Cinematic Composer - Mixer

Q: What are you working on at the moment?

A: Deep into a new album of my own and composing for a short film.

Q: Analog or digital and why?

A: Whatever serves the emotion and texture of the story best: warm tape saturation one day, pristine digital precision the next. The music doesn't know, so we shouldn't worry.

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

A: I deliver the exact texture and emotion your story was missing, nothing less, nothing else.

Q: What do you like most about your job?

A: I live for the moment the picture and the sound become more together than they ever were apart.

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

A: Share the passion and I will pour my heart into it.

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

A: Master’s degree in Music Production & Composition – Conservatory of Ghent (2016) Since then I’ve been recording and mixing artists across the spectrum: jazz, hip-hop, rock, classical, electronic, experimental. I write original music for film and visual media. Credits include the opening scene of Baloji’s Cannes-selected feature debut Augure (Omen) (score + post-production), as well as opening sequences for several VRT national television programmes. When I’m not serving other people’s stories, I release deeply personal ambient/cinematic work under my own name: most recently the album Observatory of Forgotten Light (2025). Always looking for the next story that needs its own quiet, breathing world of sound.

Q: How would you describe your style?

A: Cinematic ambient minimalism built from slow-decaying light and the sound of stone remembering it was once alive. Nothing ever feels “pretty” in a conventional way; it feels true instead.

Q: Can you share one music production tip?

A: Stop trying to be right. Start being honest.

Q: What's your strongest skill?

A: Building evolving emotional layers the audience feels in their bones.

Q: What's your typical work process?

A: I always like to start with a proper conversation: about the project, the deeper concept, the feeling you’re chasing. I want to understand the visual world, the emotional temperature, and where the story truly lives. Once that clicks, I disappear into experimentation: tinkering, layering, and playing until I land on a sound or texture that feels like it was born inside your universe. Only then does the real writing begin, always in service of the image, always aiming to add a layer the audience might feel more than hear.

Q: Tell us about your studio setup.

A: I work from a private, fully treated basement studio (5 × 9 m) that sounds incredible. Monitoring is on a pair of HEDD Audio Type 20 MK2s with an Antelope Orion 32+ conversion chain – transparent, full-range, and brutally honest. The room’s tight decay also makes it perfect for recording dry, detailed instruments whenever the arrangement calls for it.

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

A: hildur guðnadóttir, Jonny Greenwood, Blake Mills, Jon Opstad, DIM, Gustavo Santaolalla, Johan johansson, John Williams

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

A: I write music for film, games, and visual media. My work is about finding the exact sound and texture that binds a story together and deepens its emotional core – sometimes a conscious layer that elevates every frame, sometimes a subconscious pulse that adds unseen weight and intensity to a scene. When I’m not composing, I mix and master for other artists and projects.