Composer/Mixer, Sound designer

Q: Can you share one music production tip?

A: Take breaks. Do not work 16 hours continuously expecting to finish the track (unless of course, you have to). You will do so much better if you let your brain do other things (e.g. like sleep?!) and then come back to it. This is of course just my own opinion, but to me, it works 100%.

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

A: It depends. If I am working with artists - it is probably Alt-Pop, Electronic, Indie. If I am working with directors on their films, it is more about the feeling rather than a genre. It can be cinematic scores or deep soundscapes, drones, noises, or a genre that I wouldn't normally write, but the project I am working on demands of I don't know Hardcore Punk, etc.

Q: What's your typical work process?

A: There isn't a single answer to this one. It varies. I like doing my research and learning new things before putting my hands onto a new project, but sometimes it is just not an option, especially when you work with tight deadlines. Then you work around it, you find time in between your 24hour shifts to gather some inspiration to keep you going. I think like with most of the processes in life you need routine and practice to keep the engine running. I try to do just that to the best of my capabilities.

Q: What's your strongest skill?

A: I like writing minimalistic, meditative arrangements, I guess it comes from my love towards minimalists such as Philip Glass, Steve Reich, Terry Railey, Arvo Pärt, etc.

Q: What do you bring to a song?

A: I guess I bring my life experience and it is made of a lot of things. I am not just talking about the technical knowledge I gained over the years, it is all the inner feelings, new and unexplored emotions, dynamics, uniqueness, fears, challenges, inspirations.

Q: Tell us about your studio setup.

A: I work in my home studio most of the time. I have everything I need from my favorite daw to all the random instruments I try to collect from everywhere I can. I do also sometimes rent a bigger studio for mixing and mastering as well as recording bigger sections of strings or bands if needed.

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

A: I am constantly inspired by other composers, artists, and industry professionals. I really really liked Hildur Guðnadóttir 's work on HBO's TV Mini-Series Chernobyl. I think she did a brilliant job, recording sounds from the set and similar to the subject locations and merging music and sound design into one, creating these eerie, metallic drones and giving me shivers. mm👌

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

A: Most of the time I write scores, produce music, and do sound design. I think the connection between all these elements is very important and I always aim to make the most out of it.

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

A: It would probably be a music album called Black Heart which I wrote, produced, and release under the name Ymi. It was a 5-year project (as it was never a top1 priority, unfortunately), and I put a lot of work into it. A few years in my friend Andrius joined it too and we had some great fun experimenting on it. You can find a few examples in the audio example at the top right.

Q: What are you working on at the moment?

A: At the moment I am doing a soundscape for a short video I have filmed while skiing in France. I was absolutely blown away by the views of the mountains over there. I wanted to film as much as I can and then try and express what I have experienced there with my soundscape/composition.

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

A: Yes, to name a few - if you need someone to write a score for your video game - better call Andrius Mack. If you are looking for a boom operator, sound designer/editor - Laurynas Vytas is your man.

Q: Analog or digital and why?

A: Both. Analog and digital have their own pros and cons. I try to never limit myself to one or another, why would I? Using what works the best for a specific thing, this is my approach.

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

A: First of all, I promise I will listen to my client and try my best to communicate my thoughts too. I feel that when both sides show a genuine effort to communicate as great as they can, then it is just a matter of hard work, achieving the end result that makes the client and myself happy. I can promise I will do just that!

Q: What do you like most about your job?

A: It is dynamic. It always challenges me, doesn't allow me to stay where I am at. You always have new things to put in your head, to learn, to test, and try out. It inspires me. And of course, if I manage to make it right, the joy is just worth everything.

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

A: Look into a few different things from my portfolio. As every project is very unique and it displays my versatility and proves that I will go at great lengths to find what fits best for your project. Honestly, learning and adapting to new genres and styles is one of the things I love most about the job.

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

A: It all started when I was 4 years old when my parents put a violin in my hands. Gradually though, singing took more and more of my attention, until I started writing my own music at the age of 16. It may have been cheesy love song at first, but eventually (and thankfully) I got more and more interested in Soundtracks, Sound Design, and Sound Art. I then studied Sound Production and soon after graduating moved to London where I did an internship at an Audio Post-Production studio called Tate Post where I was given a good variety of projects to put my hands on - from writing music to a Redbull Air Race Game Trailer, to recording super sports cars for Amazon's The Grand Tour game, to doing sound design and sound editing for oscar-winning director's Orlando von Einsiedel's breath-taking documentary shorts.