Kiran Baral

Pradeep Joshi is a musician, works as a Audio engineer and music arranger. also a popular guitarist & music instrumentalist of Nepal. Music arrangement, sound mixing mastering of more then thousands of popular songs. as the first choice musician of many singers & composers.

Ganga Thapa is a Nepali composer, producer, ethnomusicologist, and multi‑instrumentalist known for his research‑driven approach to music and his fusion of traditional Nepali sounds with contemporary arrangements. His work spans field documentation, studio production, and multi‑instrumental performance, making him a key figure in the preservation and modern reinterpretation of Nepali musical heritage.

Born in february 5, 1988. Bred in Kathmandu Valley. Started performing at the age of 5. After ending up as the second runner up in national level broadcasted singing competition 'Nepal Star - 2005' at the age of 16 ; continued music studies in Kathmandu University later in affiliation with SOAS ( University of London ). Currently studying Masters in music. Field of expertise in occidental and oriental music in general. Which includes Music - research, business, analysis; musicology, singing-song writing, composing, arranging & production ( contemporary styles, orchestration, background scoring, vocal designing ). Instrumentalist of guitar, piano ( contemporary Jazz, classical ), Vocal ( styles: Khayal, Dhrupad, Belcanto - tenor, rock-pop, R&B, Rap ), local instruments ( Dhimay baja, madal, Sarangi )

Manohari Singh (1931–2010), born in Kolkata to a Nepalese Bhusal family, is celebrated as one of South Asia’s finest woodwind and orchestral arrangers. Though globally known for his work with R.D. Burman, his Nepali heritage and musical upbringing in a Nepali household shaped his tonal sensibility, melodic phrasing, and emotional depth — qualities that strongly resonated with Nepali film composers.His mastery of alto saxophone, flute, piccolo, clarinet, mandolin, and bansuri made him a sought‑after session musician whose sound influenced the orchestral palette of Nepali film music in the 1980s–1990s. Many Nepali composers — especially those working in Mumbai and Kolkata studios — relied on his phrasing style, brass‑woodwind layering, and melodic counterlines as a reference point.Although he did not score many Nepali films directly, his arrangement style, brass band roots, and Nepali musical lineage helped shape the cross‑border sound that Nepali cinema adopted during its modern era. His work as part of the Basu–Manohari duo also inspired Nepali arrangers who studied Indian studio orchestration.