Neoclassical Music Composer

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

A: One project I’m especially proud of is the soundtrack for Yagami’s Contract, an immersive escape room experience. I composed the full score, creating atmospheric and cinematic pieces that support the narrative, build tension, and enhance the overall environment. What made this project meaningful was how directly the music interacted with the space and the player experience - it wasn’t just background, but an integral part of the storytelling. It allowed me to focus on subtle details and emotional pacing in a way that really shaped the final experience.

Q: What are you working on at the moment?

A: I’m currently working on new cinematic and ambient compositions, as well as developing material for upcoming releases. Alongside that, I’m focusing on building a catalog of music for sync and immersive projects.

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

A: I’d recommend Friedrich Störmer for mixing. He has a great ear for detail and consistently delivers clean, well-balanced mixes that translate well across different systems.

Q: Analog or digital and why?

A: Digital for flexibility and precision, with analog elements for character. I rely on a digital workflow for efficiency and control, but I like to bring in analog sources where it adds depth, texture, and a more organic feel.

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

A: My promise is to deliver music that genuinely enhances your project - emotionally, creatively, and technically. I focus on clear communication, reliability, and high-quality results, making sure the final product is polished, immersive, and aligned with your vision.

Q: What do you like most about your job?

A: What I enjoy most is turning an idea or emotion into something tangible through sound. Every project is different, and I like the process of shaping atmosphere and helping bring a vision to life in a way that feels authentic and immersive.

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

A: Clients usually ask how long a track will take and how many revisions are included. I explain that turnaround depends on the scope, but most projects are delivered within a few days, and I include a set number of revisions to refine the result. I also often get asked about pricing, which I base on complexity, length, and usage to ensure the final result fits both the project and the budget.

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

A: That it’s just about making something that “sounds good.” In reality, the goal is to support emotion, timing, and context - especially in film or games. The music has to serve the project, not just stand on its own.

Q: What questions do you ask prospective clients?

A: I usually ask about the emotional goal of the project, how the music will be used, and any references or examples they have in mind. I also clarify timeline, deliverables, and any technical requirements to make sure everything aligns from the start.

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

A: Have a clear idea of the mood and purpose of the music, and share references that capture the feeling you’re aiming for. Good communication early on makes a huge difference. Trust the creative process, and allow some space for interpretation - that’s often where the best results come from.

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

A: A Yamaha P-525 for composing, a Eurorack modular synth for textures and experimentation, a laptop with my DAW and plugins, a good pair of headphones for monitoring, and a field recorder to capture sounds from the environment.

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

A: My path started with a strong interest in music and sound, which led me to study audio production and work in technical audio roles, including cinema and broadcast environments. Alongside that, I developed my work as a composer, focusing on cinematic and immersive music. I’ve been working in audio for several years, with composition becoming an increasingly central part of my work over time.

Q: How would you describe your style?

A: Cinematic, atmospheric, and emotionally driven - rooted in neoclassical with touches of ambient, electronic, and experimental elements. I focus on creating immersive sound that enhances mood and storytelling.

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

A: I’d love to work with Hania Rani. Her ability to blend minimalism, emotion, and subtle electronic elements into immersive, intimate soundscapes is incredibly inspiring and closely aligned with the kind of music I aim to create.

Q: Can you share one music production tip?

A: Focus on a few strong elements and give them space instead of layering too much. A clean, intentional arrangement will always sound more professional and emotionally effective than an overcrowded mix.

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

A: I mainly work on cinematic, ambient, and neoclassical music, sometimes on the verge of electronic and experimental. My focus is on emotionally driven compositions and atmospheric soundscapes for games, film, and immersive experiences.

Q: What's your strongest skill?

A: Designing sound that supports immersion. Whether music or sound design, I focus on making everything feel like part of a world, not just a supportive element.

Q: What do you bring to a song?

A: I bring emotional depth, atmosphere, and a strong sense of storytelling. My focus is on creating music that enhances the feeling and identity of a project, whether subtle and ambient or more cinematic and expressive. I combine creativity with technical precision to deliver polished, immersive results.

Q: What's your typical work process?

A: My process starts with understanding the emotional and narrative goals of a project. I begin by sketching ideas on piano or building atmospheric textures, then develop the composition into a full arrangement. Once the direction is approved, I refine the details, focusing on dynamics, sound design, and clarity. The final stage includes mixing and polishing to ensure the track is clean, immersive, and ready for use.

Q: Tell us about your studio setup.

A: I work in a hybrid studio setup combining a DAW-based workflow with professional monitoring and audio processing. My setup includes a Yamaha P-525 for expressive piano work, a Eurorack modular synth for unique textures, and a Shure SM7B, as well as a Zoom H6 for recording. I use an Icon P1-M for hands-on control, alongside Native Instruments and FabFilter plugins (to name a few) for high-quality sound design and mixing. This setup allows me to create detailed, cinematic compositions and polished mixes, ready for both media and standalone release.

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

A: I’m inspired by composers like Ryuichi Sakamoto, Hania Rani, and Koji Kondo, who blend emotion, minimalism, and cinematic depth. I’m also influenced by artists who create immersive atmospheres like alva noto and push the boundaries between classical and modern production.

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

A: I primarily compose cinematic, emotional music for games, film, and immersive experiences. My work focuses on creating atmosphere and supporting storytelling, ranging from ambient soundscapes to fully developed scores. I also provide sound design when needed, ensuring a cohesive and immersive audio experience.