Emotional Vocals & Scoring

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 concert Ritualul Primăverii by Robin and the Backstabbers. Listening to one of my favorite Romanian alternative bands at Palace Hall in Bucharest, and having the chance to write orchestral arrangements for their music, was a huge moment for me. Blending their poetic energy with cinematic orchestration in such an iconic venue felt like everything I love about music came together in one night.

Q: What are you working on at the moment?

A: Right now I’m working on my next album release. It’s a very personal project, blending modern metal with orchestral and cinematic elements — and I’m putting everything I have into it. It’s the kind of music that feels closest to my heart!

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

A: At the moment, I mostly work with my own team — we’ve built a strong creative flow together, and they’ll be launching their own SoundBetter profiles very soon. We handle everything in-house: drums, mixing, production, guitar, orchestration… so if you need a full team, we’re already here!

Q: Analog or digital and why?

A: Definitely digital. I’m obsessed with automation, control, and versatility. I run my entire live show digitally, and my band mixes everything in the DAW during live performances. I love analog gear — it sounds beautiful and it’s fun to play with — but for me, those are tools for flavor, not the foundation. Digital is where I feel free and fully in control.

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

A: My promise is to treat your project like it’s my own. I’ll listen carefully, work with precision, and make sure that what I deliver truly serves your vision. I’m here to create something that feels right.

Q: What do you like most about your job?

A: What I love most is that it makes me feel free. Creating music lets me be who I want to be. I feel like this is what makes me complete. It’s emotional, it’s immersive, and it gives me space to be completely myself — while also connecting with other people’s stories in a really deep way. That’s what I love music, because it’s about connecting people!

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

A: A lot of people ask: “Can you match this reference or vibe?” My answer is always: Yes — as long as I understand the emotion behind it. I don’t just copy sounds, I try to understand what the person sees in that track and replicate the effect by building something that feels true to that. Another common question is: “How fast can you deliver?” I usually say 1-3 days depending on the project, but if it’s urgent, I’m flexible. I like to work fast — but still with care. If it is a complex film scoring job for example it can take me up to a week or two.

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

A: That it's just about having a nice voice or writing something that sounds good. What I actually do is deeply emotional and intentional — it’s about capturing the right feeling, shaping the dynamics, building tension, or knowing when not to add something. Whether I’m singing, scoring, or arranging, the real work is in listening, understanding, and translating emotion into sound.

Q: What questions do you ask prospective clients?

A: If the client is open to talk, I usually start with a small chat about the music. I’ll ask for references, keywords, or even visuals if they have them — anything that helps me feel the world they’re imagining. For vocals, I like to know what kind of energy or tone they’re looking for. For orchestration, I ask about dynamics and what role the music plays in the bigger picture.

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

A: Be as open as possible about the feeling you want to create. You don’t need to know the technical terms — just describe the emotion, the energy, or even the story behind your project. The more honestly you share your vision, the better I can translate it into music. And trust the process!

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 with power and inspiration somehow still flowing, I’d take my laptop, an audio interface, my mic, a MIDI controller, and probably a great pair of headphones. With those five, I could record vocals, write orchestral scores, and build my own universe under a palm tree.

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

A: I’ve been writing music, singing, and performing for most of my life. I studied classical composition at university, but my path has always crossed between different worlds — orchestral music, modern metal, film scoring, and theatrical performances. I came second on The Voice of Romania, signed with Universal Music, and have since released original music on streaming, CD, and vinyl. Beyond releasing my own stuff, I’ve spent years arranging music for live orchestras and working closely with other artists on both production and vocals. Every project I take on — whether it’s a cinematic score, a metal track, or a quiet vocal line — I treat with full emotional commitment and technical precision. This isn’t just something I do — it’s who I am.

Q: How would you describe your style?

A: I’d say my style is cinematic, emotional, and atmospheric. Whether I’m singing or writing, I’m always focused on creating space, movement, and tension. I love blending organic and digital elements — strings, textures, raw vocals, subtle sound design — anything that helps tell the story with honesty and impact.

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

A: I’m dreaming of arranging a full symphonic concert for Sleep Token. Their music already has so much emotional and cinematic depth, and I can imagine their sound expanded into a massive orchestral setting — dark, dramatic, and powerful. It would be an incredible artistic challenge and something I know I could bring to life in a unique way.

Q: Can you share one music production tip?

A: One of the most useful things I’ve learned is to focus both vertically and horizontally — meaning, pay attention not just to how the track sounds in one moment (the mix, the layers), but also how it flows across time, emotionally and structurally. And take breaks — your ears and your instinct will thank you.

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

A: I usually work on two very different types of music — modern metal, which is my personal project and main artistic outlet, and orchestral music for live performances, like film scores or symphonic arrangements. Both are intense in their own way and let me explore emotion through very different textures.

Q: What's your strongest skill?

A: My strongest skill is translating emotion into music. I can take a mood, a feeling, or a story and turn it into sound — whether through vocals, orchestration, or full compositions. It’s not just about technique, it’s about capturing what something feels like and making people hear it.

Q: What do you bring to a song?

A: I bring emotion, depth, and intention. Whether I’m singing or writing, I’m always focused on how the music feels, not just how it sounds. I pay attention to the atmosphere, the story behind the song, and the space between the notes. As a singer, I can add warmth, fragility, or power depending on what’s needed. As a composer or arranger, I build dynamics that help the song breathe — cinematic textures, string movement, or just silence in the right place. Whatever I do, it’s always about serving the song.

Q: What's your typical work process?

A: It always starts with understanding the emotion behind the project. Whether it’s a vocal recording or a full orchestral piece, I need to feel the story first. I usually ask for references or a few words about the mood, and once I get the vibe, I go into creating — either writing, arranging, or recording. I always deliver in stages and check in with the client early to make sure we’re aligned. Communication is super important to me — I want to get it right, and I work fast, but with care.

Q: Tell us about your studio setup.

A: My studio setup is simple but solid. I record my voice with a Neumann U 87 Ai through a Neve 1073 preamp. I prefer to keep the vocal chain clean at first, so my go-to workflow is recording clean takes, then re-amping them through analog gear after editing. At that stage, I use a Teletronix LA-2A, a UAD 1176 limiter, and a few other analog compressors and channel strips depending on the vibe. Everything is recorded in a treated vocal booth — it’s a cozy space, but it does the job very well. I work on a full UAD setup (audio interface, plugin processors, and all bundles). My main DAW is Cubase Pro, and I also use Sibelius for notation, with some experience in Ableton Live and Logic Pro as well. For scoring and arranging, I work with NotePerformer, LABS by Spitfire Audio, and a wide collection of orchestral and cinematic libraries.

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

A: There are a lot, but I’d say artists like Sleep Token really inspire me — I love how they combine modern metal with pop and trap production, all wrapped in this dark, cinematic vibe. Then there’s Aurora — her honesty and the way she expresses herself through music is something I deeply admire. There’s no filter, it’s pure feeling, and I connect with that. I also admire composers like Ramin Djawadi for how simple but emotionally his writing is. I’m always drawn to music that tells a story without overexplaining — just feels right.

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

A: I usually record vocals — lead and backing — for cinematic or alternative songs. I also compose original music or create orchestral arrangements for existing songs, especially for live performance with full orchestras. I adapt everything to the project’s story and deliver exactly what’s needed, fast and professionally.