Music Producer & Composer

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

A: “50K” by YNG Martyr. I worked on the production and composition. I’m proud of how the finished record came together and the audience it reached. It’s one of those tracks where hearing the final result makes all the decisions along the way feel worthwhile.

Q: What are you working on at the moment?

A: My focus is on custom production for artists, from individual songs to complete EPs and albums, alongside my own production catalog and sound-design work. I’m particularly interested in projects where I can help develop a recognizable sound across several songs.

Q: Analog or digital and why?

A: Almost entirely digital. It suits the way I work: experimenting quickly, combining different sounds and being able to return to a project without rebuilding the setup. Virtual instruments and plugins give me a lot of freedom. I choose tools for what they contribute to the record.

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

A: Honest feedback, clear communication and proper attention to your music. You work directly with me, and we agree on the scope before starting. I’ll listen to what you want, explain my decisions and take your feedback seriously. You won’t have to pretend you like the snare to avoid an awkward conversation.

Q: What do you like most about your job?

A: Hearing an artist turn a production into something I couldn’t have made on my own. A voice, a melody or an unexpected delivery can change the meaning of the whole track. That moment when the idea becomes a song is still the most satisfying part.

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

A: “Can we work on a whole EP or album?” Yes. We can build a consistent direction across the project and agree on the production, mixing and mastering it needs. “Do I need a finished demo?” No. A rough recording, voice note or a few references can be enough to start the conversation. “Can we work remotely?” Yes. I collaborate remotely and also offer in-person sessions in Brussels.

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

A: That a great-sounding beat automatically means the song is finished. Once the artist is on it, the arrangement, space and energy might need to change completely. A lot of production happens in those decisions, including knowing when to remove something you spent an unreasonable amount of time making.

Q: What questions do you ask prospective clients?

A: Are we making a single, an EP or an album? What have you already recorded or written? Which records help explain the direction you want? What do you need from me: production, arrangement, mixing, mastering or help shaping the whole project? What are your budget and deadline, and would you prefer remote work or in-person sessions?

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

A: Listen to their released work and check what they actually contributed. Look for a musical fit, then have a real conversation about your project. Clear references, an honest budget and an agreed scope are useful from the start. You should feel comfortable telling your producer when something isn’t working.

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 FL Studio, good headphones, a compact MIDI keyboard, an audio interface and a solar charger. I’m assuming there isn’t a particularly reliable power grid on this island.

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

A: I started producing in 2022. I’m self-taught, through experimentation, online resources and working with artists from around the world. Releasing music and seeing how artists used my productions helped me develop beyond making beats in isolation. Since then, I’ve continued building my catalog, credits and approach to working directly with artists.

Q: How would you describe your style?

A: Built around rhythm, texture and the artist. Boom bap and trap are the foundation, but I’m drawn to experimentation and sounds with personality. I like drums that carry the track, a convincing low end and details that give you something new to notice on another listen.

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

A: Drake. The range between his rap records and more melodic material would make him an interesting artist to produce for. I’d enjoy building something with strong drums, atmosphere and enough space for his delivery to shape the record. There’s room to get detailed without making the production overcrowded.

Q: Can you share one music production tip?

A: Bring the vocal into the production early, even if it’s just a rough take. It will tell you more about the arrangement than another hour spent making the beat impressive on its own. Before adding another layer, try muting something and listen to what the song gains.

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

A: Most of my placements and professional work have been in boom bap and trap, within hip-hop more broadly. That’s where I have the strongest experience. I’m also open to projects that cross genres, especially when an artist has a clear idea or an interesting combination of references.

Q: What's your strongest skill?

A: Turning a loose idea into a clear musical direction. An artist might know the feeling they want without knowing how to describe the production. I enjoy finding the sounds, rhythm and arrangement that make that feeling tangible, then developing it into a complete record.

Q: What do you bring to a song?

A: A sense of direction, character and space for the artist. I pay attention to the relationship between the drums, low end, musical textures and vocal. Across an EP or album, I also think about how each song belongs to the same world while still having its own reason to exist.

Q: What's your typical work process?

A: We start with a conversation about the music: your references, what you already have and where you want to take it. After agreeing on the scope and budget, I develop an initial direction. We refine the sounds, arrangement and details together, then move into mixing and mastering if they’re part of the project.

Q: Tell us about your studio setup.

A: My setup is almost entirely digital, built around a MacBook Pro and FL Studio. I also use Ableton Live and Logic Pro, alongside virtual instruments, synthesizers and audio plugins. It gives me the flexibility to experiment and revisit decisions quickly. For in-person sessions, we arrange a studio suited to the project.

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

A: Kanye West and Mike Dean are two major influences. Kanye’s creativity and willingness to experiment remind me to leave room for unexpected ideas. Mike Dean’s approach to synthesizers, atmosphere and sound design shows how much emotion a texture can carry. They both make me want to push an idea further.

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

A: Most of my client work is custom music production and composition, particularly in boom bap and trap. I help artists turn references, demos or loose ideas into finished songs. For EPs and albums, I also work on the direction across the project. Arrangement, mixing and mastering can be part of the agreed scope.