“Success? It’s not a destination. It’s the rhythm in the struggle, the melody in the mess, the harmony in hope.”
— A story by Drono Acharya
I didn’t choose the easy path. Truth is, I never had that luxury. Born in a middle-class household in Kolkata, I was the only child of two government-employed health workers—my father, a pathologist, and my mother, a lab technician. Life was stable but modest. But stability didn’t last. I lost my mother at 16, and two years later, I lost my father. No siblings. No financial safety net. Just me—and a world that didn’t wait for me to grieve.
I had just completed my Higher Secondary from Garia’s Andrews College. At 18, while most of my peers were planning their futures, I was thrust into survival mode. I had no choice. But I did have something—music.
Music had been in my veins since I was four, when I started learning Indian classical music under Manindra Ghoshal. I was the asst cultural secretary of my college, I could sing, play the keyboard, mouth organ, and guitar. And I could make people listen.
So, I took a leap of faith—with a Yamaha keyboard, ₹150 per night, and a dream. I stayed at my friend Rudra Mukherjee’s house for three months, because I couldn’t afford food. Every rupee counted. I played with local Hindi bands, hustled gigs, and slowly built connections.
The Big Breaks Begin
Soon, I found myself playing keyboard for All India Radio’s Jubobani section six days a month. Not glamorous—but a huge break. I met seasoned musicians, learned the ropes of live sound and studio work.
Around 1998, I stumbled upon something that would change my trajectory—MIDI sequencing and computer-based music production. Hardly anyone in Kolkata knew this stuff then. I spent nights studying it, practicing it, pushing it to its limits. I became one of the pioneers of digital music production in the city.
That’s how doors opened.
I got a job as a sound engineer at Aesthetic Technology, and joined the beloved Bangla band Chandrabindoo as a keyboardist. What followed were some iconic tracks—Duniya.com, Brombha Janen, Dude Na Khele—tracks that people still hum today. I kept learning, kept grinding, working with studios like Studio FX, Dhoon Studio, and Aesthetic Multimedia.
From Sound Engineer to Creative Director
In 2002, I joined Power FM as a sound engineer. A few years later, I had become a core part of their radio programming team. At the same time, I started composing music for television—jingles, signature tunes, you name it.
In just four years, I composed over 500 jingles for channels like Alpha Bangla, Akash Bangla, and Star Bangla. My face became familiar—not just for the work, but for always showing up with a smile.
Taking a Leap: Siliguri and Back
In 2008, I made a bold move. I left everything in Kolkata—my band, my gigs—and shifted to Siliguri. I joined Radio Misty and Radio High as General Manager (Programming), and launched both stations from scratch. It was a challenging time, but I learned how to build something from the ground up.
By 2011, I was back in Kolkata with a new dream—Visual Audio.
At first, it was just me and a few friends, a handful of consoles, and a mountain of hope. But work came in fast—Vodafone’s national jingle, the TMC “Bodla Noy, Bodol Chai” campaign, TV serials, feature film scores. We expanded from 4 dubbing consoles to 12.
By 2012, Visual Audio became the sole vendor for National Geographic’s Bengali content. We began working with Discovery, UTV, Disney, Zee, and more.
Directing, Dubbing, and a Dream Studio
I composed music for over 50 television serials, scored Arin Paul’s feature film Doshtadosh, and in 2014, I directed my first feature film—Ek Ekke Dui. It wasn’t a blockbuster, but it made money, and it taught me more about storytelling than any classroom ever could. I had the pleasure of directing talents like Bratya Basu, Sudipta Chakraborty, Kanchana Moitra, Shantilal Mukherjee, and Biswanath Basu.
Then came the next phase—ad films and branded content.
I transitioned into producing and directing over 600 commercials and short films, some of which won awards. Visual Audio grew into an 18-member full-time team with a stable studio in Kolkata. We became eastern India’s biggest dubbing powerhouse.
The Pandemic Pivot: Gaanghor
And then came the pandemic.
While the world hit pause, I hit record. I launched Gaanghor—Kolkata’s first digital concert floor with a state-of-the-art multi-cam setup and high-fidelity audio. We produced 230 digital concerts during the lockdown. Artists, music, magic—it kept us going.
A Life Beyond Trophies
Post-pandemic, I took my ad filmmaking journey more seriously—especially in Mumbai. I carved my niche with a focus on authenticity, storytelling, and human emotion. I didn’t chase money. I chased joy.
Because I believe in enjoying the journey. And even today, I’d rather sit with my friends in an adda session, laugh over coffee, or travel with my family, than count trophies or bank balances.
I never worked for achievements. I worked for the love of the craft. I never let my circumstances define me. What I had was hunger, music, and a deep-rooted belief that if I keep walking, the road will open up.
And it did.
