Electronic Producer & Engineer

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

A: I am especially proud of developing my artist project GÆRARD. I shaped its production and creative direction around melancholic, atmospheric electronic music, and at its peak the project reached more than 30,000 monthly Spotify listeners. It showed me that personal music can connect with a wider audience without losing its identity.

Q: What are you working on at the moment?

A: I am currently developing new atmospheric electronic material while expanding my production, mixing and mastering work for other artists. I am also refining a hybrid studio workflow built around hardware synthesizers and detailed digital processing. Also trying to get into the YouTube-World as a documentation of my work and growing.

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

A: I am currently developing new atmospheric electronic material while expanding my production, mixing and mastering work for other artists. I am also refining a hybrid studio workflow built around hardware synthesizers and detailed digital processing.

Q: Analog or digital and why?

A: Both. Digital tools provide precision, flexibility and reliable recall, while hardware synthesizers and effects encourage experimentation and add character. I choose whichever approach best supports the song rather than following a fixed ideology.

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

A: I will treat your music with care, communicate honestly and make every creative decision in service of the song. You will receive an individual approach rather than a generic formula or preset-driven result.

Q: What do you like most about your job?

A: I love the moment when an unfinished idea suddenly becomes a complete piece of music and its identity becomes clear. Helping an artist hear their original vision more vividly is the most rewarding part of the process.

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

A: “Can you make my track sound professional?” Usually, yes—but professional does not mean replacing its personality. My job is to improve clarity, impact and consistency while preserving what makes the artist and song distinctive.

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

A: That mixing and mastering can repair every production problem. They can elevate a strong song, but arrangement, performance and sound selection must already support the artistic idea. The best results begin long before the final processing stage.

Q: What questions do you ask prospective clients?

A: What emotion should the song communicate? Which references represent your desired direction? What already works for you, what feels unfinished and what do you need from me? I also clarify the deadline, deliverables and intended release format.

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

A: Choose someone who understands the intention behind your music, not only its technical requirements. Share honest references, explain what you love about your song and communicate clearly about what you want to preserve or improve.

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

A: A MacBook Pro with Ableton Live, my Apollo Twin X, Prophet REV2, Novation Peak and DT 1990 Pro headphones. I would also hope the island has electricity. :D

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

A: I began producing music in 2004 and later contributed to projects connected with Universal Music Germany. I have worked with singers, rappers and electronic artists, operated my own independent label since 2012 and continue to expand my expertise through formal studies in music production and audio engineering.

Q: How would you describe your style?

A: Atmospheric, melancholic and detailed, with warm synthesizers, deep textures and a strong sense of movement. I enjoy balancing cinematic space and emotional intimacy with enough energy to keep a production engaging.

Q: Can you share one music production tip?

A: Do not try to solve an arrangement or sound-selection problem during mixing. If the song does not communicate its emotion with a simple volume balance, another plugin will rarely be the real solution.

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

A: I primarily work on atmospheric electronic music, melodic techno, cinematic electronica and productions influenced by UK garage. I am especially drawn to music that feels melancholic, warm, immersive and quietly hopeful.

Q: What's your strongest skill?

A: My strongest skill is identifying the emotional core of a song and building the production around it. I know when a track needs more impact, but also when space, restraint and simplicity will make it stronger.

Q: What do you bring to a song?

A: I bring emotional depth, atmosphere and a clear sense of movement. My goal is to strengthen the identity already present in the song through thoughtful arrangement, detailed sound design and a balanced, professional mix.

Q: What's your typical work process?

A: I begin by discussing the artist’s vision, references and goals. After reviewing the material, I establish the creative direction and deliver a first version for feedback. We then refine the production together before I prepare the final files.

Q: Tell us about your studio setup.

A: My studio combines a modern analog/digital workflow with hardware synthesizers, outboard gear and creative effects. I work in Ableton Live with Universal Audio Apollo interfaces, EVE Audio monitoring, Avantone MixCubes, a Prophet REV2, Novation Peak, MicroFreak and selected Strymon and Hologram effects. For mastering I'm using Cranborne Audio Carnaby HE2, SPL BiG Studio, WES Audio ngBusComp.

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

A: I am inspired by artists such as Bicep, Jon Hopkins, Christian Löffler and Ben Böhmer. I admire producers who combine electronic precision with warmth, atmosphere and genuine emotional depth.

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

A: I usually help artists develop unfinished demos into complete, release-ready productions. This can include arrangement, additional production, sound design, mixing and mastering, depending on what the song needs.