Orchestral Arranger | 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 especially proud of is my work on professional rock productions released through Frontiers Music. My role involved keyboards, arrangements and orchestral elements, bringing cinematic colors into a band-oriented production. I'm particularly proud of this work because it allowed me to combine two sides of my musical background: years of experience as a rock keyboardist and my passion for orchestration and cinematic music.

Q: What are you working on at the moment?

A: I'm currently working on a collection of original cinematic and orchestral pieces, exploring different emotional worlds — from intimate piano and strings to dramatic action and full orchestral writing. I'm also developing new material that combines my background in rock and progressive music with cinematic orchestration. Some of this music will become part of my new professional portfolio.

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

A: I’m still building my network on SoundBetter, so I prefer not to recommend someone I haven't personally worked with yet. I'm always happy to connect with talented musicians, engineers and producers for future collaborations.

Q: Analog or digital and why?

A: Digital for flexibility and creative freedom, but always with an analog mindset. I love the precision and possibilities of modern software, especially for orchestral production, while I still look for warmth, dynamics and musical imperfection. For me, technology should never become more important than the music.

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

A: I promise to treat your music as music, not just as another job. I will listen carefully to your vision, communicate clearly throughout the process and put the same attention into your project that I put into my own music. My goal is not simply to deliver an arrangement — it's to create something you are genuinely excited to hear.

Q: What do you like most about your job?

A: The moment when a simple musical idea becomes something that creates a real emotional response. I love starting with a melody, a few chords or a client's song and discovering what it can become through harmony, orchestration and dynamics. After more than 25 years of making music, that transformation still excites me.

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

A: Can you turn my simple idea or demo into a complete orchestral production?” Absolutely. I can start from a piano sketch, MIDI, demo, existing song or even a musical concept and develop it into a complete arrangement. We first define the emotion, style and references, and then I build the production around the identity of the original idea.

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

A: One of the biggest misconceptions is that orchestral production is simply about using great sample libraries and making everything sound huge. Libraries are only tools. A convincing orchestral production comes from composition, harmony, voicing, orchestration and dynamics. Every instrument should have a musical purpose and serve the emotion of the piece.

Q: What questions do you ask prospective clients?

A: I usually ask about the story and emotion behind the project, the musical references they have in mind and what they want the listener to feel. I also ask about the desired instrumentation, whether they need composition, arrangement or full production, the expected deliverables and the deadline. Most importantly, I want to understand what would make the client say: “Yes, that's exactly what I had in mind.”

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

A: Look for someone who understands the emotion and purpose of your music, not just the technical requirements. References are very helpful, but communication is even more important. Tell me what you want the listener to feel, what you love about your song and where you want to take it. From there, we can build the right musical direction together.

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

A: A great piano or MIDI controller, my computer with Studio One, my favorite orchestral libraries, a good pair of headphones and an audio interface. Give me those five things and I can probably keep writing music until someone comes to rescue me!

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

A: I have been making music for over 25 years, starting as a pianist and keyboard player and gradually developing my work as a composer, arranger and orchestrator. Over the years I have worked professionally in rock and metal productions, including releases for Frontiers Music, and performed with international artists. My experience as a keyboardist and composer naturally led me toward orchestral arranging and cinematic music, which has become a major focus of my work. Today I bring together my background in bands, songwriting, keyboards and orchestration to create complete musical productions.

Q: How would you describe your style?

A: Emotional, cinematic and dynamic. I like music that tells a story and evolves over time, moving naturally between intimate and powerful moments. My style combines orchestral writing, strong melodies and harmony with influences from cinematic music, symphonic rock and progressive music. I always try to create arrangements that feel musical and human rather than simply “big.”

Q: Can you share one music production tip?

A: Don’t add instruments just to make a production sound bigger. Every element should have a musical purpose. Dynamics, space and silence can be just as powerful as a full orchestra. Start with the emotion you want to communicate, then choose the arrangement and sounds that best serve it.

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

A: I mainly work on cinematic, orchestral, symphonic rock and emotionally driven music. My work ranges from intimate piano and string arrangements to dramatic action cues and large-scale orchestral productions. My background in rock and metal also allows me to combine orchestra with bands, guitars, keyboards and modern production when the project requires it.

Q: What's your strongest skill?

A: My strongest skill is orchestral arranging and composition, especially translating an emotion or a simple musical idea into a complete cinematic arrangement. I have a strong sense of harmony, melody and dynamics, and I particularly enjoy creating arrangements that evolve naturally from intimate moments into powerful orchestral sections.

Q: What do you bring to a song?

A: Emotion, dynamics and musical storytelling. I use harmony, orchestration and arrangement to enhance what is already inside a song rather than overpower it. Whether it needs a subtle string arrangement, an intimate piano part or a powerful full orchestra, my goal is always to make the listener feel something and give the music its own identity.

Q: What's your typical work process?

A: I start by understanding the client's vision, references and the emotion they want the music to communicate. From there, I develop the composition or arrangement and build the orchestration section by section. I usually share a first version with the client, collect feedback and refine the music until the arrangement fully supports their vision. I can then deliver a complete production or separate stems depending on the project's needs.

Q: Tell us about your studio setup.

A: My studio is centered around Studio One and a professional collection of orchestral instruments and production tools. My orchestral palette includes Orchestral Tools Berlin Series libraries for strings, brass, woodwinds and percussion, along with additional specialized instruments and libraries. I use professional mixing and mastering tools from Waves, FabFilter, Softube, Sonnox and other leading developers. My workflow allows me to deliver complete orchestral productions as well as individual stems, MIDI and separated orchestral sections when required.

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

A: I’m deeply inspired by composers such as James Newton Howard, Thomas Newman, John Williams, Hans Zimmer and Ennio Morricone. I also admire producers and musicians who combine strong songwriting with sophisticated arrangements. What inspires me most is music where orchestration serves the emotion rather than simply making the production bigger.

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

A: I mainly work as a composer, arranger and orchestrator, creating cinematic and orchestral music for artists, producers and media projects. I can take a musical idea, piano sketch or existing song and develop it into a complete arrangement, from intimate piano and strings to full orchestral and cinematic productions. I also provide keyboards, orchestral programming and production, with particular attention to emotion, dynamics and realistic orchestration.