Originality through authenticity

Every story develops in a temporal or cultural context. I incorporate this context into my pieces in the form of typical ethnic or historical instruments, thus creating a deep originality that flows into the overall work. An example of a successful use of such elements would be the nyckelharpa from the Marvell series Loki (composed by Natalie Ann Holt). I don’t shy away from extensive arrangements either: symphony orchestras produce an incredibly breathtaking sound.

Constant feedback

During the entire development process, I work with “sampled orchestration” – I have also completed various training courses on this. This relatively inexpensive method allows an almost realistic presentation when used correctly and with correspondingly high-quality libraries. I provide you with the exports as group stems or finished mixes, which serve as the basis for our regular discussions.

Hybrid composition

In addition to ethnic and historical instruments, my focus is on synthesisers and sound samples, which are easily added to the orchestral recordings by overdubbing.

Target audience

The target audience is also relevant in many cases when composing – because the music should be appealing and (in the case of media composition) at least not cause irritation among the audience. As with a marketing analysis, this raises questions about age, gender, social background and other characteristics. A teenage film will be difficult to associate with an orchestral score. The question of the target group can also be answered in part by the distribution channel. A film on Netflix, Disney Plus etc. targets a different group than a cinema or TV film.