PIANIST / COMPOSER / PRODUCER

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

A: There are many artists and creative teams I would be excited to work with. For example, Hans Zimmer and his team - I admire his attention to sound, detail, and emotional impact, and how his music can completely change the way we experience a scene. I would also love to collaborate with artists like Jacob Collier because of his freedom with harmony, arrangement, voice, and genre. I’m drawn to musicians who cross stylistic boundaries and create something personal, unexpected, and alive.

Q: What's your typical work process?

A: With great attention, I review the client’s material, references, and written notes to understand the musical direction, emotional tone, structure, and technical requirements of the project. Once the direction is clear, I start working on the music. I usually prepare and deliver a complete version first, so the client can hear the result as a full musical piece rather than separate unfinished fragments. Revisions are included as long as they stay within the original direction and scope of the project. In most cases, revisions are unnecessary when the direction, references, and project details are clear from the beginning. However, I’m always happy to make adjustments to fine-tune the result. My goal is always to achieve the best possible result for the project. Once the work is completed, we can finalize the delivery and exchange public reviews as part of the collaboration.

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

A: It is not easy to choose just one project. I’m proud of many different kinds of work - projects where I contributed as a composer, pianist, arranger or music producer. For me, a project becomes especially meaningful when I am able to deeply understand the client’s vision and turn it into music that truly serves the project. I’m proud when the music does more than simply sound good - when it adds emotional depth, character and helps the whole project feel more complete and impactful.

Q: What are you working on at the moment?

A: At the moment, I’m focused on selected projects, including piano recordings, arrangements and music production. My recent work includes cinematic and piano-based pieces, string and orchestral arrangements, and modern productions with electronic and rhythm-based elements, alongside my own original music releases.

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

A: Yes, I’m happy to recommend trusted SoundBetter professionals whose work I know and respect.

Q: Analog or digital and why?

A: Both - analog and digital each have their own strengths. I think the best choice always depends on the project, the sound it needs, and the texture and character that best serve the music.

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

A: My promise to my clients is to bring my best to the project - my experience, attention and creativity. I always aim to understand the client’s vision deeply and create music that serves the project in the strongest possible way, whether it is a song, a film, an arrangement, a piano recording or a full production.

Q: What do you like most about your job?

A: What I like most is the moment when an idea starts to become real through music. I love taking a concept, a scene, a voice, a story or a feeling and shaping it into something that begins to breathe, carry emotion and take on a life of its own.

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

A: Clients often ask: 1. What do you need to get started? I need a clear description of the project, the desired feeling, music references, deadline and intended use of the music. 2. Can you provide stems and MIDI files? Absolutely, I can provide stems and MIDI files when needed. 3. Can you provide music notation or a score? Yes, for projects involving string arrangements or orchestration, I can provide a full score and individual parts.

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

A: The biggest misconception is that a client needs to describe everything in professional musical terms. In reality, that is not necessary. A director, artist or brand does not need to know the exact musical language to explain what they are looking for. It is often enough to share the feeling, purpose, music references or general creative direction. Part of my work is to ask questions that help clarify the project and shape the client’s ideas into a strong musical direction.

Q: What questions do you ask prospective clients?

A: I usually ask about the purpose of the project, the emotional direction, the style or references the client has in mind, the deadline, the intended use of the music and any technical requirements. If it is a song, I ask about the vocal, arrangement, the role the piano, strings or production should play. If it is a film, ad or media project, I ask about the picture, timing, mood, key moments and how the music should support the scene. These questions help me understand the project clearly before I start creating.

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

A: My advice is to provide a clear creative direction: what the project is for, what emotion the music should create, any references you like, the deadline and the final use of the music. Clear communication and trust in the creative process usually lead to the strongest results.

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

A: Computer, a MIDI keyboard, an audio interface, a pair of studio monitors and a grand piano :)

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

A: I have over 20 years of professional experience as a pianist, composer and music producer. My path began with jazz piano, composition and performance. I received professional training in jazz piano, and later graduated from conservatory as a classical pianist and composer. During my studies, I also took part in many masterclasses and educational programs, always looking to expand my musical language and professional skills. My background also includes certification from Berklee College of Music in orchestration. Alongside my formal education, I gained extensive practical experience working on a wide range of projects with musicians, vocalists, songwriters, directors, music supervisors, producers, production teams, artists and international brands, as well as developing my own original music projects and releases. Over the years, this combination of academic training, performance experience, composition, orchestration, studio work and cross-genre projects has shaped my work as a pianist, composer, arranger and music producer with a broad musical background and a strong ability to adapt to each project’s creative needs.

Q: How would you describe your style?

A: My work moves between different styles, including cinematic, neoclassical, orchestral, pop, rock, indie and modern production. I often work with expressive piano, string and orchestral textures, electronic sounds, ambient layers and rhythm-based production.

Q: Can you share one music production tip?

A: My production tip is to define what the music truly needs before writing, recording, arranging or producing anything. The sound should be shaped around the purpose of the project - the emotion of the scene, the character of the song, the voice of the artist or the atmosphere that needs to be created. If I’m working with a vocalist, I listen carefully to the color, range and character of the voice. If it is a film or media project, I focus on what the scene needs emotionally and dramatically. Once this direction is clear, every musical and production decision becomes much stronger.

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

A: I usually work on music production for artists, films, advertising, branded content and media projects. This includes piano recordings, cinematic and orchestral music production, string arrangements and modern productions with electronic textures and beat-driven elements.

Q: What's your strongest skill?

A: My background combines a formal degree in piano performance with studies in classical and jazz music, composition, orchestration and symphonic writing. Alongside this academic foundation, I have many years of experience performing and creating music across different styles and projects - from acoustic, classical and orchestral music to electronic, rock and beat-driven productions. Because of this, I would say my strongest skill is creating music with a wide creative palette while keeping every element aligned with the client’s vision, the project’s purpose and the sound it needs.

Q: What do you bring to a song?

A: I bring over 20 years of professional experience as a composer, pianist, arranger and producer, combining strong musicianship with a detailed, project-specific approach. For every project, I focus on what the music needs to achieve - whether it is supporting a vocal, strengthening a scene, creating atmosphere or building energy. Depending on the project, I can contribute expressive piano parts, string and orchestral arrangements, electronic and beat-driven textures, and full production that helps the music feel polished, distinctive and complete.

Q: Tell us about your studio setup.

A: My production setup is built around Logic Pro, a Universal Audio interface, professional monitoring, and a wide collection of top-tier piano, strings, orchestral, choir, synth and cinematic sound libraries. I use premium sampled instruments together with professional MIDI programming, audio editing, mixing and mastering tools to create polished, high-quality productions. When a project requires live elements, I can also record or collaborate with professional musicians and vocalists, including strings, guitar, vocals and other instruments by request.

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

A: I’m inspired by musicians with a strong personal language - pianists, contemporary classical composers, film composers and producers who can combine acoustic instruments, orchestral writing and modern electronic textures. I’m especially drawn to the emotional clarity of Ludovico Einaudi, the cinematic depth of Max Richter and Ryuichi Sakamoto, the scale of Hans Zimmer, and the modern sound design approach of Nils Frahm, Hildur Guðnadóttir and Trent Reznor & Atticus Ross.

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

A: I create original music, piano recordings, string and orchestral arrangements, and full soundtracks for artists, films, advertising, branded content and media projects. My work ranges from intimate piano pieces and emotional cinematic music to powerful orchestral productions, electronic textures and beat-driven tracks for advertising and media.