Experimental Sound Composer

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

A: One of the projects I'm most proud of began with something most people would ignore: the sound of cracking ice. I spent several days in the field capturing the recordings myself, then transformed them through experimental sound design into rhythmic pulses, harmonic textures, and immersive atmospheres that became the emotional foundation of an entire cinematic soundtrack. Rather than treating those recordings as sound effects, I composed with them as if they were musical instruments, allowing the ice itself to carry the harmony and emotion of the piece. I was responsible for every stage of the project—from field recording and sound design to composition, mixing, and mastering. More than any other work I've created, it represents my belief that every sound holds hidden musical potential waiting to be discovered. If you'd like to hear the result, you can listen to this project directly on my SoundBetter profile.

Q: What are you working on at the moment?

A: At the moment, I'm composing cinematic music for sync licensing while developing original sample libraries, Kontakt instruments, and Serum 2 preset packs.

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

A: Not yet. I'm new to the platform, but I look forward to discovering talented professionals and building relationships within the SoundBetter community.

Q: Analog or digital and why?

A: Digital. My work is built around experimentation, and digital tools give me the freedom to stretch, transform, and reshape sounds beyond their original form. For me, the creative possibilities matter far more than the medium itself.

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

A: My promise is to build a soundtrack that couldn't belong to any other project. Every sound, texture, and musical idea exists for one reason only: to strengthen your story, your world, and the emotions you want your audience to feel through a creative vision that could only emerge from our collaboration. If someone could replace my soundtrack with another one without changing the experience, then I haven't done my job.

Q: What do you like most about your job?

A: What I enjoy most is the moment when an ordinary sound suddenly reveals its unexpected musical potential. Discovering those hidden possibilities through experimentation, then transforming them into something emotional, is what keeps me passionate about this work.

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

A: Q: Can you adapt your style to my project, or do you have a very specific artistic signature? A: Every project deserves its own identity. My goal isn't to make every soundtrack sound like me, but to create a sonic world that feels inseparable from your story. My artistic approach remains the same, but the final result is always shaped around your vision, emotions, and world. Q: Can you give me an example of a sound that became music? A: One example is cracking ice. Instead of treating it as a simple sound effect, I transformed it into the emotional foundation of an entire soundtrack. Through sound design and extreme time-stretching, it became rhythmic pulses rich in harmonics, creating a deep sense of uneasiness and anxiety. Q: At what stage of production should we start working together? A: The earlier, the better. While I can join a project at any stage, getting involved early gives us more opportunities to explore artistic ideas, so the music and sound design can grow naturally alongside the world you're creating. Q: How do you decide which sounds belong to a project? A: It depends—the thought process is different for every project. If I'm designing the sound for a forest level in a video game, I'll naturally start thinking about the kinds of sounds I can capture in a real forest to strengthen its atmosphere. Most of the time, however, I don't begin by asking, "What sounds would fit?" I start by asking, "What should the audience feel?" Once the emotional direction is clear, every recording, texture, and musical idea is chosen because it reinforces that emotional experience and the identity of the project.

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

A: Most people think the sound of a project is made up of separate layers: sound effects, ambience, dialogue, and music. I believe these elements shouldn't be conceived separately, but as parts of a single cohesive whole working together to convey the strongest emotions.

Q: What questions do you ask prospective clients?

A: Don't just look for someone whose music sounds good. Look for someone who genuinely understands your vision and is willing to fight for it. The best soundtrack isn't just well written—it should feel like it couldn't belong to any other project. Experience matters, but genuine creativity, curiosity, and artistic commitment are what truly make a project unforgettable.

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

A: Don't just look for someone whose music sounds good. Look for someone who genuinely understands your vision and is willing to fight for it. The best soundtrack isn't just well written—it should feel like it couldn't belong to any other project. Experience matters, but genuine creativity, curiosity, and artistic commitment are what truly make a project unforgettable.

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

A: Zoom H5 with the XY microphone External hydrophone My laptop with all my music and sound design software My phone (with unlimited data to share with my laptop) Nature itself.

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

A: My path began around six years ago through a passion for cinematic music. Since then, I've continuously developed my skills in composition, experimental sound design, and field recording, gradually forging my own creative approach, which has led to the unique style I offer today.

Q: How would you describe your style?

A: I would describe my style as cinematic storytelling through experimental sound design inspired by electroacoustic music. I blur the line between music and sound effects.

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

A: Not necessarily a famous artist, but anyone who shares at least part of my artistic vision while respecting my creativity, just as I would respect theirs. I believe the strongest collaborations happen when both artists inspire each other to create something neither could have achieved alone.

Q: Can you share one music production tip?

A: To convey an emotion through music, start by describing that emotion in words. Once you can clearly define it, you can translate those qualities into melody, harmony, rhythm, texture, and every sound you choose. Sometimes the most powerful instrument isn't a piano or a violin—it might be cracking ice, rustling leaves, or a distant animal call.

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

A: I primarily compose cinematic soundtracks inspired by electroacoustic music, combining field recordings, experimental sound design, and emotional storytelling.

Q: What's your strongest skill?

A: My strongest skill is experimenting with sound to discover ideas that most people would never think to use musically. I then transform those ideas into emotional musical experiences that feel inseparable from the project they were created for.

Q: What do you bring to a song?

A: I bring more than music—I build a sonic world. By combining original field recordings, experimental sound design, and cinematic composition, I create soundtracks where every element works together to strengthen the emotion, storytelling, and identity of the project.

Q: What's your typical work process?

A: It all begins with understanding the emotions and experience my client wants their audience to be immersed in. I then go out and capture the original material I need to design a unique sonic identity tailored to the project. This sound design stage can take considerable time, as it forms the foundation of everything that follows and must fit perfectly within the world my client is creating, whether for film, games, or other media. Once that foundation is established, I compose the music and create the sound effects in parallel, allowing both to continuously influence each other until they become a single cohesive piece. Through feedback and refinement, I shape the final soundtrack to best support my client's story, vision, and emotional goals.

Q: Tell us about your studio setup.

A: My studio setup is designed for a hybrid workflow between field recording, sound design, and cinematic composition. I capture original material from real environments using a Zoom H5 recorder, either with its XY microphone or an external hydrophone. I then transform these recordings through synthesis, sampling, and advanced sound design techniques using Reaper and Ableton Live.

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

A: I am inspired by a wide range of composers and sound artists, from cinematic composers such as Hans Zimmer and Joe Hisaishi to experimental electroacoustic artists exploring sound as a living material, such as SV1 and ClairX. I am drawn to artists who create strong emotional experiences through unique sonic identities, whether through orchestration, texture, or unconventional sound design.

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

A: The most common type of work I do is creating soundtracks where sound effects are seamlessly embedded into the music, supporting the project's vision and emotional direction. Clients come to me when they want something less conventional and more experimental, where every aspect of the sonic atmosphere becomes part of one cohesive world, with emotion deeply connected to the story or experience.