Blog

  • The Stories We Leave Behind

    There’s a certain feeling that comes with being torn to do different things at the same instance. That urge when your life could finally be a mission, with a fixed purpose, less uncertainty and sturdier, intentional choices. But the weight of choice that comes with choosing what matters and what doesn’t is daunting.

    For the first time in history, truth is no longer determined solely by evidence, but by which version of the story spreads faster. Yeah, the files are out. And I’m in the process of trying to figure out about what to do with the vast amounts of information that came along with it. Conspiracy theories, AI slope, misinformation wars and at this point, I don’t know what or who to believe in. Neither do the people. Some are looking for a messiah, an avatar that can turn the tides and bring justice to all. People no longer believe distributed individual action is enough to influence the system and bring a change. A lot of us have stopped believing. Some are in the process of trying to access the information and decode the facts. A lot of us are being swept off our feet by the tides and the flow of time, like always. But the bread is getting stale, and the stage is stained in the blood of innocents. Capitalism is keeping everyone on toes, because what is politics if we don’t earn enough to exist? And rarely do normal people like us ask “Who is responsible for our collective misery? What is responsible for our lack of resources, despite the technological ability to have them in abundance? What sick game are we playing? Who are we playing for?”.

    Gen Z asked a lot of questions, despite a lot of us being raised by conservatives. One step at a time, I thought. But are these questions enough? What of actions? Gen alpha is not ready to be passed the baton to. They’re young, and they are also the first generation of children, who were thrown into the sphere of infinite information, and it wasn’t even their choice. It is the responsibility of the parent generation to make sure they understand kindness and love. But, there’s only so much we can do, especially when conservative, harmful and desensitising spaces are still up. But I sure do hope they choose right when their time comes.

    Most people are adaptive, not inherently good or evil. They align with whatever environment rewards survival, belonging, and status. This is why I think systems matter as much as individual virtue does. If cruelty is rewarded, cruelty spreads. If empathy is rewarded, empathy spreads. So, instinctively, we, as a generation, need to market the act of being good as cool, irrespective of political alignments or religious beliefs. We need to reshape these reward structures. How? Through stories. Stories are moral infrastructure. They always have been. And I hope it slowly radicalises people into understanding what weed needs plucking and when, in a way that propaganda doesn’t work on them anymore. But we’re human. And we make mistakes, no matter how big or small. The goal is to recognise people who have even a small speck of goodness in them, nurturing their empathy and questioning their understanding of what is right and wrong. Mass conversions, but not religious ones, but rather, ideological ones, where being human is alright, but our inherent nature being considered is good, without the burden of cultish religious guilt. Being good just because you can be. Not due to the fear of being punished. Not because sky daddy will be angry. Morality has always spread through aesthetics first, logic second. People didn’t become good because of arguments. They became good because the heroes they admired embodied goodness. So, we do something along the lines of what red-pill content creators did, but in reverse. Normalising good, systemically. Treating morality like an environmental outcome than a personality trait would solve a lot of current issues.

    And, to be frank, I believe stories can make a huge difference in this aspect. From childhood, strictly following up on the media viewed by children meticulously is one of the factors to ensure. Children don’t need morally conflicting or complex storylines during their early childhood. They need clarity on what is right and what is wrong and clear foundations of empathy. So, making sure that the media consumed by them is fitting the said criteria, in terms of empathy, and not just black-and-white thinking has to be assured. As they grow older, helping them get exposed to complex characters will help them further in building their moral compass. But of course, we can’t protect children forever. Our goal, as their guides, shouldn’t be shielding. It should be inoculation. Shielding delays exposure, while inoculation builds resistance. The goal is to help kids learn to navigate moral ambiguity without losing empathy. We need to give kids the toolbox to make the right decisions, overcoming the internal insecurities capitalism sow, recognising propaganda, choosing the right sources of information, dissecting toxic traditions and other elements. Raising kids in a way that they trust their own ability to recognise patterns. And, of course, critical thinking should feel natural.

    But there’s one critical fallacy that has to be dealt with. Stories alone cannot save the future. They have to be paired with status incentives and action. There’s only so much institutions can do, but it is required to work on helping kids grow up in a surrounding where they can confidently be themselves, but at the same time, understand the prejudices of society, without being adversely affected by them. Homes should reflect what they preach. It should simulate what right/fair feels like, systemically. If cruel people get treated better and attain high status, cruelty spreads, regardless of stories. If kind people get treated better and attain high status, kindness spreads rapidly. So, it is, in a way, culture engineering. And it is needed now more than ever.

    Maybe the uncertainty never goes away. Maybe there is no moment where everything becomes clear and the path announces itself. Maybe there could be. But if stories shape moral infrastructure, and if people become what their environments reward, then choosing what stories to tell, what stories to amplify, and what stories to live by stops being trivial and starts becoming a core responsibility.

    Maybe being torn is not the absence of mission. Maybe it’s the beginning of one.

  • Microphone Rabbit Hole

    The Basics

    (Without any math, just bare minimum basic physics)

    Why I Obsess Over Microphones

    In one line, microphones are cool af (?!) We can literally record sounds as they are. We could make customisations. We could add flares and sparkle to how a voice sounds, depending on the type of mic we are using. And if that doesn’t sound cool to you, what the hell.

    The Core Idea: Turning Sound Into Electricity

    Every microphone’s hustle is basically the same: they grab sound waves and turn them into electrical signals your gear can understand. The hero here is a tiny piece called the diaphragm. When sound hits it, the diaphragm vibrates. From there, depending on the mic type, these vibrations become electric signals through different ways.

    That’s how we get different flavours of microphones: dynamic, condenser, ribbon, shotgun, lavalier, contact, tube.


    Polar Patterns: What’s That All About?

    Polar patterns tell you where the mic listens from:

    • Omnidirectional: Hears everything all around. Great for capturing room vibes.
    • Cardioid: The most popular, hears mostly from the front and sides, ignoring the back.
    • Supercardioid/Hypercardioid: Even more front-focused with some rear pickup, perfect for noisy spots.
    • Figure-8: Picks front and back but ignores sides. Common in ribbon mics.
    • Lobar: Crazy directional, like shotgun mics. (You might have seen it used in direction of movies, TV series and stuff)

    Some mics let you switch these patterns on the fly, which is even cooler. (But expensive)


    Dynamic Mics: The Tough Guys of Audio

    Dynamic microphones are like the sturdy Nokia 3310 of the mic world. Using electromagnetic induction (fancy words for diaphragm moves a coil in a magnetic field), they:

    • Are bulletproof and budget-friendly (hello, Shure SM57 under £100 (~ ₹10,000) [cuz other quality mics cost waaay more]
    • Handle loud sounds (like guitar amps or drum kits) without breaking a sweat.
    • Don’t freak out over noisy backgrounds because they’re less sensitive.

    Perfect for live shows, basically.


    Condenser Mics: The Detail Junkies

    When dynamic mics are tough, condensers are the fancy ballerinas. They use a capacitor setup where sound changes the distance between plates, creating a signal. They need external juice (phantom power, usually 48V) but reward you with:

    • Crystal-clear, sensitive sound. grabs even the tiniest vocal nuances.
    • Not great for super loud stuff (they can distort).
    • More fragile and pricier but worth it for studio magic.

    Two main flavors here:

    • Large Diaphragm: Smooth, rich, low noise — best for vocals and acoustic vibes.
    • Small Diaphragm: Ultra-precise and detailed — ideal for orchestras and delicate sounds.

    More about these are going to be talked about in the next section. Because condenser microphones are going to be the main focus (I. love. them.)


    The Rest of the Crew: Ribbon, Shotgun, Lavalier & Friends

    • Ribbon Mics: Like dynamic mics but with a thin metal ribbon. They’re warm and smooth but delicate. Figure-8 pickup pattern makes them cool for certain studio tricks. (There’s a link in the sidebar of a guy making a ribbon mic very cinematically. Check it out)
    • Shotgun Mics: Super focused and directional. The go-to for filmmakers and YouTubers who want to isolate voices from noisy places.
    • Lavalier Mics: Tiny clip-on buddies that let you move hands-free. Powered like condensers. Used a lot in interviews and videos.
    • Contact Mics: Stick them on objects to grab vibrations directly (say, guitars or drums).
    • Tube Mics: Use vacuum tubes to give your sound that warm, vintage glow, like classic guitar amps.


    Extras That Actually Matter

    Good mics come with:

    • Pad switches: Stop distortion when things get loud.
    • Low-cut filters: Cut out annoying rumble and hum.

    And don’t sleep on accessories:

    • Shock mounts: Keep your mic steady and block vibrations.
    • Pop filters: Stop those pesky “P” and “B” pops (They’re called Plosives) that mess with our recordings.
    • Mic Stand / Boom Arm
      • Floor stands are good for performances.
      • Desk boom arms are best for streamers, podcasters and vocalists at a desk.
      • Avoid cheap tripods. They fall. They break. They ruin lives.

    Other stuff you usually have to own to properly operate the mics:

    • XLR Cables
      • If your mic is XLR, don’t cheap out here. Bad cables make noise, hum, and depression.
      • Look for Neutrik connectors or something solid.
    • Audio Interface / Mixer
      • Needed for XLR mics. Converts analog to digital. Adds phantom power.
      • Popular options: Focusrite Scarlett (I own one and it’s quite good), Behringer UMC, GoXLR etc.
    • Headphones
      • Closed-back = best for tracking vocals without bleed (What’s heard on the headphone bleeds into the mic)
      • Get something neutral, like the Audio-Technica ATH-M40x / M50x or Beyerdynamic DT series.
    • Reflection Filter / Vocal Booth
      • For untreated rooms: it wraps around the mic and absorbs reflections.
      • Gives the track less of that “bathroom reverb”
      • You could definitely go for a DIY blanket fort too, it absorbs sound equally.


    Condenser Microphones

    (Might have a bit of mathy-y electronics)

    1. Capsule – The Mic’s “Lens”

    Think of this as the camera lens, but for sound. It’s pretty much the most important component.

    • How it works: A tensioned membrane (like a drumhead) hovers above a holed backplate and they form a capacitor. When sound hits, it vibrates the membrane, changing the capacitor’s gap and spitting out voltage. Boom: acoustic signals become electric.
    • Size matters:
      • Large diaphragms (roughly quarter-size) : big, lush tones.
      • Small ones : tight, precise picks.
    • Diaphragm Coating: Gold vs Aluminum vs Others
      • Gold Sputtering:
        • Most common in studio condenser mics.
        • Why gold? It’s inert (doesn’t oxidise) and conductive, ideal for super-thin diaphragm films (like Mylar or PET).
        • Often used in large diaphragm capsules for warmth and smooth highs.
        • Think Neumann and Telefunken
      • Aluminum Coating:
        • More common in measurement mics or SDCs that need flatter responses.
        • Can be cheaper and lighter, but oxidizes over time unless protected. (Not good for moist climate)
        • Found in some Sennheiser and DPA capsules.
      • Titanium / Nickel coatings:
        • Pretty rare and rugged. Found in some measurement or specialty mics. Can sound a bit hard or metallic.
    • Backplate Material and Design
      • Often made of brass or plastic. Material affects capacitance stability and resonance behaviour. (I’ll soon make another page explaining these separately)
      • Hole pattern on backplate impacts polar pattern accuracy and HF response.
      • Some high-end mics use precision laser-drilled backplates for consistent off-axis response.
    • Wiring drama:
      • Edge‑terminated: Wires or leads come off the side or edge. AKG vibes. Airy highs, but proximity effect (fancy way to say when you are too close to the mic, it boosts the bass, due to uninterrupted surface area) can make the bass go wild. Austrian sound vibes.
      • Center‑terminated: Wires or leads come off the centre. Think Neumann. Midrange clarity and more voice-friendly. German sound vibes.
      • Others hybridise edge + centre (Sennheiser K67, Neumann K47).
    • Pattern flex:
      • Dual‑sided: Two membranes. Therefore, switchable :
        • Cardioid (when only the front membrane is charged)
        • Omni (when both the front and back are charged)
        • Figure‑8 (when both the front and back are charged, but phase is inverted)
      • Single‑sided: Plain cardioid—simpler, always focused front.
    • Thickness & tone:
      • Thin : lighter, snappier.
      • Thick : more mass, different resonance

    • Diaphragm Material
      • Usually Mylar (PET) or Kapton (for heat resistance).
      • Thickness ranges from 1 micron to 6 microns.
        • Thinner : faster transient response, more sensitivity, but also more fragile.
        • Thicker : rugged, slightly more coloured tone.
    • Polarization Voltage
      • Either externally biased (requiring phantom power or dedicated bias voltage) or electret (self-biased using permanently charged material).
      • Pro condenser mics are externally biased and thanks to that, they have better control and stability.
      • Electret condensers (e.g., lavaliers) are cheaper, but often less pristine.
    • Capsule Mounting / Isolation
      • Suspension or rubber gaskets used to reduce handling noise.
      • Cheap mics skip this, resulting in low-end bumps from handling or stands.
    • Pad & High-Pass Filter Switches
      • These affect usability but not always tone.
      • Pads : attenuate loud sources (e.g., drums, brass).
      • HPF : cut out low-frequency rumble (traffic, HVAC, stage bumps).
    • Mic Body & Grill Design
      • Body resonance, internal reflection, and mesh density in the grille all affect tone.
      • Denser mesh = more internal reflections = slightly darker tone.
      • Some boutique mics use open head baskets to reduce reflections and open up highs.


    2. Amplifier – Tube vs. FET

    This stage sculpts noise, tone, and mojo.

    • Vacuum Tubes: Expect warm harmonic distortion (not fuzzy, but pleasantly gritty). Vacuum tubes have self noise. So, they’re tested, “burned in” 24–48 hrs, then binned for low noise. Tubes are swappable. U47s went steel, C12s/251s went glass.
    • FETs: Used in TF17, TF11, M60 setups. FETs allow for different levels of harmonic distortion to be tuned into the circuit, affecting how sterile or crunchy/saturated the sound is. Also, extra info for nerds: the second harmonic is often adjusted to be higher than the third to prevent a sterile sound.
      TF11 = clinical clean, TF17 = mild sweet distortion.


    3. Transformer – Tone’s Secret Sauce

    This part can be overlooked, but big or small transformer gives a big tonal difference.

    • Big ones (like U47’s BV8) boost lows and warm mids.
    • Small ones (T14:1 in C12/251) tame rumble and control bottom end (especially with edge-caps)


    4. Resistors & Capacitors – The Silent Shapers

    Tiny parts, major impact. Polystyrene film caps are crisp and have a transparent tone. Every resistor and cap in the mic’s brains shapes how the signal flows and what survives to the output.


    Yeah, that’s it for this time. I’ll probably keep on editing this post once in a while when I figure out new things about mics. Also, it’s definitely safe to say that I’ve skipped over most of the maths in this. I might end up writing a math-y counterpart/continuation of this in the coming days, provided that I’m not bombarded with semester syllabi. If you’ve got your own additions or information I should read/fixate on, drop a comment or an email or contact me in any way. I would be extremely interested and grateful.

    Thanks for reading <333

  • Canon Event

    Among the few other pieces I have composed, this was the first one I had the courage to release. Canon Event. It was a fun experience, figuring out the process of publishing, despite the long wait to get it all done.

    It was in Bangalore, sitting at my cousin brother’s table, wondering what to do next. All his dusty electronics textbooks, curiously stared at me from the side. It was right after I checked the grades of one of my college subjects (Signals and Systems), which was quite disappointing, but honestly expected, considering how the exam went. I brushed off the feeling and went ahead, opening a blank project on my DAW (Logic Pro). 

    After countless hours of writing and researching my two very beloved characters, the idea stuck quite well. The inevitability of tragic experiences, even though simple and so unimportant, even. The feeling of “what could have been” if this very simple detail was changed. How it would strike a very different future. I sat with it for a solid minute. I didn’t have a title for it yet. But, I imagined the mind-bending simple decisions that shaped us, as humans. The very decisions, which would have remained the same no matter which version of us I took. No matter the universe, the tragedy that remained same. And sometimes, the hope that glimmered. As depressing or reassuring as it was, there came the two motifs.

    Starting with a mechanical, uncertain (and even a bit unsettling) muffled piano motif in the beginning, that slowly gets accompanied by a plucked double bass. The repeated motif, though refined, always returned to the same base. Unchanged. Like fate, unbending. Then came the rippling aftermath, echoing through lives. And, the second piano leitmotif denoting the tragedy of it all. Then came the unwavering decisions, denoted by a sustained French horn. The second leitmotif creeps in again, subtler now, but reminding you of the past that remains unchanged and the helplessness that came with it. At least that’s how I interpreted it, after I composed it.

    The process of getting it published on Spotify was quite a task. Mainly because it was my first time publishing stuff. The imposter syndrome is definitely no joke. But, at least, I got it done. So, I’m definitely expecting myself to publish more. But I definitely need to learn about copyright, music rights and documentation, among other things. There are these covers and versions I have already worked on and completed. But I do need to go through the rules to avoid accidentally breaking them.