From Freelance Engineer to Studio Founder: Arun Crasto’s Journey in Mumbai

Can you give some background to your studio?

I have always been drawn to the technical side of sound, and over time that developed into a strong passion for sound design. After freelancing for some time, I felt the need for my own workspace where I could approach projects in my own way.

Over the years, the studio has developed into a full-fledged facility with multiple rooms. This upgrade has been a big step forward, allowing us to expand both creatively and technically, especially into formats like surround and Dolby Atmos.

For me, the goal has always been to create a space where creativity and the technical aspect come together smoothly. We have tried to build a studio that not only sounds great but also feels good to work in—and that balance is what really makes the difference.

Can you tell us the function of the studio – what work do you do here, and who are your typical clients?

Our work is primarily focused on advertising, and we work on ad commercials almost every day. The studio is designed to support different workflows, whether it’s a composer creating music, a voice artist recording, or a mix session.

Typically, a production house books the studio based on project timelines. For an advertisement, a composer begins producing music while we simultaneously handle sound design, foley, dialogue cleaning, and dubbing. In the middle of this, we also record live musicians as required. Once the music is locked, we move into the mixing stage, which is a key part of our workflow. Later, we handle cutdowns, edits, and language dubbing.

Some of our regular clients include Nirvana Films, Chrome Pictures, Breathless Films, Equinox Films, Conversation Films, Love & Faith Films, Qisse Fims, House of Rapture and many more.

Who were the key people involved in creating or upgrading the studio, and what role did they play?

Kapil Thirwani and his team from Munro Acoustics designed the studio rooms.

Shiv Sood from Sound Team Mumbai played a key role in helping us select and provide major equipment and gear, including the Genelec system. All cabling and technical wiring were also handled by Sound Team.

Outside the technical areas, the rest of the facility, including the lounge, cafeteria, pantry, and waiting area, was designed by interior designers Rahul and Krina Jain (KOUP).

Rajul and Milind Dhaimade (Love & Faith Designs), who were also behind the original Crastos Studio logo, worked on the branding for this new space. With Crastos Future Boom LLP, they took the overall branding and logo design to the next level, which I was very happy with.

Were there any challenges in creating or upgrading the studio, and how did you overcome them?

There were quite a few challenges. The first was deciding whether to go ahead with the upgrade at all, especially post-COVID, when a lot of people had shifted to remote work. But the strong relationships and trust we have built with our clients gave me the confidence to move forward.

Designing three studios within a single facility was another big challenge. Workflow design was another key factor.

We created a flexible setup that allows music directors to access and control their entire system directly from the engineer’s position, while easily integrating their own hardware and recording live instruments or vocals from the dubbing room through the studio’s preamps.

This setup gives them the freedom to compose, arrange, and program while sitting at the sweet spot, ensuring they are always hearing things as accurately as possible.

We also wanted to expand into formats like Dolby Atmos, 7.1, and 5.1, so setting up a fully equipped 7.1.4 room added another challenge, but it was worth it.

Can you give us an overview of the different areas within the studio?

We have three studios in the facility - CFB1, CFB2, and CFB3.

CFB1 is our Dolby Atmos room with a 7.1.4 setup. It’s used for Atmos, 7.1, 5.1, and stereo mixing, and also has a well-sized dub room for voice and instrument recording.

CFB2 has the largest control room and a bigger recording space, which allows us to record multiple musicians or even a full drum setup.

CFB3 has a control room and recording space that are very similar in design and functionality to CFB2, making it equally well-suited for music production, recording, and mix work.

In terms of other equipment, we use a Lynx Aurora as our main interface (A/D & D/A) and an SSL Big Six as the mixer. For microphones, we have options from Chandler Redd and Manley, along with the Neumann U87, KM184, AKG C414, and Shure SM57, SM58, and SM7B. For preamps, we use the Rupert Neve Shelford Channel, Universal Audio LA-610 MkII, Maag Audio PREQ2, and the Chandler TG2.

Which speakers and subwoofers have you opted for in the studio?

Our stereo control rooms are equipped with Genelec 1237A SAM monitors as the main far-field system, along with 8341A SAM coaxial monitors as nearfields.

The Dolby Atmos room features a 7.1.4 setup with 8351B SAM monitors for LCR, 8340A for surrounds, and 8330A for overheads, along with a 7380A subwoofer and a 9301B AES/EBU interface

Why were these models the right choice for the studio?

The choice was mainly driven by room size and performance requirements. The 1237A monitors work perfectly as far-fields in our stereo rooms, offering a wide frequency range without needing a separate subwoofer. The 8341A nearfields complement them well and provide a reliable reference.

In the Atmos room, the combination of 8351B, 8340A, and 8330A creates a very balanced and immersive system.

What really stands out is the consistency across all rooms. Genelec’s SAM technology helps calibrate the system to each room, ensuring accuracy and balance. The coaxial designs also provide excellent imaging, making it easier to place sounds precisely.

If you use GLM calibration software, can you describe how you use it?

GLM calibration plays a big role in getting the best out of each room. It helps correct unwanted frequencies and brings out details that might otherwise get lost, depending on the room acoustics.

One of the best features is the ability to create multiple presets. For example, if a music director is working from a different position in the room, I can calibrate the system for that spot. When it’s time to mix, I switch back to the engineer’s position.

This flexibility makes a big difference in day-to-day workflow.

How would you describe the difference Genelec technology makes to your workflow generally?

Since our studios are open to freelance engineers, it made sense to choose a monitoring system that most professionals are comfortable and confident working on.

Genelec is widely used across advertising studios, so freelance engineers and music producers are already familiar with the sound, making everyone’s job simpler. I had personally heard mixes done on Genelec systems and was very impressed with how balanced and complete they sounded.

This setup allows anyone to walk into the studio and get started comfortably, without needing time to adjust. In advertising, timelines are often tight, so if urgent changes are needed and one room is occupied, I can easily move the session to another room, since all three rooms are equipped with similar monitors.