PREETHAM

I work on the part of a film you are not supposed to notice. The door that sounds like the room it is in. The line of dialogue that survives a bad day on set. The corridor that makes you slow down before you know why. I started on a Bengaluru recording floor, cutting multi-language dubs to picture, and moved through Foley and sound design into audio post at scale — two years of quality assurance at Pocket FM, including Saving Nora, an audio drama with more than 500 million plays. An MSc in Audio Engineering at the University of Hertfordshire pushed me sideways into game audio, where a mix has as many timelines as the player invents; my final project, an interactive horror soundscape built in FMOD and Unity, finished in the top three of my cohort. I am now in Manchester with 344 Audio, designing original sound-effects libraries — recording the source, tagging it to UCS standard, and packaging bundles that other designers build their own work on. The thread through all of it is the same, whether it is cut to a locked timeline or handed to a game engine: clear dialogue, designed impact, immersive space.