A WAY OF WORKING
Philosophy.
Every project has its own logic. I try to understand that logic before I decide what the work needs from me, whether I am inside an audio engine, a sound palette, a piece of music or a rehearsal room.
Development.
I came to development through music, so I tend to think about software in musical terms. I pay attention to how an engine responds under the hands, how quickly an idea can be reached, how much structure should stay visible, and which controls deserve to be close to the surface.
Working with composers and musicians around the world has made those questions practical. A scoring tool for media may need to move quickly through very different colours from one scene to the next. Another instrument may need to support a slower, more exploratory way of writing. The architecture, NKS mapping, parameter layout, and UI/UX all shape how that happens.
My work with UI and UX designers usually begins from the musician's point of view: what does the person need to see, touch or hear at this exact point in the process? I want the creative path to stay clear and the software to feel musical while it is being used.
Sound design.
When I design presets or sounds for an instrument, I imagine them already inside a piece of music. I think about the kind of scene they could live under, the register they leave open for another instrument, the way they react to a mod wheel or a held note, and the character suggested by the library itself.
The timbre of the instrument often becomes the starting point, and from there I build a small musical intention around the sound: its weight, movement, distance, texture, and the kind of media it might eventually live inside. I try to leave enough room for the composer to take that intention somewhere personal.
Theatre.
In theatre I work from the human being outward. The text, the actors, the space, the rhythm of a scene and the period in which a play was written become parts of the same reading.
When the work comes from another time, I look for the point where its question touches the present and build a bridge between those moments carefully enough that the history of the text remains visible. The questions I keep returning to are: why does this concern us today, and why would a person sitting in this room need to encounter it now?
THE AXIS
The person at the centre.
The same axis runs through all of my work. In software, I think about the musician who will spend hours with the tool and the decisions the interface will ask them to make. In theatre, I think about the people on stage and the people receiving the work. In music, I think about how time, sound and arrangement shape the listener's experience.
Each medium asks for its own process, and the human experience gives me a way to decide what matters.
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