The Sonic Alchemist: Udit Srivathsan and the Future of Gaming Sound

In the opening moments of Sucker Punch Productions’ Ghost of Yōtei, the protagonist’s vow of vengeance before her parents’ grave is underscored by a haunting musical sequence. While the composition is the work of Toma Otowa, the dynamic interplay between the music and the player’s actions is a testament to the skill of Udit Srivathsan, a Music Designer at Sony Interactive Entertainment America. Srivathsan embodies a new breed of creative professional in gaming—one bridging the gap between artistic composition and complex software engineering.

The Evolving Role of the Music Designer

As video games evolve into expansive, immersive experiences, often exceeding 80 hours of gameplay, the role of the music designer has grow increasingly vital. Traditionally, game music functioned similarly to film scores: a composer creates a piece, and it plays during specific scenes. But, in open-world games like Ghost of Yōtei, a static soundtrack is insufficient.

“Music is pivotal to the gaming experience, especially when they’re narrative-driven,” Srivathsan explains. “As incredible as composers are at capturing themes, there is only so much they can write in the time available. A bulk of the creative heavy lifting is done by music designers who edit, re-arrange, and re-compose for the majority of gameplay.”

Srivathsan’s work involves determining not only the sound of the music but also its behavior. This requires a logic-based approach: atmospheric music for snowy forests, increased tempo when encountering enemy camps, and seamless transitions when drawing a sword. “Implementation involves setting up the logic that determines when and how music plays or transitions,” he says. “Everything needs to make sense musically, but also sound seamless so that the music supports gameplay in a non-intrusive way.”

Blending Tradition and Innovation in Ghost of Yōtei

Ghost of Yōtei’s aesthetic is a unique fusion of traditional Japanese instrumentation and the atmosphere of Spaghetti Westerns. Achieving this balance required Srivathsan to act as a “sonic alchemist,” combining instruments like the Shamisen and Shakuhachi with various guitar textures.

“Finding a good balance was important,” Srivathsan notes. “Using guitar types on their own sounded cool, but to suit the narrative, it was always preferred to pair them with something like a Biwa or the Shamisen. In emotional moments, we took a more sparse approach where story beats were hit gently.”

This attention to detail extended to the “Legends” DLC mode, composed by Chad Cannon based on Otowa’s themes. Srivathsan integrated synth elements and eerie textures to represent the supernatural elements of the mode. “Everything from combat music encounter systems to death stingers were remade using these new elements to make Legends stand apart from the main game,” he says.

Recognition and a Collaborative Approach

Srivathsan’s work on Ghost of Yōtei earned a 2026 MPSE 73rd Golden Reel Award nomination for Outstanding Achievement in Music Editing. He attributes this success to collaborative “spotting sessions” with industry veterans like Pete Scaturro, Sonia Coronado, and Andrew Buresh.

“It’s not unlike what film composers do with directors,” Srivathsan explains. “We play through the game week by week to identify places for music to be scored. I was also part of the mix team with Sucker Punch’s audio director Brad Meyer and sound designer Adam Lidbetter, where I provided feedback on how the music sat within the overall soundscape.”

Srivathsan draws inspiration from the human element of the recordings, often working with high-fidelity recordings from locations like Oceanway in Nashville. He highlights the improvisational nature of the score, particularly on instruments like the Shamisen, Guitar, and Shakuhachi.

A Diverse Career Path

Srivathsan’s journey began in Singapore, followed by training in music composition and audio engineering at the San Francisco Conservatory of Music. His background has allowed him to bridge the gap between musical artistry and technical implementation. His resume includes contributions to Marvel’s Wolverine, Kena: Scars of Kosmora, Helldivers 2, Destiny 2: Renegades, and MLB The Show 2026. He has also worked on immersive audio projects, serving as an Upmix Engineer for the MASTERMINDS II Music Kit Box in Dolby Atmos, alongside composer Austin Wintory, and as Lead Recording Engineer for Dr. Dark (2025) by The Residents. He has also contributed to film sound design, working on projects like Second Chance.

The Future of Gaming Sound

As the gaming industry expands, the demand for specialists who understand both the artistic and technical aspects of sound design is increasing. Srivathsan is at the forefront of this shift, blurring the lines between composer, sound designer, and technical specialist. The goal is seamless immersion—for the music to feel like a natural extension of the player’s experience.

“Music is the emotional glue of these massive worlds,” Srivathsan said. “Making sure that glue holds, no matter what the player decides to do, is the ultimate challenge.”

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