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At home we had an old Zimmermann upright. My father, an ex-opera soprano turned rocker, didn't spare it. My mother, who understood that a piano needs to be in shape for children to practice recitals, arranged for a professional tuner to come regularly. That triangle of forces left space in my imagination. I learned to take the panels off, jam the strings, and play it in ways the music school does not teach. This still resonates.
At home we had an old Zimmermann upright. My father, an ex-opera soprano turned rocker, didn't spare it. My mother, who understood that a piano needs to be in shape for children to practice recitals, arranged for a professional tuner to come regularly. That triangle of forces left space in my imagination. I learned to take the panels off, jam the strings, and play it in ways the music school does not teach. This still resonates.
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At home we had an old Zimmermann upright. My father, an ex-opera soprano turned rocker, didn't spare it. My mother, who understood that a piano needs to be in shape for children to practice recitals, arranged for a professional tuner to come regularly. That triangle of forces left space in my imagination. I learned to take the panels off, jam the strings, and play it in ways the music school does not teach. This still resonates.
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I have worked on a few films where I never received a script. It taught me that picking your collaborators carefully should not be a luxury. It is the condition for doing the work properly. I collaborate with driven creatives who thrive on an ongoing dialogue between sound and picture. The ambition is to build a dimension that did not exist at the outset, and finding it is never immediate.
I have worked on a few films where I never received a script. It taught me that picking your collaborators carefully should not be a luxury. It is the condition for doing the work properly. I collaborate with driven creatives who thrive on an ongoing dialogue between sound and picture. The ambition is to build a dimension that did not exist at the outset, and finding it is never immediate.
I have worked on a few films where I never received a script. It taught me that picking your collaborators carefully should not be a luxury. It is the condition for doing the work properly. I collaborate with driven creatives who thrive on an ongoing dialogue between sound and picture. The ambition is to build a dimension that did not exist at the outset, and finding it is never immediate.
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There is a reason the best soundtracks feel like architecture. They were built that way. Constructed from the ground up, one recorded element at a time, shaped and placed until the structure holds and the air inside it feels like it belongs to that film alone. Finding what a film sounds like is a question that runs through everything, and the answer is different every time. But it always has to start at the script.
There is a reason the best soundtracks feel like architecture. They were built that way. Constructed from the ground up, one recorded element at a time, shaped and placed until the structure holds and the air inside it feels like it belongs to that film alone. Finding what a film sounds like is a question that runs through everything, and the answer is different every time. But it always has to start at the script.
There is a reason the best soundtracks feel like architecture. They were built that way. Constructed from the ground up, one recorded element at a time, shaped and placed until the structure holds and the air inside it feels like it belongs to that film alone. Finding what a film sounds like is a question that runs through everything, and the answer is different every time. But it always has to start at the script.
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The studio is home most of the year, and I enjoy traveling to mixes around the globe. I run Avid HDX, a calibrated 7.1 Genelec system with 8351B and 7370 at the front, a 4K projected screen, frame edge synced, RAID 5 speed and redundancy, connected at 1gbps. Allowing me to work at final mix standard from day one.
The studio is home most of the year, and I enjoy traveling to mixes around the globe. I run Avid HDX, a calibrated 7.1 Genelec system with 8351B and 7370 at the front, a 4K projected screen, frame edge synced, RAID 5 speed and redundancy, connected at 1gbps. Allowing me to work at final mix standard from day one.
The studio is home most of the year, and I enjoy traveling to mixes around the globe. I run Avid HDX, a calibrated 7.1 Genelec system with 8351B and 7370 at the front, a 4K projected screen, frame edge synced, RAID 5 speed and redundancy, connected at 1gbps. Allowing me to work at final mix standard from day one.
