 7.1 Mono or Stereo or 5.0 mono etc. This will copy the automation. Remember to make sure you are on the Bypass Lane of the Atmos Plugin. (For this to be visible, the plugins parameters must be automation enabled).

Spanner Plugin to Atmos

The way this is set up is to have individual Atmos panner auxes for each channel. This is because there is no multi-mono version of the Atmos plug-in. So for a 7.1 pan you must create L, C, R, LSS, RSS, LSR, RSR in that order, one below the other and kept below the Spanner track. I usually use Spanner on the master of the Ambience bed or FX bed. The Objects I want to pan are separately sent to these 7 auxes. Once set, the channels need to display the bypass automation lane of Spanner as well as each of the panner plug-in.

If you look at the Soft Key Page, I have made individual soft keys for each channel of Spanner. This is because I found this to be a more efficient way of converting the pans rather than a complete set. This can therefore be used whether you are going from LCR to LCR and all the way up to 7.0. The only thing to keep in mind for a 5.1 pan is you need to use the Spanner Left Side Surround and Spanner Right Side Surround Soft Keys for Ls and Rs. This will be sent to the 4th and 5th aux but that’s ok as we are only concerned with the panning Metadata. This video will hopefully explain this.

The rest are pretty self-explanatory I would think. To know how these work, go to the EuControl Preference Softkey Editor and simply click the macro button. Then if you click on Command…, you get to see the execution logic of it. I hope these are of use to you and I look forward to hearing your comments and ideas!  To watch and learn more about EuCon Softkeys and the technicalities, check out this excellent Tech Talk by Mark Corbin from Avid:

You can download the custom soft key user set here.

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‘Bombay Velvet’ Film Charts The Passage of Time with Sound Design

Sreejesh Nair is an Avid Audio Solution Specialist by day, and a film mixer by night. Here he talks about his work on Bombay Velvet, a major new movie from director Anurag Kashyap.

Anurag Kashyap has been thinking about this movie for decades, and his sound designer, Kunal Sharma, has been on board for seven years. It was always going to be an epic story with sound playing a central role.

The movie tells the love story of a street fighter and a beautiful jazz singer, in the backdrop of the rise of Bombay, starting with the 1940s and moving through to 1969. Anurag and Kunal wanted the sound to create a rich and diverse atmosphere, at the same time we wanted to pay homage to the sounds of the era.

Hindi actress, Raveena Tandon making a guest appearance as one of the singers in Bombay Velvet

I was asked to be one of the mixers on the project, along with a good friend of mine, Justin Jose. We were completely in tune with what Kunal wanted to achieve, and were enthusiastic to take such a creative role. There always were three T’s to the process we had for this film: Technology, Thought, and Techniques. We had decided that it would be a Dolby Atmos mix as soon as we heard about the format back in 2012. (Justin and I had been having creative talks with Kunal about the sound of Bombay Velvet for the past two and a half years!)

The decision from the beginning was to record and mix everything in 96kHz sample rate. That might sound counter intuitive since the majority of cinemas can only handle a playback of 48kHz, but our thought behind this was simple. Since we had a high sample rate source, we were able to do a lot of pitching and processing. This may sometimes create artifacts in the high frequency spectrum but, using sample rate conversion, any unwanted harmonics and frequency artifacts that were created above our hearing range would be filtered out in the down conversion to 48kHz. In other words, we ended up with an extremely clean and sweet sounding 48kHz mix. This had never been attempted in Dolby Atmos before and so we had to figure out a proper workflow. This is where the beautiful sample rate conversion of the Pro Tools | HD MADI interface was apparent.

“Relying on Pro Tools meant we had no technical issues, even with more than 200 tracks on each machine.”

—Sreejesh Nair

Music was always going to be a key player. Obviously when one of the central characters is a singer, there will be a lot of music in the action! But Anurag Kashyap also wanted to use music stylistically and as part of the story. There were many instances where the reverbs used for the score were part of the reverbs for the room; for example, there is a big machine gun shootout in one scene where, rather than hearing tommy guns, it blends into becoming the sound of the drums. This was one of the ways we took what was on screen and made it a performance. Mapping the tempo of the drums and then shifting the guns to fall within that tempo space helped us to achieve this.

Naturally we chose Pro Tools for the mix. Even in 96kHz, a Pro Tools | HDX 2 system running software 11.3.1 supports up to 256 channels. I was running a Pro Tools HD 12.0 system with an HDX 2 from my 2012 MacBook Pro retina laptop and a Magma Thunderbolt chassis with around 200 tracks of effects. Justin was on Pro Tools 11.3.1 with an HDX 2 system running the dialog and score.

View of the dressing room of Rosie in the club 'Bombay Velvet'

The deliverable mix uses Dolby Atmos for object-based surround sound and extended dynamic range. This was a unanimous decision, as we wanted the audience to engage with the characters and grow with them. A very big strength of the Atmos format is that it provides a very clean resolution when it comes to positioning sound. The very first sound you hear is the clicking of a film projector, coming out of the rear centre speaker. This was our homage to the old fashioned projectionist, and how we began our journey to salute the vintage era.

The mix changed style according to the period. The first part of the story, in the 1940s, has a mono soundtrack, and as time passes it opens out into LCR, then 5.1, then finally Atmos. Making a rich mix sound good in mono was probably the biggest challenge we faced! In fact, for some of the early music scenes, we used an emulation of an echo plate to get the reverb to match the time period we had in our minds.

We were also careful with the sound levels. Some movies start loud and stay that way. The result may be that the cinema then turns down the volume and you do not get any sense of dynamic development. We chose to carefully scale the overall level, starting quietly at the sort of levels you would have heard in the 1940s. It meant that, overall, the loudest the film went to was a Leq of 84, which may seem slightly low, but when we need the sound to be loud, it really is. We created a real sense of scale.

“You get a real clarity, a transparency to the sound when you record and mix at 96kHz.”

The final mix was an epic job. We spent 515 hours on the movie, spread over 26 days. That works out at around 20 hours a day! Obviously we could not have sustained that if we were constantly banging our heads against the keyboard. Relying on Pro Tools meant that we had no technical issues, freezes or glitches, even with more than 200 tracks on each machine with complex routings, and we could just concentrate on getting the sound right.

We used a lot of plug-ins to get the sounds we wanted. Spanner, Exponential Audio reverbs, Audionamix and the Avid Pro Series were the core plug-ins. Pro Tools has a clever dynamic plug-in processing system, so a native plug-in only uses CPU cycles for the times when it is in use. That allowed us to have more plug-ins on the session without loading the system.

Gokul K.R. (Sound Editor), Justin Jose (Rerecording Mixer), Sreejesh Nair (Rerecording Mixer), Anurag Kashyap (Director), Kunal Sharma (Sound Designer), Antony Sunny (Sound Editor)

We also used the system to give us HD playback of the video. Looking at color corrected video was a great help in guiding us towards the sound quality we needed: when you see the pictures look vintage, then you know the audio must match it.

We spent over 500 hours of mixing Bombay Velvet and we didn’t have to compromise at any stage. For the first time in my career, I feel completely content with the finished result.

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