Composer and Sound Designer

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

A: The most common questions I get from clients usually revolve around processes, timelines, and expectations. Here are a few of the most frequent ones and my answers: How long will it take to complete the music or sound design for my project? Answer: The timeline really depends on the scope and complexity of the project. For a short film or advertisement, it might take a few weeks to finalize the music and sound design, while larger projects like games or VR experiences could take longer. I always work to establish a clear schedule and communicate progress along the way, ensuring we're aligned on milestones and deadlines. Can you provide revisions if we don’t like the initial work? Answer: Absolutely! Collaboration is key, and I welcome feedback throughout the process. If something isn’t quite right, we can adjust it until it matches your vision. My goal is to make sure the music and sound design fits perfectly with your project, so revisions are always part of the workflow. Do you provide both music and sound design, or is it one or the other? Answer: I offer both music composition and sound design, and often, I work on both aspects for projects. Whether it's composing a score for a film or designing immersive sound effects for a game, I can create a cohesive audio experience that integrates music and sound design seamlessly. What do you need from me to get started? Answer: The more information you can provide about your project, the better. A brief creative vision, reference material (like similar films, games, or ads), and any specific music or sound preferences you have will help me understand the direction. Additionally, any necessary files for the project - such as video - is beneficial. It’s also helpful to know the project’s timeline and budget, so I can plan accordingly. What’s your pricing structure? Answer: My pricing depends on the project’s scope and complexity. I offer flexible pricing to fit various budgets, whether it's a small ad campaign or a large-scale game. Once I understand the details of the project, I can provide an estimate that reflects the time and resources needed to deliver the best possible result. These are the kinds of questions I encounter most often, and I always aim to provide clear and transparent answers to ensure we're all on the same page from the start.

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

A: There are so many artists I'd love to collaborate with, but if I had to choose, I’d be excited to work with someone like Hans Zimmer. His ability to blend orchestral arrangements with innovative electronic elements is something I really admire. His soundtracks are masterclasses in how music can elevate storytelling, creating moments that are both powerful and emotionally resonant. On the other hand, I’d also love to work with an artist from a different genre, like Trent Reznor and Atticus Ross. Their work in film scoring has a unique, gritty, and experimental edge that challenges the norms of traditional film music. I find their ability to manipulate sound and create tension through minimalism incredibly inspiring, and I think it would be an amazing experience to explore that space of sound design and music together. What excites me about working with artists like Hans Zimmer or Trent Reznor is their fearlessness in pushing boundaries and their deep understanding of how sound shapes an audience’s emotional journey. Being part of that creative process would be both a learning experience and an opportunity to contribute my own voice in a unique way.

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

A: There are so many musicians and music production professionals who inspire me, especially those who push the boundaries of sound and storytelling across different mediums. For example: Clint Mansell has always been a huge inspiration for me. His work on films like Requiem for a Dream and The Fountain is a masterclass in how music can deeply influence the emotional atmosphere of a film. He blends traditional orchestral elements with electronic textures in such a seamless way, creating a unique sound that resonates with audiences long after the film ends. Gustavo Santaolalla is another artist I admire, particularly for his work in video games like The Last of Us. His ability to create minimalist, emotionally charged scores using non-traditional instruments is something I try to channel in some of my own work. His approach to sound design and scoring feels very intimate and raw, which works so well for both film and interactive media like games. Brian Eno is another huge influence, especially in the realm of sound design and experimental music. His ambient work has had a profound effect on how I approach creating atmospheric soundscapes for films. His ability to transform simple sounds into immersive sonic landscapes is something I aim to emulate when designing soundscapes. In terms of electronic music, M83 has had a big impact on my work, particularly their ability to blend dreamlike, ethereal textures with soaring melodies. Their sound is cinematic in nature, which makes it a perfect inspiration for my work in film and ads. These musicians and producers inspire me not just because of their technical skills, but because of how they use sound to tell stories and evoke emotions in unique ways. Their versatility across different genres and media is something I strive to achieve in my own work as a composer and sound designer.

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

A: The most common type of work I do involves creating custom music and sound design that enhances the storytelling and emotional impact of various projects. Whether it’s for film, advertisements, video games, or virtual reality, each medium requires a tailored approach to sound. For films, I typically compose original scores that complement the narrative and characters, ensuring the music elevates key moments and drives the emotional tone of the story. I also design sound effects that help build the world, from subtle ambient sounds to dramatic, impactful effects that heighten action or tension. In advertising, the work often involves crafting catchy and memorable music that aligns with the brand’s identity and resonates with the target audience. I create soundscapes that engage viewers and leave a lasting impression, while also making sure the music supports the messaging and pacing of the ad. For video games, my work centers on creating adaptive soundtracks and dynamic sound effects that respond to the gameplay. Music must react to player actions, while sound design enhances the immersive experience, whether it's for character actions, environmental effects, or interactive elements in the game world. In virtual reality, I focus on creating 3D spatial audio that enhances immersion. The audio needs to respond in real-time to user movements, allowing for a fully immersive experience. I design sounds that not only align with the virtual environment - but also guide the user’s attention and interaction within it. Across all these mediums, the common thread is my commitment to aligning the sound with the project's vision and ensuring that music and sound design contribute meaningfully to the overall experience, whether it’s in a dramatic film scene or an interactive VR environment.

Q: What do you like most about your job?

A: What I love most about my job is the opportunity to bring stories and experiences to life through sound. Whether I’m crafting the perfect piece of music for a film, designing immersive soundscapes for a game, or creating unique audio for virtual reality, I get to play a pivotal role in shaping the emotional experience for the audience. Sound has a unique ability to connect people to a story in ways visuals alone can't, and being a part of that process is incredibly rewarding. Another aspect I enjoy is the constant creativity and problem-solving. Every project presents new challenges and fresh opportunities to experiment with sound in innovative ways. Whether it’s finding the right musical theme that encapsulates a character’s arc or creating a sound effect that enhances a gameplay moment, there's always something exciting to discover. Lastly, I really appreciate the collaboration involved in my work. Working with directors, game developers, and other creatives allows me to learn from different perspectives and contribute to a larger, shared vision. It's a dynamic, ever-evolving field, and I find the whole process—from concept to final delivery—deeply fulfilling.

Q: What questions do you ask prospective clients?

A: When working with prospective clients, I like to ask a few key questions to ensure I fully understand their vision and can provide the best possible sound for their project: - What is the overall tone or emotional atmosphere you want to convey? Whether it’s a dramatic film, an uplifting advertisement, or an intense game, understanding the emotional core of the project helps me craft the right sound design and music that aligns with your goals. - Do you have any reference material or specific influences you'd like the sound to resemble? If there are certain styles, composers, or soundscapes you admire, it helps me understand the direction you want to take and the kind of creative impact you're hoping to achieve. - What is the target audience for this project? Knowing who the final audience is allows me to tailor the music and sound design to their preferences, whether that’s for children, an adult demographic, or a niche market. - How do you envision the music or sound design working within the project? Understanding the practical role of sound—whether it's subtle background ambiance or a more prominent, storytelling device—helps me craft exactly what’s needed for each moment. - What are your timelines and deadlines? Clear project timelines allow me to manage my workflow effectively and ensure the music and sound are delivered at the right stage of production. - Are there specific technical or format requirements? Whether it’s specific file types, surround sound formats, or integration into game engines or video editing software, knowing these requirements upfront ensures smooth delivery. - What is your budget for music and sound design? Understanding the financial scope helps ensure that expectations are aligned and we can find creative solutions that work within your budget. By asking these questions, I aim to get a comprehensive understanding of the project, your goals, and how I can best serve your needs creatively and technically.

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

A: If I were stranded on a desert island and could only take five pieces of gear, I'd prioritize versatility and creativity. Here’s what I’d choose: - A Laptop with a Full DAW (Digital Audio Workstation) This would be essential for composing and sound design. With a DAW, I could work on music, manipulate sound effects, and create new audio ideas with virtually endless possibilities, even if I had to rely on limited resources. - A MIDI Controller It might sound simple, but a MIDI controller allows me to compose music more easily, control virtual instruments, and design sounds in real-time. It’s a fundamental piece of gear for any composer and sound designer. - Headphones (with a good flat response) While speakers may be hard to come by on a desert island, a great pair of headphones would let me focus on sound design and music production with clear, accurate feedback, essential for mixing and creating. - Portable Audio Recorder I’d want a way to capture environmental sounds from the island itself. Nature is full of interesting textures and noises that could inspire sound design, and recording them would give me raw material to work with and manipulate. - A Sound Library (external hard drive) A solid collection of high-quality samples and sound libraries would be invaluable. From orchestral instruments to foley and synthesizer patches, it would give me a lot of creative options to play with, especially if I was limited to the sounds I could record myself. With these tools, I'd have everything I need to stay creatively productive and make the most of my time on the island, even in isolation!

Q: How would you describe your style?

A: My style is versatile and adaptive, shaped by a deep understanding of different genres and mediums. I don’t believe in a one-size-fits-all approach; instead, I focus on matching the sound to the unique needs of each project. Whether it's composing lush orchestral scores, creating electronic soundscapes, or crafting intricate sound design for immersive environments, my goal is always to enhance the storytelling experience and evoke the right emotional response. I have a strong foundation in both traditional and modern techniques, allowing me to blend classic approaches with contemporary sounds in a way that feels fresh and innovative. From scoring films to creating interactive audio for games or designing dynamic sound for virtual reality, my style adapts to the medium and the specific vision of the project. Ultimately, I aim for my work to be both deeply creative and emotionally impactful. I pride myself on finding the most fitting sound for the project, whether it’s subtle and atmospheric or bold and experimental, always with a focus on elevating the overall experience.

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 particularly proud of is the game trailer for Deadfield. I had the privilege of composing and designing the entire soundscape for the trailer, and I also developed a unique sonic brand for the company’s logo at the end. It was a rewarding experience to contribute to both the emotional impact of the trailer and the creation of a memorable audio identity for the brand.

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

A: My promise to my clients is to always deliver a sound experience that enhances their project, no matter the medium. I commit to understanding their vision deeply and collaborating closely to ensure the sound or music supports and elevates the story they’re telling. Whether it's a subtle background score or an intricate soundscape, I promise to bring creativity, attention to detail, and technical expertise to every aspect of the project. I’m also dedicated to meeting deadlines and being flexible to revisions—because I believe in the power of communication and iteration to achieve the best result."

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

A: The biggest misconception about what I do is that it’s just about creating music or sound effects. In reality, my job is much deeper—it's about storytelling and enhancing the audio-visual experience. Whether it’s a film, a game, or a VR environment, every sound and piece of music is carefully crafted to guide the audience’s feelings, immerse them in the world, or drive the narrative. It’s not just about making things sound 'cool'; it’s about understanding the project’s vision and using sound as a tool to communicate it. Another common misconception is that it's all inspiration and creativity—when in truth, a lot of it is technical work, problem-solving, and constant collaboration.

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

A: As a composer and sound designer, my advice for a customer looking to hire someone like me would be to prioritize clear communication and mutual understanding of the project vision - even if you don't have a full idea yet. First, it’s important to share as much detail as possible about the project’s tone, style, and desired emotional impact. The more context I have, the better I can tailor the music and sound design to fit your needs.

Q: What's your strongest skill?

A: My strongest skill is my adaptability and ability to create impactful audio experiences across a wide range of mediums, whether it’s film, games, ads, or virtual reality. I have a keen sense of how sound and music can shape emotion and immersion, and I tailor my approach to suit the unique needs of each project. From composing cinematic scores to designing dynamic, interactive audio environments, I bring creativity, technical expertise, and a deep understanding of storytelling to everything I work on.

Q: What do you bring to a song?

A: I bring a unique blend of emotion, perspective, and storytelling to a song. Whether it’s through lyrics, melody, or performance, I aim to connect with the listener and evoke genuine feelings. I focus on making each song personal yet relatable, finding that balance where authenticity meets universality. I also bring a strong understanding of dynamics, pacing, and emotion, which helps shape the song's journey from start to finish. Ultimately, I strive to leave my fingerprint on a song while enhancing its ability to resonate with others.

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

A: I am a dedicated music and audio professional specializing in composition, sound design, and audio production. With two years of hands-on industry experience, my journey with music began much earlier—I’ve been immersed in creating and exploring music since childhood and performing live since the age of thirteen. This lifelong passion, combined with professional expertise, allows me to bring both creativity and technical skills to every project.

Q: Tell us about your studio setup.

A: My studio setup is ever-evolving, but it currently includes a MacBook, studio monitors, acoustic treatment, condenser and dynamic microphones with pop filters and boom arms, MIDI keyboards, audio interfaces, a soundboard, a Roland T-8, XLR cables, adapters, and a range of instruments. This versatile setup allows me to handle a wide variety of projects with precision and creativity.

Q: Can you share one music production tip?

A: Humanization. Digital music technology has come a long way, offering incredible tools for creating and shaping sound. However, no matter how advanced it becomes, a computer can never fully replicate the depth and nuance of the human experience. That’s where the producer steps in—to breathe life into digital performances. Through techniques like quantization, velocity editing, and other expressive adjustments, the producer’s job is to infuse the music with emotion, making it feel authentic and alive.

Q: Analog or digital and why?

A: Yes. While digital music technology has rightfully become a staple in modern studios, I firmly believe in the unique power of analog and its irreplaceable role in the creative process. Analog gear has a distinct ability to capture sound with a warmth and character that digital technology can't quite replicate. Whenever possible, I like to blend both digital and analog elements in my projects, combining the best of both worlds to achieve a richer, more dynamic sound.

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

A: I work across all types of music, refusing to limit myself to a single genre. I embrace a philosophy of continuous growth, expanding my knowledge and skillset to adapt to a wide range of projects. This approach not only keeps my work dynamic and versatile but also allows me to bring fresh, innovative ideas to every project I take on.

Q: What's your typical work process?

A: Before starting a new session in a DAW, I prioritize sitting down with the client to discuss their vision and goals for the project. It’s essential for me to have a clear and detailed understanding of the direction and sound they’re aiming for before I begin. Communication is key, so I make it a point to stay in touch with the client throughout the creation process—and even afterward! Once the project is underway, I provide regular updates to ensure everything stays aligned with their vision. When we’re both satisfied with the outcome, I handle final mastering, editing, and any necessary file preparation before delivering the polished final files