- Music Composer
- Sound Designer
Vinayak Arora
- London, United Kingdom
- 6 projects
I’m a London-based music composer, sound designer, and audio technologist specialising in immersive and interactive audio.
About
I’m a London-based music composer, sound designer, and audio technologist specialising in immersive and interactive audio. With a strong background in music production, spatial audio (Dolby Atmos & binaural), and game audio integration, I create sound that is not just heard—but experienced.
I’ve worked across a wide range of projects including game sound design, film scoring, vocal production, and experimental music technology. Currently, I’m working as a sound designer with Game Crafters Collective, designing and implementing audio for multiple games using tools like FMOD, Unity, and Unreal Engine. My work blends technical precision with emotional storytelling, ensuring every sound enhances the user experience.
As a performer and composer, I’ve collaborated with artists and collectives including Antariksh, Salim-Sulaiman, and projects at Abbey Road Studios (BBC Choir & Jacob Collier Choir). I also explore cutting-edge audio innovation—having developed gesture-controlled instruments and researched emotional responses to 3D spatial sound.
I bring a unique mix of musicality, technical expertise, and creative problem-solving to every project—whether it’s composing a score, designing game audio systems, or crafting immersive sonic worlds.
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- Joined June 2024
Industry experience
- Gaming
- Computers & Electronics
- Education
- Media & Entertainment
- Software & Internet
- Professional Services
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Projects · 6
- Audio Engineer
- Music Composer
- Music Producer
- +2
- Lead Sound Engineer
- Music Producer
- Sound Designer
- +1
- Audio Engineer
- Game Designer
- Music Composer
- +2
- Audio Engineer
- Music Composer
- Music Producer
- Audio Engineer
- Mixing Engineer
- Music Composer
- +1
Work experience· 8 roles
-Assisted a 10-person choir recording for Jacob Collier at Abbey Road Studios. -Engineered the binaural album for Dhruv Vishwanath at Vestry Hall Studio. -Managed live sound setups for concerts, including microphone placement and sound checks, to deliver exceptional audio quality. -Provided technical support for sound equipment, diagnosing and resolving issues promptly to avoid disruptions. -Set up microphones, cameras and output devices to match technical requirements. -Mixed and edited multi-track recordings in a studio environment, utilising advanced software to create polished final products. -Operated mixing consoles during live events, making real-time adjustments to balance and enhance audio output. -Collaborated with musicians and producers to determine the desired sound aesthetic, facilitating productive recording sessions. -Coordinated with lighting and stage designers to synchronise audio- visual elements, creating cohesive live performances.
-Directed sound design and music composition for various games, including Cluck Yeah and Don't Witch Me Now, ensuring high-quality audio experiences. -Integrated feedback from progress meetings to refine sound design, leading to enhanced gameplay experiences. -Produced compelling soundscapes for 2D action puzzle and strategy games using Unity and FMOD, significantly elevating player engagement.
-Designed and acoustically treated studio space; produced and edited audio in Logic Pro and Pro Tools with MIDI programming, drum sequencing, and pitch correction (Melodyne), using Plugin Alliance and Valhalla tools for synthesis and mixing. -Prepared for recording sessions by selecting and setting up microphones. -Collaborated with prominent artists and brands on production, vocal arrangement, and post-production projects including Bumble, Salim- Sulaiman, Antariksh, and Piyush Bhisekar. -Produced high-quality recordings, ensuring optimal sound quality and artistic vision alignment.
Education
I specialised in the intersection of emerging music technologies and spatial audio. My coursework and research focused on innovative areas like three-dimensional soundscapes, gestural interactivity, and the integration of computer music with traditional analogue equipment. Throughout the program, I explored the emotional and perceptual responses to varying musical arrangements, emphasising the potential of immersive audio through technologies like binaural sound and Dolby Atmos.
Certifications and awards
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