Composer & Audio Engineering

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

A: KI essen seele auf (ORPHEAI), directed by Katja Wachter at the August Everding in Munich (2025). I composed the full 13-track original score and designed the sound for a 10-channel immersive theatre mix. The piece explored AI learning to express human emotion so every sound had to walk the line between cold and deeply human. That tension was the whole project. Leading both the compositional and technical sides of that production is something I'm genuinely proud of.

Q: What are you working on at the moment?

A: Finishing my bachelor's degree with a specialization in documentary composition, and actively taking on freelance scoring and mixing projects. I'm also looking to collaborate on a documentary this year composition and sound design, no cost, just the right story.

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

A: Not yet but I'm always open to building a network of people I trust. If I find someone whose work I believe in, I'll say so.

Q: Analog or digital and why?

A: Both, but with an analog mindset. I love the precision and flexibility of the box, but I always ask: does this sound like something real? Does it breathe? The tools are digital. The approach isn't.

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

A: I'll treat your project like it matters because to me, it does. Clear communication, honest timelines, and music that actually serves your story.

Q: What do you like most about your job?

A: The moment a client hears the first draft and says "that's exactly it" without me having explained much. When the music just knows what the story needs, that's the best feeling in this work.

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

A: "How many revisions do I get?" Three rounds, included. "Do I own the music?" Yes, full rights transfer on final payment. "How long will it take?" We agree on a deadline before I start, and I stick to it.

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

A: That composing for picture is just background music. A good score doesn't sit behind the story it carries it. The best film music is invisible until you take it away.

Q: What questions do you ask prospective clients?

A: What's the story? What should the audience feel? Do you have references? What's the deadline and budget? Those five questions tell me almost everything I need.

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

A: Know your reference points. You don't need to explain music theory just show me films, songs, or moments that give me the feeling you're after. The clearer the emotional brief, the better the result.

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

A: MacBook Pro, Ableton Live, a pair of Sennheiser HD 650s, Spitfire LABS, and a decent audio interface. I could build almost anything with that.

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

A: I started producing at twelve, purely out of obsession. Over the years I moved from electronic music into scoring, audio engineering, and post-production. I studied at SAE Institute Munich and have been working professionally for 4+ years, with projects spanning film, theatre, and artist records.

Q: How would you describe your style?

A: Cinematic and intentional. Whether I'm writing for strings or synthesizers, I'm always chasing the feeling underneath the sound something honest, something that exposes a truth.

Q: Can you share one music production tip?

A: Learn to use silence. Most producers fill every moment. The ones who know when to pull back are the ones whose music actually hits.

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

A: Cinematic, orchestral, electronic, and atmospheric. I also work on EDM, house, and artist records. The common thread is always emotion whatever the genre, the music needs to mean something.

Q: What's your strongest skill?

A: Audiovisual dramaturgy and translating what's happening on screen or on stage into sound that makes the emotional impact land. I don't just score a scene, I score what the scene is trying to say.

Q: What do you bring to a song?

A: Intention. Every sound I place is there for a reason. I think about what the music needs to say, not just how it needs to sound.

Q: What's your typical work process?

A: First we talk, I want to understand the project, the feeling, the story. Then I send an initial direction for feedback before going deep. I work in clear stages: concept, draft, revisions, final delivery. No surprises.

Q: Tell us about your studio setup.

A: I work in a professional home studio setup built around a calibrated monitoring environment. Core tools include Ableton Live, Logic Pro, iZotope RX for restoration, and a solid collection of orchestral and electronic plugins. For immersive work, I mix in Dolby Atmos.

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

A: Ennio Morricone for his ability to make you feel an entire world in one theme. Burial for proving that atmosphere is its own instrument. Hans Zimmer for bridging the emotional and the cinematic at scale.

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

A: Scoring for film and theatre, and mixing/mastering for independent artists. Most clients come to me needing music that fits a specific emotional moment and that's exactly what I love solving.