Film Composer, Music Producer

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

A: If I were on a desert island and could only take five pieces of gear, I would choose my computer with my DAW and plugins, my audio interface, my electric bass, my MIDI keyboard, and my headphones. These tools represent the core of my workflow, allowing me to compose, produce, and mix music anywhere with full control over sound and detail.

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

A: My career path has always been closely connected to music in different forms — as a performer, composer, arranger, and producer. I studied music academically, completing both a Bachelor’s degree and a Licentiate in Music, while also working in parallel as a professional musician. Over the years, I have been involved in a wide range of projects, from live performance and recording sessions as a bassist, to arranging and producing music across different genres. My experience has developed in both academic and practical environments, including work in education, performance settings, and studio production. This combination has allowed me to build a versatile and comprehensive musical perspective. I have been working professionally in music for several years, continuously evolving between performance, composition, and production, always with a strong focus on artistic development and collaboration.

Q: How would you describe your style?

A: What I enjoy most about my work is the process of transforming an idea, a dream, or an emotion into something real and tangible. I love the moment when something abstract becomes music — when it starts to take shape, find direction, and turn into a finished piece that can exist in the world. For me, making music is about giving form to something internal, guiding it through the creative process, and finally releasing it so it can connect with others and take its own life.

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

A: I draw inspiration from a wide range of producers and musical approaches, both classic and contemporary. I’m deeply inspired by the creative world of Childish Gambino, especially his collaborations with Ludwig Göransson and Kendrick Lamar, where music, concept, and artistic identity are deeply interconnected. I also admire legendary producers who shaped iconic records, such as Quincy Jones (Michael Jackson), George Martin (The Beatles), and the collaborative production work behind Stevie Wonder’s classic era, where Stevie himself played a central role in shaping his sound alongside key engineers and producers like Malcolm Cecil and Robert Margouleff. At the same time, I follow and respect contemporary producers such as Nico Cotton from Argentina, whose work brings a modern and authentic perspective to Latin and pop music. What connects all of these influences for me is not a specific genre, but a way of thinking about music: production as a creative and artistic act, where arrangement, identity, and emotion are at the center.

Q: Can you share one music production tip?

A: One of the most important music production tips I can share is to always think about the arrangement before focusing on sounds or plugins. A strong production is not built on layers or complexity, but on clarity of musical intention. Every element should have a clear role: rhythm, harmony, melody, or texture. If something doesn’t serve the song, it usually doesn’t need to be there. I also believe in working with perspective rather than perfection in the early stages. A simple sketch that clearly communicates the idea is often more powerful than an overproduced draft that lacks direction. In the end, good production is about decision-making: knowing what to add, but even more importantly, knowing what to leave out.

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

A: I work across a wide range of musical styles, from jazz big band arrangements and orchestral writing for film, to contemporary genres like pop, trap, indie, rock, and Latin music, including MPB. Versatility is a big part of my work, but I always aim to bring a strong musical identity to each project. No matter the genre, my focus is on creating something that feels cohesive, expressive, and true to the artist or the story.

Q: What's your strongest skill?

A: My strongest skill is developing musical ideas into fully realized pieces with a strong sense of identity. Whether the starting point is a song, a melody, or an image for film or visual media, I focus on building melodic and harmonic development that feels original and intentional. I’m especially strong at arranging — shaping the structure, dynamics, and musical direction so the piece evolves naturally and keeps the listener engaged. I don’t approach music as mass production. I treat each project as something unique, crafted with attention to detail, where the goal is to create something that sounds personal, distinctive, and emotionally meaningful.

Q: What do you bring to a song?

A: What I bring to a song depends on the stage of the project, but my main contribution is an artistic and aesthetic vision that helps the music work, connect, and stand out. I often offer a different perspective that the songwriter or producer may not be seeing yet. Today, music production is often a collaborative process, and I see that as a strength — each person brings their best, and the final piece grows from that exchange of ideas. At the same time, I strongly believe that the artist has the final word, and the creative process should be built as a team. This also includes the work of sound engineers — the aesthetics of mixing and mastering are essential to achieving the best possible result. For me, the goal is to create music that is emotionally meaningful, artistically strong, and also functional — something that connects with people, works in the real world, and allows everyone involved to feel proud of the result.

Q: What's your typical work process?

A: My work process is collaborative and tailored to each type of project. For music production, it usually begins with a conversation where I aim to fully understand the artist’s vision, references, and emotional direction. From there, I define a clear production approach based on the style, goals, and available resources. I then develop the arrangement, structure, harmony, and overall sonic identity, starting with a first demo and refining it through constant communication and feedback with the client. When composing music for film, the process starts with a detailed analysis of the project together with the director. We define what the music needs to express, the emotional landscape, key moments, and the role of each character. Some characters may require leitmotifs and thematic development, while others may not. We also establish the main musical direction of the film. Every decision is shaped by the genre, aesthetic choices, and the narrative development of the story and its characters. For bass recording, my process is focused on musicality, groove, and precision. I study the track, its style, and its rhythmic and harmonic context, and then create a bass line that supports and enhances the music. I can work from references or develop original ideas, always aiming to serve the song and deliver a professional and expressive performance.

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

A: At the moment, one of the music producers who inspires me the most is Ludwig Göransson. His work in both the film industry (Sinners, The Mandalorian, Oppenheimer) and the music world — especially his collaborations with artists like Childish Gambino and Kendrick Lamar — represents a balance that I strongly connect with. I see myself in that intersection between cinematic composition and contemporary music production. What I admire most about his work is his ability to create a fresh and modern musical language while still being deeply rooted in the techniques and traditions of the great masters.

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

A: The most common work I do for my clients is music production for songwriters. Usually, they send me a song in its early stage — sometimes just a melody and lyrics, and sometimes a more developed idea with chords. From there, we begin a process of understanding the artistic direction of the song and the vision of the artist. Based on the style, genre, and available resources, we define the production approach — whether it will be fully in-the-box or involve studio recordings, and whether it will be produced entirely in my home studio or in a professional recording studio. Once these decisions are made, I start working on the arrangement: structure, harmony, instrumentation, and overall musical direction. I usually begin with a first demo, and from that point, I like to work in close and constant communication with the client, developing the project through an ongoing creative dialogue to achieve the best possible result.