A WAY OF WORKING
Philosophy.
Every project is different.
Every idea asks for a different way in.
Built from the composer’s side of the screen.
I am a musician before I am a developer. I do not approach audio software as code alone. I look for the musical behaviour inside it and for the point where technology stops feeling technical and starts becoming an instrument.
Working with composers and musicians around the world has taught me that every project has its own needs. For media, every scene asks for its own palette. Every tool can change the way someone composes.
UI and UX are part of that musicality too. Working closely with designers, I try to bring the act of creating onto the screen without letting the interface get in the way.
A sound needs a reason to exist.
When I design presets or sounds for a project, I think about the music that might be made with them. A sound should not only impress for a few seconds. It should suggest a direction.
The mindset comes from the instrument itself, its timbre and the worlds it may end up scoring. Film, television, games or something that has not been named yet.
The human comes first.
My approach to theatre is holistic, but the centre is always the person. The subject of a work has to meet the present.
If a play was written in another time, the work is to bridge that distance without flattening what made it strange in the first place.
Why does this matter now?
Why should someone today ask these questions?
THE CENTRE
The form changes.
The centre stays the same.
In software, it is the person who will use the tool.
In theatre, it is the person on stage and the person watching.
In music, it is the listener and the experience the composition creates.
Different forms.
Same axis.