Producer

Q: What are you working on at the moment?

A: I'm currently finishing a new single release and continuing to develop workshops and sound design work through Music4all, an inclusive electronic music project I run. Alongside that, I'm always sketching new material on hardware between client projects.

Q: Analog or digital and why?

A: Both, and I don't think it has to be a choice. I sketch and sound-design on hardware — synths, sequencers — because the constraints and tactile interaction push me toward more interesting decisions than infinite plugin options would. But I finish and arrange in Ableton, because the flexibility and precision digital offers are hard to beat once the creative direction is set.

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

A: I won't hand back a generic result. Every track gets the same hands-on sound design care I bring to my own work.

Q: What do you like most about your job?

A: Every project is different, different genre, different mood, different challenge. I love that after 10+ years I'm still learning, still finding new sounds and new ways of working.

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

A: How long will it take?' It depends on the scope, but for a full production I usually estimate 3-5 business days once I have all the reference material and files I need — I'll always give a clearer timeline after seeing the brief. 'Can you match a specific reference sound?' Yes — I ask for reference tracks early on specifically so I can get close to the sound and mood you're after, while still bringing my own sound design touch to make the track distinctive.* 'Do you offer revisions?' Yes, revisions are included and I go through them until the track feels right to you — clear feedback (voice memos, notes, or a quick call) makes that process faster and more precise.

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

A: People sometimes assume that using hardware synths and outboard gear is mostly about nostalgia or aesthetics. In reality, it's a workflow choice — the constraints and hands-on interaction often lead to more interesting, less generic sounds than starting from a preset in a plugin.

Q: What questions do you ask prospective clients?

A: I usually start with a few key questions: - Do you have reference tracks that capture the sound or mood you're going for? - What's the intended use for the track (release, sync, personal project, etc.) — this can shape technical choices like mix loudness or structure. - Do you have any stems, sketches or existing material, or are we starting from scratch? - What's your timeline, and is there a hard deadline I should know about? - How do you prefer to give feedback — written notes, voice memos, a call — so revisions go smoothly?

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

A: Be specific about the reference sound or mood you're after — even a couple of tracks that capture the vibe you want help me (and any producer) deliver faster and closer to your vision on the first pass. Don't be afraid to ask about someone's process before starting — how they handle revisions, turnaround time, and communication. A good working relationship matters as much as technical skill. And trust the producer's sound design instincts, especially if you've chosen someone for their distinctive hardware-based or textural approach — leaving some room for their creative input often leads to a more interesting result than over-directing every detail.

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

A: 1. Teenage Engineering OP-1 — a whole studio in your pocket, battery-powered and endlessly inspiring to sketch on. 2. OXI ONE MKII — my sequencing brain, keeps ideas structured even with limited gear around. 3. Polyend Synth — a full standalone synth and sequencer, no laptop required. 4. Torso S4 — for textures and rhythmic experimentation that go beyond the obvious. 5. Teenage Engineering TP-7 — to record whatever sounds the island itself gives me: waves, wind, wildlife.

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

A: I've been producing electronic music for over a decade now. I started as a self-taught, amateur producer/DJ, learning by experimenting — pulling apart tracks I loved, teaching myself synthesis and sound design largely through trial and error rather than formal training. Over the years that hands-on, curious approach turned into a career: I moved from bedroom production into collaborating with brands like Erica Synths, Polyend, ROLI and Gamechanger Audio, and into performing live. The self-taught foundation still shapes how I work today, I trust experimentation and hands-on exploration as much as technique.

Q: How would you describe your style?

A: Electronic music with character — I favor unique, hand-shaped textures over presets, whether the track calls for ambient calm or techno drive.

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

A: I'd choose Four Tet, his genre-fluid approach and his ear for turning unconventional sounds into something melodic is a huge inspiration. Working together would be a chance to experiment outside my usual comfort zone.

Q: Can you share one music production tip?

A: Don't be afraid to record a hardware synth patch you'll never recreate the same way twice — some of the best textures come from happy accidents you can't fully control. Print it to audio immediately, because you probably won't get that exact sound again.

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

A: mostly work across electronic music, ambient, techno, electro, IDM and downtempo. I'm comfortable moving between moody, textural pieces and more driving, rhythm-focused tracks, and I often bring elements from one genre into another to give a track a distinctive character.

Q: What's your strongest skill?

A: Electronic music production across multiple genres — from ambient textures to driving techno, with a strong ear for arrangement and sound character.

Q: What do you bring to a song?

A: I bring a strong sense of texture and sound design — thanks to years of working hands-on with hardware synths and sequencers, I know how to shape a sound until it has real character, not just a preset feel. I also bring a producer's ear for arrangement: knowing when a track needs space, when it needs energy, and how to build tension and release across a piece. Having collaborated with brands like Erica Synths, Polyend, ROLI and Gamechanger Audio, I'm used to pushing gear and workflows in creative, non-standard ways — which often translates into sounds and ideas a client wouldn't have gotten from a more conventional setup. Ultimately, I try to serve the song itself: whatever genre or mood we're working in, my goal is to make choices that support the emotional core of the track, not just add complexity for its own sake.

Q: What's your typical work process?

A: I usually start by listening closely to the reference material or brief the client sends, to understand the sound and direction they're after. From there I sketch a first arrangement — often starting on hardware (sequencer, synths) to get a tactile, spontaneous feel, then moving into Ableton Live to build it out properly. Once the arrangement is solid, I move into sound design and refinement — shaping textures, layering elements, and dialing in the details that give the track its character. I share a first version with the client and go through revision rounds based on their feedback until the track matches their vision. The final stage is mixdown, making sure everything translates well across systems before delivery

Q: Tell us about your studio setup.

A: My studio is built around Ableton Live Suite 12 on a MacBook Pro, running through an Arturia AudioFuse 8Pre as my main interface (with a MiniFuse 2 for portable sessions). I monitor on Palmer ORBIT 11 speakers and beyerdynamic DT 770 Pro headphones, and track vocals or acoustic sources with a Rode NT2. Hardware plays a big role in my workflow — I sequence with an OXI ONE MKII, sketch and sound-design on a Teenage Engineering OP-1 and OP-XY, and work with synths like the Sequential Prophet Rev2, Polyend Synth and Torso S4/T1. For beats and sampling I use Native Instruments Maschine Plus, and everything comes together with Push 2 as my main MIDI controller. On the software side, Native Instruments Komplete 26 rounds out my sound design toolkit. This mix of hardware and software lets me move fast from idea to finished sound — sketching on hardware when I want a hands-on, tactile approach, then refining and arranging in Ableton.

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

A: I've always been drawn to producers who blend deep sound design with strong musicality — artists like Brian Eno, Jon Hopkins and Nils Frahm, who treat hardware and texture as compositional tools rather than just production means. Their approach to blending organic and electronic elements has shaped how I think about sound design and arrangement in my own work.

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

A: Most of my client work involves electronic music production — building tracks from scratch or developing existing ideas, working across ambient, techno, electro, IDM and downtempo. I also do sound design, creating custom textures, one-shots and patches using hardware synths and Ableton Live. A typical project starts with a reference track or brief, then moves through sketching the arrangement, sound selection/design and mixdown, with revision rounds along the way until the track matches the client's vision.