Composer & Orchestrator

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

A: One project I’m especially proud of is “Salomé 2239,” a dystopian musical I wrote, composed and directed. I created the full score, blending orchestral, rock, and electronic elements and oversaw the staging, sound design, and production. I’m proud of this project because it pushed creative boundaries, combining theatre and futuristic storytelling with a powerful emotional score. It showed me how music can be both a driving narrative force and a bridge between traditional orchestration and modern sound design.

Q: What are you working on at the moment?

A: At the moment I’m working on a mix of film and theatre projects, including an original dystopian musical, scoring short films, and developing atmospheric music for a horror/thriller concept. I’m also collaborating with independent creators to provide cinematic tracks tailored to their stories. Each project keeps me inspired and sharp across different genres.

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

A: No

Q: Analog or digital and why?

A: I primarily work digitally, because it allows me to access world-class orchestral libraries and deliver high-quality music quickly and flexibly for film, theatre, and games. That said, I always aim to bring the warmth and depth of analog sound into my productions, whether through careful mixing, live recording when possible, or hybrid techniques that blend both worlds.

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

A: I promise to deliver music that is original, professional, and emotionally powerful, crafted to serve your story, not just fill space. I’ll listen carefully to your vision, keep communication clear throughout the process, and won’t stop until the score feels like an integral part of your project’s identity.

Q: What do you like most about your job?

A: What I love most is the moment when the music and visuals finally click, when a theme elevates a scene and suddenly everything feels alive. Knowing that my work can move audiences emotionally and become part of a story’s identity is what drives me every day.

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

A: Q: How long will it take to compose my score? A: It depends on the length and complexity, but typically I deliver within 5–7 days per finished minute of music, with faster turnaround available if needed. Q: Can you match a reference track or specific style? A: Absolutely, I use references as inspiration while still creating something original and tailored to your project. Q: Will I receive stems and different versions? A: Yes. I provide a polished mix plus stems, alternate cuts, and sheet music on request. Q: Do I own the music after delivery? A: You receive a full exclusive license for your project. If you’d like a complete rights buyout, we can arrange that as well.

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

A: The biggest misconception is that composing is just about “adding background music.” In reality, a score is a storytelling tool; it shapes pacing, builds tension, and amplifies emotion. Good music isn’t filler; it’s often the invisible element that makes a scene unforgettable.

Q: What questions do you ask prospective clients?

A: When starting a project, I usually ask: What’s the story, mood, or message you want the music to convey? Do you have musical references or examples that inspire the direction? What’s the length and format of the project (short film, feature, animation, theatre song, etc.)? Do you need stems, sheet music, or alternate versions for post-production? What’s your timeline and budget? These questions help me understand both the creative vision and the practical needs so I can deliver music that fits perfectly.

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

A: The best advice I can give is to share your vision clearly, even if it’s just through references, emotions, or a story description. The more context I have, the better I can shape music that feels truly connected to your project. Also, trust the process: give room for creativity, and be open to ideas you might not have imagined. Collaboration works best when it’s a balance between your vision and my experience in storytelling through music.

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

A: If I had to narrow it down to just five, I’d take: Laptop with Logic Pro X – my main DAW and creative hub. 88-key weighted MIDI controller – for expressive playing and orchestration. Spitfire Audio orchestral library – for authentic cinematic scoring. Studio headphones (Beyerdynamic DT 770 Pro) – reliable for mixing anywhere. Portable audio interface (Focusrite Scarlett) – to record and produce on the go.

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

A: I began my career in theatre over 20 years ago, composing music for plays and musicals while also working as a director and set designer. Over time, my work expanded into film, animation, and game scoring, where I’ve developed a reputation for creating cinematic, story-driven music that blends orchestral depth with modern sound design. With two decades of professional experience, I’ve built a diverse portfolio across theatre, film, and independent projects, always with the same goal: to create music that moves audiences and elevates stories.

Q: How would you describe your style?

A: My style blends cinematic orchestration with emotional storytelling. I create music that is rich, atmospheric, and thematic — often combining classical orchestral colors with modern textures. Whether it’s epic, intimate, or experimental, my focus is always on serving the story and leaving a lasting emotional impact on the audience.

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

A: I’d love to work with Hans Zimmer, because of his ability to fuse traditional orchestration with modern sound design and create music that becomes a character in the story. Collaborating with him would be both a challenge and an opportunity to push my own boundaries in cinematic scoring.

Q: Can you share one music production tip?

A: Focus on emotion first, technology second. Even with the best libraries and plugins, a piece only works if it connects emotionally. Start by writing a strong theme or atmosphere on a simple instrument (like piano or strings), then build up the orchestration and production around that foundation.

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

A: I usually work on cinematic and orchestral music for film, theatre, musicals and games — ranging from epic symphonic scores to intimate piano themes and dark atmospheric textures. I also compose theatrical songs and lyrics, blending storytelling with music to create memorable, emotionally impactful pieces.

Q: What's your strongest skill?

A: My strongest skill is the ability to translate emotion into music — whether through cinematic orchestration, atmospheric sound design, or lyrics. I’m highly versatile, moving between film, theatre, and game scoring, and I know how to shape music that supports storytelling while standing out on its own.

Q: What do you bring to a song?

A: I bring storytelling through music — whether it’s lyrics or orchestration, I focus on creating melodies, harmonies, and words that capture emotion and connect with the audience. With 20+ years of experience in film, theatre, and songwriting, I shape each song so it has its own identity and impact, blending strong structure with artistic depth.

Q: What's your typical work process?

A: My process begins with a discussion of your project’s story, mood, and references to fully understand your vision. I then create thematic sketches or short demos so you can hear the direction early on. Once we lock the tone and style, I develop the full composition, orchestrate as needed, and deliver a polished mix along with stems for flexibility in post-production. Throughout the process, I keep communication open and provide up to two rounds of revisions so the final score aligns perfectly with your project.

Q: Tell us about your studio setup.

A: I work from a professional home studio equipped for cinematic composition and production. My main DAW is Logic Pro X, paired with industry-standard virtual instrument libraries (Spitfire Audio, EastWest, Vienna Symphonic Library, and more) to create authentic orchestral and hybrid scores. I use a 88-key weighted MIDI controller for expressive performance, and a suite of high-quality plugins for mixing and mastering. This setup allows me to deliver music that ranges from full orchestral arrangements to intimate piano cues and dark atmospheric sound design, always with broadcast-quality audio ready for film, theatre, or games.

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

A: Zimmer, Elfman, Menken, John Williams, Sondheim, Andrew Lloyd Webber, Patrick Dyle

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

A: The most common work I do is composing original cinematic scores for film, animation, theatre, and games. This usually involves spotting the project with the client, writing thematic orchestral music or atmospheric textures that fit the story, and delivering polished, production-ready audio files along with stems. I also frequently provide orchestration and arrangement for existing themes, as well as lyrics and complete songs for musical theatre or cinematic projects.