Film Composer and Orchestrator

Q: Analog or digital and why?

A: Both. Analog warmth can make or break a mix, but the clarity of digital audio is fantastic when processing sounds.

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

A: "What's your rate?" "I work based off of your budget so we can come to an agreement that benefits everyone"

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

A: That scoring is just putting "songs" into the project. This couldn't be further from the truth. We have to be filmmakers on a certain level. There is a necessary understanding the medium we're working in that heavily influences the decisions we make as composers.

Q: What questions do you ask prospective clients?

A: What do you need, and what can I do to help you get it?

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

A: Be clear about what you want, have organized deadlines/projects, be open and collaborative!

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

A: My ESP Hex7, an interface, a Mac laptop, My CD collection, and my collection of sheet music/scores.

Q: How would you describe your style?

A: Hybrid Orchestral with a Black/Death Metal filter.

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

A: I would love to work with Christos Antoniou from SepticFlesh/Chaostar. He's an absolutely brilliant composer, and I feel that I could bring an entirely different perspective to his work.

Q: Can you share one music production tip?

A: Your mix is 75% levels and 25% effects. Get your levels right first.

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

A: For work, I usually end up doing hybrid orchestral music, or synth/electro-acoustic based ambient music. For myself, I like to work on symphonic black metal and other kinds of extreme music.