P.A. Deepak on Being A.R. Rahman and Ricky Kej’s Engineer Behind the Boards

A seasoned sound engineer in Indian film music for more than two decades, P.A. Deepak has been a part of two Grammy-winning projects so far – composer A.R. Rahman’s Slumdog Millionaire soundtrack that won in 2010 and composer-producer Ricky Kej and flautist Wouter Kellerman’s Winds of Samsara which clinched the Best New Age album award in 2015 – and a third one is coming up this week.

Deepak’s work as mixing and mastering engineer on Kej’s latest album Break of Dawn from 2024 is up once again for Best New Age, Ambient or Chant Album at the upcoming Grammys, which takes place on Feb. 2, 2025. While a win could mean a lot for Kej considering Break of Dawn is his solo album, it would put add another honor for Deepak. In the past, the producer has been recognized by the Recording Academy for his work as surround mix engineer on Winds of Samsara in 2015.

In an interview with Rolling Stone India, Deepak talks about working with the likes of Rahman and Kej, his favorite studios to get into, how he combats ear fatigue and conducting masterclasses. Excerpts:

Rolling Stone India: What was it like working on Break of Dawn and especially with someone who’s very well-versed in production as Ricky Kej? What changed compared to the previous times you’ve worked together?

P.A. Deepak: Working on Break of Dawn with Ricky Kej was an incredible experience. His exceptional production skills and passion for meaningful music aligned perfectly with my mixing approach.

Break of Dawn marked a distinct shift from his previous album, Divine Tides, which featured Stewart Copeland. This new album required a more nuanced approach, focusing on smooth textures that minimize distraction, creating an immersive meditation experience.

However, during the creative process, I don’t think about potential awards or nominations. Instead, I believe in treating every project with the same level of dedication and hard work, giving it my all regardless of the outcome.

Your first Grammy-winning project was with A.R. Rahman for Slumdog Millionaire. Being one of his longtime collaborators, what do you feel has been a special aspect about working with him?

Working with A.R. Rahman sir on Slumdog Millionaire was a career highlight. His unique blend of styles, the trust he puts in every technician, musician, and singer is inspiring, fostering a collaborative spirit that brings out the best in each individual. 

One of the most remarkable aspects of working with A.R. Rahman sir is the creative freedom he affords me. Whenever I’d wait for his instructions, his references would often be delightfully unorthodox. He’d say, “Deepak, inspire me and the listeners, and do whatever you want. Just save the session before you go all crazy!” That kind of trust and encouragement pushes me to experiment, innovate, and deliver my best work

In terms of mixing and mastering, how do you end up choosing the projects you want to be a part of, if that’s a sort of freedom you enjoy?  

I must say, I’ve always believed in the Hindi saying ‘Daane daane pe likha hein khaane wale ka naam.’ It’s a reminder that our paths are often predetermined, and we’re just following the journey that’s meant for us.

Personally, I’ve experienced this many times in my career. For instance, I recall working on a song where I was doing additional programming. I had hoped to mix the song as well, but fate had other plans. The song ultimately got mixed by K.J. sir [Mumbai-based veteran audio engineer and producer K.J. Singh]. However, A.R. Rahman sir surprised me by saying, “Deepak, the rhythm section was sounding great from your session, and the rest is fantastic from KJ sir’s session. Let’s get both versions working together.” That moment taught me to trust the universe and its plans. Sometimes, the best outcomes come from unexpected collaborations and experiences.

As someone who listens to audio for a living, how do you avoid ear fatigue or deal with it when it happens?

I combat ear fatigue by taking regular breaks and switching between songs and genres. For instance, while working on [Bollywood film] Rockstar, I’d mix “Sadda Haq” and then shift to “Tum Ho.” This change of pace helps me stay focused. Sometimes, when working on slower, meditative tracks like those from Break of Dawn in the wee hours, I find my mind wandering. To avoid this, I switch to a different song or project, which helps me stay alert and maintain my mixing mojo.

A lot of mixing and mastering engineers these days often give advice, tips and and hacks, even song breakdowns in accessible ways on YouTube or social media. How do you view this trend?

That’s a fantastic way of learning. Song breakdowns are amazing, offering insights into how engineers overcome hurdles. However, presets, workshops, and breakdowns only provide solutions applicable to specific situations, not every song or music. My approach to understanding is to keep listening to diverse genres, educating myself within the profession. It’s not about formal degrees, but rather developing a deep understanding of various styles, making distinctions between genres.

You also conduct masterclasses – what kind of queries do you see students of audio engineering come to you with these days more than maybe before? 

My masterclasses are quite hands-on and straightforward. I ask students to share their sessions, and I pick one that needs significant work. Then, I open it up and start from scratch, showing them my process. I find that this approach is far more effective than presenting a polished, final product. By working through a challenging session together, students can learn firsthand how to tackle common issues and develop their problem-solving skills. Plus, as an added bonus, some students even get a professional mix of their unreleased track, which can be a huge confidence booster and a great way to take their music to the next level.

What’s been one of your favorite studios to sit in and mix/master out of? 

You know, I’ve been fortunate enough to work in some incredible studios over the years.

My favorites include Ranjit Barot’s Nirvana Studio and Salim-Sulaiman’s Blue Productions in Mumbai, as well as A.R. Rahman’s iconic Panchathan and AM Studio in Chennai.

There was something truly special about those places that sparked my creativity.

But right from the beginning, I’ve adapted to mixing in headphones, which surprisingly turned out to be a game-changer. I use the same headphones for everything – music, movies, and mixing. Then, I fine-tune on speakers. For me, it’s all about achieving that perfect mix.

A lot of times, deadlines are crazy in the world of film music. How have you navigated those kind of projects?

I must say, deadlines can be a blessing in disguise for creative people like myself. It helps us stay focused and motivated to deliver our best work.

Personally, I’ve had the privilege of working on some amazing projects, including films like Delhi 6. What drove me on that project wasn’t just the deadline – A.R. Rahman sir and KJ sir would jokingly say, “Why go all the way to Vizag when you can get married in Panchathan?” But in all seriousness, it was the desire to meet the incredibly high standards set by my guru, the legendary H. Sridhar sir.

As a mixing engineer, I’m always looking to push the boundaries and try new things. Having a deadline and a high standard to meet can be a great catalyst for creativity. And to be honest, I get bored with the same delay coming the second time (“Rehna Tu”). It’s the challenge of creating something new and unique that really excites me.