Nyckelharpa player, Composer

Q: What are you working on at the moment?

A: I am doing partial works on a soundtrack for a Taiwanese gaming company. I am also working on a 20 minute composition for my quartet.

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

A: Everything I do I take very seriously.

Q: What do you like most about your job?

A: It enables me to keep refining my skills.

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

A: Don’t hesitate to reach out, even if you’re unsure about the service yet. We can discuss your ideas, and at worst, you'll keep looking elsewhere with a clearer understanding of what you need.

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

A: When I was 19, I had some success with my band. I quit university, and for about three years, this pop-rock group became my livelihood. I wrote the songs and managed the recordings, so a lot of my production experience comes from that period. Over time, I gradually drifted away from pop music and found myself more and more drawn to classical influences. I began focusing on music production, built up my studio, and eventually picked up the nyckelharpa—which opened up an entirely new creative path. From there, my sound evolved into something more personal: a blend of traditional instruments, modern textures, and cinematic depth.

Q: How would you describe your style?

A: I’d describe my style as a modern blend of acoustic textures and atmospheric soundscapes—rooted in classical and minimalist traditions, but shaped by years of working with post-rock, ambient, and electronic music.

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

A: The director Hugh Welchman, as I am a huge admirer of both his films.

Q: Can you share one music production tip?

A: Don't force it, try to find lightness in your approach.

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

A: All sorts of genres - from cinematic soundtracks through classical compositions to arrangements of folk and pop tunes.

Q: What's your strongest skill?

A: I feel I am good at finding appropriate harmonies that enrich the sound. On the surface they feel natural and clear, however there's often subtle complexity which does not draw attention to itself, while still doing a good amount of work.

Q: What do you bring to a song?

A: Unique acoustic sounds and effortless harmonic complexity.

Q: What's your typical work process?

A: Depending on the work - if it's an arrangement I'm doing, then I usually mic up my nyckelharpa and start recording improvisations over the song, often right during my first listen. This allows me to get into the music natually and without forcing it. Usually at some point during the first couple listens something clicks and I have an idea for the general approach. Then I lay it out using the nyckelharpa or the guitar, I create a sketch of the arrangement and once I'm happy with it, I start recreating the whole thing properly and with attention to every detail.

Q: Tell us about your studio setup.

A: I work from my own studio, where I have a range of instruments ready for recording. In addition to my two nyckelharpas, I have a cello, bouzouki, erhu, lute, a couple of guitars, harmonicas, and a piano. I play all of them to varying degrees of proficiency, and the broad palette of acoustic sounds allows me to create richly layered, organic textures that bring depth and character to my music. I mainly work in Cubase, currently using an SPL Crimson 3 audio interface, and I have a selection of high-quality microphones at my disposal.

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

A: I'm mainly inspired by composers from both the classical and minimalist traditions. Arvo Pärt is a particular favorite, but I also have a strong admiration for Beethoven, Bach, Chopin, and many others. That said, my goal isn't to replicate their approach. My style is modern and, in many ways, uniquely my own—while still drawing on the spirit of the old masters. My background in post-rock, electronic, and ambient music further shapes my style, allowing me to use modern sound pallete, while still having each piece grounded in solid, intentional composition.

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

A: The most common work I do is complex arrangements for preexisting compositions.