Composer, Music Producer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I composed, produced, and mastered a deeply personal track for a client. What made me proud was fulfilling the high emotional bar set by the song's context. My role involved dramatically expanding the track, doubling its length, and adding complex cinematic elements, including a full orchestral buildup, a beat section, and a crescendo into reverb. The project required full instrumental additions, vocal cleanup, and mastering, resulting in a unique and highly praised transformation.

Q: What are you working on at the moment?

A: Currently focused on a full-length album for a repeat client. The project involves complex arrangements, blending orchestral elements with unique, custom-recorded acoustic instruments for added texture and depth.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I have encouraged all of my musically talented compatriots to join the site. If a project requires skills outside my expertise, I'm always happy to help connect them with the right person.

Q: Analog or digital and why?

A: Analog has the character and unpredictability of reality. Digital often feels looped and sterile unless you work hard to introduce randomness. I use digital tools but constantly chase that organic, imperfect analog quality.

Q: What's your 'promise' to your clients?

A: I'll treat your project like it's my own. You'll get honest communication, professional quality work, and someone who genuinely cares about bringing your vision to life.

Q: What do you like most about your job?

A: The moment when a piece finally clicks and captures exactly what the client was feeling. There's something magical about translating emotion and vision into sound.

Q: What questions do customers most commonly ask you? What's your answer?

A: The most common question I receive is typically, "Maybe you could suggest what you think the track needs?". Clients often have basic elements ready but are seeking professional vision to make the song more dynamic. My answer begins by discussing the desired mood or emotion the client wants to convey. I then propose specific sonic solutions, which usually involves adding cinematic orchestration (such as backing string sections, staccato strings, choir, and dual piano layers), or utilizing hybrid techniques that blend different genre influences (like electronica and jazz) and sound effects (SFX) to provide texture and depth.

Q: What's the biggest misconception about what you do?

A: I would say the biggest misconception is that I feel any better at it than the next person. Certain parts of music production just come naturally to me so I find it easier to speak through the instruments, but that doesn't make me any "better" than someone who spends equally as much time in the program. At this point, it's a near doctorate in my own studies.

Q: What questions do you ask prospective clients?

A: What's the mood or emotion you're trying to convey? Do you have reference tracks that capture the vibe? What's the intended use and timeline? What does success look like for this project?

Q: What advice do you have for a customer looking to hire a provider like you?

A: Be clear about your vision and share references for what you like.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Probably a melodica. That thing would put up with a lot of abuse and still work.

Q: What was your career path? How long have you been doing this?

A: Over two decades in audio production. Started touring with metal bands, which gave my sound a contemporary edge. Now I specialize in cinematic and orchestral work with electronic elements.

Q: How would you describe your style?

A: Cinematic with a contemporary edge. I blend orchestral grandeur with electronic textures and modern production techniques. Think film scores meets electronica, with influences from my years touring in metal bands. I prefer crescendos and buildups but also can make a catchy loop.

Q: Which artist would you like to work with and why?

A: The artist I would like to work with is Harold Kloser, a lesser-known genius who made "President's Speech" from The Day After Tomorrow film. That was a powerful song behind images of devastated civilization and a hopeful speech. He wrote the music which tied into it, and it has served as an inspiration for my own chord styles. I would love to work with Beethoven or Mozart most of all, though are we not all their descendants after all?

Q: Can you share one music production tip?

A: Less is more. Don't fill every frequency. Give your elements space to breathe and your mix will sound cleaner and more professional.

Q: What type of music do you usually work on?

A: Cinematic scores, orchestral compositions, electronic/EDM, and hybrid styles that blend symphonic and modern elements. I also work on singer-songwriter productions and soundtrack music.

Q: What's your strongest skill?

A: Blending orchestral elements with electronic textures to create immersive, cinematic soundscapes. I'm equally comfortable writing intimate piano pieces or expansive symphonic arrangements.

Q: What do you bring to a song?

A: Depth, texture, and emotional impact. I focus on creating layers that serve the story or mood, whether that's through live-sounding strings, atmospheric synths, or carefully crafted sound design.

Q: What's your typical work process?

A: I start by understanding your vision, then create initial drafts for feedback. I provide previews throughout so we stay aligned. Once the direction is set, I refine arrangements, mix, and master to commercial quality.

Q: Tell us about your studio setup.

A: I work with Korg and Roland hardware synths, Cubase as my DAW, and a collection of VSTs for orchestral work. I've built my setup around flexibility and quality, focusing on tools that let me move quickly from idea to finished product.

Q: What other musicians or music production professionals inspire you?

A: Key influences include cinematic geniuses like Howard Shore (whose work from The Lord of the Rings and The Lion King are my grounding sounds), Hans Zimmer, Klaus Badelt, and the lesser-known Harold Kloser (whose "President's Speech" inspired my chord styles). I also draw heavily from contemporary masters who blend genres, such as Clint Mansell, Ramin Djawadi, and Pretty Lights. On the electronic and indie side, I love Devotchka, Gorillaz, and Modest Mouse. A particular favorite is M83, specifically their track Un Nouveau Soleil, which has a superb orchestral cinematic buildup straight from my dreams; I'd only change a FEW things.

Q: Describe the most common type of work you do for your clients.

A: Full production work from concept to master. That includes cinematic scores, orchestral arrangements, electronic music, and hybrid projects that blend genres. I also do mixing, mastering, and sound design. Over the past 5 years on SoundBetter, I've worked with clients worldwide on everything from album projects to film soundtracks.