Composer, Producer, Performer

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

A: The score for "Aida’s Tale." It was a complete solo project combining storytelling, sound design, and composition into one cohesive emotional experience.

Q: What are you working on at the moment?

A: Original scores for "L’Etranger" (VIDART) and "Magenta in Space" (Emma Gundersen), nature documentaries from cinematographer Jake Davis and my monthly cinematic piano series for streaming.

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

A: I collaborate with musicians and engineers across Europe and North America, especially those with strong backgrounds in film scoring and sound design. I am not sure if any of them are on SoundBetter currently.

Q: Analog or digital and why?

A: Both. Analog for warmth and chaos, digital for precision and scope.

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

A: A score that elevates the story, musically, emotionally, and conceptually, with clarity and communication throughout the process.

Q: What do you like most about your job?

A: The translation of emotion into sound and creating worlds that communicate beyond language.

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

A: “How do you make it sound cinematic?” It’s about dynamics, motif, and restraint. Space and silence are as important as melody.

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

A: That music is added at the end. In reality, it should be part of the storytelling architecture from the start.

Q: What questions do you ask prospective clients?

A: What emotional response do you want the audience to feel? How should the music interact with pacing and silence?

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

A: Look for someone who listens, not just musically, but emotionally. The best scores come from shared understanding of tone and story.

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

A: My guitar, a piano, a Juno 106, a laptop with Logic Pro, and a good pair of headphones.

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

A: I’ve been composing, performing, and teaching for nearly 20 years. After earning my MA in Jazz Studies through the European Jazz Master program and a diploma from the Film Score Academy of Europe, I focused on scoring for film and games.

Q: How would you describe your style?

A: Cinematic, atmospheric, harmonically rich, a blend of orchestral storytelling and electronic world-building.

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

A: I’d love to collaborate with someone like Hildur Guðnadóttir or Nicolas Jaar. Both approach sound as emotion and narrative, not just structure.

Q: Can you share one music production tip?

A: Think orchestrally, even in electronic music. Arrangement clarity and frequency space are your real instruments.

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

A: Cinematic, orchestral, electronic hybrid, and experimental spanning film, games, and cross-media projects.

Q: What's your strongest skill?

A: Harmony and orchestration and shaping emotion through color and density while keeping the music narratively grounded.

Q: What do you bring to a song?

A: Atmosphere, emotional depth, and a unique harmonic sense. My goal is to make every cue feel like it belongs to the world of the film or game while standing as music on its own.

Q: What's your typical work process?

A: Each project begins with story immersion, understanding the emotional core before writing. I sketch harmonic and textural ideas, then build out orchestrations and themes iteratively, refining based on the director’s or developer’s feedback.

Q: Tell us about your studio setup.

A: My studio combines digital and analog tools including Logic Pro and various orchestral sample libraries alongside guitars, synths, and modular effects. I work on a hybrid setup that allows both precision in scoring and freedom for improvisation.

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

A: I draw inspiration from composers like Ryuichi Sakamoto, Jóhann Jóhannsson, Trent Reznor, and Olivier Messiaen, and other artists who blend experimental textures with deep emotional resonance.

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

A: I compose and produce original scores for films, video games, and multimedia projects, often combining orchestral and electronic elements. My work typically involves thematic development, emotional pacing, and orchestration for narrative storytelling.