The final soudntrack to "Sparta" movie (2016)
Music you write comes out of your uniqueness - Mixing and Mastering are aimed at emphasizing the nuances and giving the right color for revealing the creative design, that's why I always encourage the boldest ideas of musicians and/or clients which desided to work with me.
In the past, I was a musician playing in 3 bands and a guitar teacher - which in many ways helped me understand that in order to bring the idea to the listener - it is not even enough to be a good composer. After that all I went deep into studying the nature of sound and I work with sounds today. In my opinion, mixing is the most fundamental process in which everything in your music falls into place.
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Interview with Utopist media
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: It is in my account header. I arranged and composed a track and consulted the mixing engineer about how it must be done correctly in that style.=)
Q: What are you working on at the moment?
A: I write music for the cartoon.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: No, I've shown up here recently.
Q: Analog or digital and why?
A: Both are good at it's place.
Q: What's your 'promise' to your clients?
A: Promise to work for the good result.
Q: What do you like most about your job?
A: Remote contact and it's convinience.
Q: What questions do customers most commonly ask you? What's your answer?
A: Couldn't you please mix for us some ...?
Q: What's the biggest misconception about what you do?
A: Senseless pushing is not the way out...
Q: What questions do you ask prospective clients?
A: What result does the client wants? What about the reference track? What about the deadline?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Tell me all the details
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Api 2500, EVH 5150, SSL XL-Desk, TC Electronic Finalizer 96K, and one of my guitars of course.
Q: What was your career path? How long have you been doing this?
A: I've been mixing around five years already. I started with friend's demo's, procedures of cleaning audio files. Then i got some first clients, got some experience, only after then i started widen the boundaries of my line of business with cinematics, now I'm triyng to get some clients in the game development area.
Q: How would you describe your style?
A: Fat and tasty harmonics must stay even in pop sound!
Q: Which artist would you like to work with and why?
A: Fredrik Nordström - He rules the roost in Sweden in relation to all metal commercial sound.
Q: Can you share one music production tip?
A: Yes! Do not chase the volume to the detriment of the dynamics, other Pseudo-branded mastering sound-engineers will do it for you.
Q: What type of music do you usually work on?
A: Cinematic, electronic, classical, progressive metal.
Q: What's your strongest skill?
Q: What do you bring to a song?
A: I bring the nuances which help the composer emphasize all accents he wanted to be heared by the potential listener.
Q: What's your typical work process?
A: First I try to capture the mood of the song, quiet and loud pieces. I think how to convey the dynamics in this composition correctly. Then I listen to whether there are any parasitic harmonics, cut them it if necessary, in a word, I do standard operations for cleaning the sound and only then I turn to the artistic part ...
Q: What other musicians or music production professionals inspire you?
A: Paul Romero
Q: Describe the most common type of work you do for your clients.
A: Composing and mixing cinematic soundtracks