Fantasy Game Composer & Mixer

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

A: One I'm especially proud of is 'The Law of the Strongest' — a dark, rhythm-driven cinematic cue built for high-stakes confrontation scenes (boss fights, power struggles, villain reveals). I composed, produced, mixed, and mastered it entirely myself, blending orchestral elements with electronic rhythmic drive to create sustained tension without losing momentum. What I'm most proud of is how the groove and the cinematic tension coexist — usually one comes at the expense of the other, and getting both to work together was the real challenge.

Q: Analog or digital and why?

A: Digital — the precision of reading input/output levels (peaks and RMS) matters a lot when balancing dense orchestral sessions, and it keeps the workflow fast without sacrificing quality.

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

A: Can you make this sound as big as a film score?' My answer: usually yes, if the arrangement supports it — the mix can enhance scale, but it can't manufacture it from nothing. That's why I always ask for a reference first.

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

A: That mixing orchestral music is the same as mixing a pop song with more instruments. It's not — the balance, dynamics, and space required for a 100-piece arrangement need a completely different approach.

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

A: I'd love to work with an indie game studio building a fantasy or sci-fi world — that's where hybrid orchestral scoring has the most room to shape the emotional identity of a project from the ground up.

Q: Can you share one music production tip?

A: Reference tracks aren't optional in orchestral mixing — the difference between a mix that translates and one that doesn't usually comes down to comparing your low end and dynamics against something proven.

Q: What do you bring to a song?

A: A composer's perspective on the mix — I know when a phrase needs space to breathe versus when it needs to hit hard, which means the arrangement and the mix work together instead of fighting each other.

Q: What's your typical work process?

A: I start by listening to reference tracks to understand the target sound. Then I organize and clean the session, build a rough balance, shape dynamics and tonal character in passes, and finish with detailed automation and translation checks across systems before final delivery.

Q: What are you working on at the moment?

A: Currently developing a set of orchestral/hybrid demo cues to expand my portfolio for games and trailers.

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

A: Honest communication, careful attention to your reference and vision, and a final mix that holds up on any system it's played on.

Q: What do you like most about your job?

A: Creating something with a client that becomes part of the emotional core of their project — knowing a piece I helped shape will be there every time someone experiences that story

Q: What questions do you ask prospective clients?

A: What's the intended platform (game, trailer, film)? What's your reference sound? What's your deadline? Are there specific loudness or format specs I should follow?

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

A: Send a reference track alongside your project. It's the fastest way for any mixer to understand your vision, and it usually saves both of us a revision round or two.

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

A: My laptop with satellite internet, a solar charger, a comfortable chair, an umbrella for shade, and plenty of water. (Hoping the laptop doesn't overheat in the process.)

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

A: I've been composing and producing since 2017, moving from songwriting into orchestral and hybrid scoring as I focused more on music for games and visual media.

Q: How would you describe your style?

A: Cinematic and hybrid — rooted in orchestral tradition but not afraid to bring in modern synth textures and sound design when the story calls for it.

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

A: Orchestral, hybrid, and cinematic music — scores for games, film, and trailers, blending traditional instrumentation with modern synth and sound design elements.

Q: What's your strongest skill?

A: Composing and mixing with an orchestral/cinematic sensibility — understanding both how a piece is written and how it needs to sound in its final context (game engine, trailer, film scene).

Q: Tell us about your studio setup.

A: A dedicated home studio with studio monitors, MIDI controller, high-quality microphone, and a curated set of plugins for orchestral and hybrid production. The setup is built to handle large sessions with 100+ stems without compromising workflow — though the real work always happens in the creative decisions, not just the gear.

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

A: Hans Zimmer, James Newton Howard, Jeremy Soule, Bear McCreary, Gareth Coker, Lena Raine — composers and producers who treat orchestral and hybrid textures with the same precision as any modern mix.

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

A: Mixing and mastering orchestral, hybrid, and cinematic music for games, film, and trailers — balancing large arrangements (strings, brass, percussion, synth layers) so they translate on any playback system.