Your Honor
Season 2
- COMPOSED BY
- David Buckley
- ROLE
- Composer's Assistant
Working alongside David Buckley, I contributed to shaping the sonic palette of the second season.
WORKS / SOUND
Built, shaped, recorded. A working index of things made for instruments, pictures and listening.
01 / FILM & TV
Season 2
Working alongside David Buckley, I contributed to shaping the sonic palette of the second season.
Sound design and Kontakt instruments I helped build have also found their way into film and television, including The Sandman and Castlevania on Netflix.
IN USE / CASTLEVANIA
“One of the scores that inspired me was The Lighthouse by Mark Korven. I searched for sounds that were similar to the score of The Lighthouse and immediately found a patch named Lighthouse in Emergence Audio's Clarinet Textures. It was both inspiring and playable. It had nuance, texture, and it evolved. It was playable, everything that I needed.”
Trey Toy / Castlevania Season 2 / Netflix
Source: Behind the WaveForm™ Ep. 01: How Trey Toy Turned Classic Castlevania Music Into a Modern Score ↗
Video by Emergence Audio / Michael Vignola
02 / KONTAKT LIBRARIES
Choose a collaboration.
SOUNDSPHAT / CURRENT
With SoundSphat, I’m developing the scripting architecture behind Cassiopeia, an instrument that has been in production for more than a year and a half and is still growing.
ROLE / DEVELOPMENT & ENGINE SCRIPTING
Cassiopeia holds more than 400 GB of source material, moving from classic synthesizers and complex waveforms to textures and one-shots. Four layers can be blended at once, then shaped independently through LFOs, effects and detailed processing.
The idea is not a fixed library. It is an engine made to accept more sounds, more functions and a series of future instruments without having to begin again.


Cassiopeia behaves less like a finished object than a living one. Built with Grammy-nominated producer Christian Beat Hirt and a small team, it continues to change while it is being made.
EMERGENCE AUDIO
With Emergence Audio, my work has centred on refining and maintaining the Infinite Motion Engine series, developing deep NKS integration across the Native Instruments hardware and software ecosystem.
The Infinite Motion Engine is built around movement. Sounds evolve rather than repeat, allowing ambient textures, drones and cinematic material to stay alive over time. My work has included polishing existing functionality, implementing new refinements, designing snapshots, and creating a smoother NKS experience for direct access through Native Instruments hardware and software.



SONORA CINEMATIC
With Sonora Cinematic, my work has moved between instruments built around voice, guitar, texture and movement. Different sources, shaped with the same intention: to leave enough space for a sound to become something else.
HARMONIC BLOOM
Harmonic Bloom turns noise into musical material, extracting harmonics and combining them with sampled instruments, guitars, synthesis and processed acoustic sources. The result sits somewhere between instrument and atmosphere, with room for evolving pads, unusual tones and personal material imported by the player.

EMMA LEGATO
Built around the soprano voice of Emma May Price, Emma Legato focuses on realistic true legato, humming, soft vibrato and open vowels. It is an intimate instrument, made for melodic lines that need to remain human inside a cinematic space.

ARIA VOCALSCAPES
Aria Vocalscapes takes traditional aah and mmh performances into a more abstract place. Processed vocals, dual layers, XY movement, modulation and effects turn the voice into evolving pads, haunting atmospheres and ethereal soundscapes.


PANORAMA GUITARS
Panorama Guitars draws from post-rock and shoegaze, combining electric, baritone and bass guitars with fuzz, ambience, evolving pads and processed textures. The instrument moves easily from guitar to atmosphere, leaving space for emotional scoring, ambient music and cinematic rock.


AVA MUSIC GROUP
For AVA Music Group, my work moved closer to the architecture of the instrument itself. I created and developed the systems behind PRISM, UNITY and Kick Designer, each built around a different way of reaching a sound quickly without removing the possibility of going deeper.
PRISM begins with the kit. Its characteristic triangle becomes the centre of the instrument, allowing different parts of the drum world to be selected and shaped quickly. The idea was immediacy: a focused drum aesthetic without spending hours building one from the ground up.

UNITY begins with three sources. Processed samples, hardware-inspired material and texture can be layered into a single sound, then pushed further through synthesis and processing. The engine was designed to make complex sounds feel immediate.

Kick Designer reduces the kick drum to three essential layers: sub, body and transient. Acoustic drums, analog machines and 808s can be combined into a single low-end voice, then shaped through processing, mastering tools and controlled randomization. The goal is simple: arrive at the right kick before the idea disappears.

EDU PRADO SOUNDS
Working with Grammy-nominated audio engineer Edu Prado, I developed a reusable Kontakt engine designed to carry different instruments over time.
The architecture was built so that musical material, visual elements and instrument-specific controls could be swapped without rebuilding the system from zero. The result is a faster path from one release to the next, while keeping the underlying instrument coherent.




EVOLUTION SERIES
For Evolution Series, I worked on the development of the engine behind World Strings Harp.
World Strings Harp moves between the familiar and the less expected. Traditional performances, glissandi, plucks and harmonics sit beside prepared and experimental textures, allowing the same instrument to move from orchestral writing into atmosphere and sound design.
ROLE Engine Development

SELECTED DEVELOPMENT / TEMPEST AUDIO
This one asked for a different kind of development: turning an orchestra into geometry.
A circle is divided into sixteen segments, each one assigned to an orchestral instrument. The XY cursor moves through that map, continuously crossfading from one instrument to the next. The larger circle is also organised into four orchestral families, so a single gesture can travel through individual instruments and broader colours.
My work focused on the development logic behind that movement and the interaction that makes the transitions feel continuous.
SONA / CHROMA ↗
THE INDEX
Not every project needs a chapter. This is the wider index.
03 / MUSIC
2023
Pasiphae is a record by renowned pianist and composer Alexandra Papastefanou, setting the poetry of Miltos Sachtouris to music. It marks the first time a broader body of his work has been brought together and recorded in this form.
The record resists a single musical label. The arrangements move from synth-pop to progressive jazz, sometimes within the same world, creating a different way into Sachtouris' dark and surreal poetry.
Kostas Thomaidis
Dafni Panourgia
Vasiliki Konstantellou
Dionysis Kostis
Tassos Peppas of Ypogeia Revmata, drums
Apostolos Kaltsas, bass
Dimitris Papalamprou, guitars
Alexandra Papastefanou, piano and vocals
Theodore Chatzilamprou, piano and synths
Dimitris Tsakas, saxophone
Themis Symvoulopoulos, percussion
Sound engineering and mixing by Petros Petropoulos at Polyphoniki Studio.
Mastering by Anestis Psaradakos.
Art direction and illustration by Aggeliki Skandalleli.
LISTEN
04 / PRESS
A selection of reviews, awards and notes around instruments I worked on. The words and ratings belong to the publications.
Viola Textures was recognized in Best Sound Design, Infinite Upright in Best Piano, and Flute Textures in Best Woodwinds.
VIEW AWARDS ↗ 2025 Sample Library Review Best of 2025VELA Woodwinds was recognized in the Best Sound Design Virtual Instrument category.
VIEW AWARDS ↗COMPOSER NOTE / CASTLEVANIA
“One of the scores that inspired me was The Lighthouse by Mark Korven. I searched for sounds that were similar to the score of The Lighthouse and immediately found a patch named Lighthouse in Emergence Audio's Clarinet Textures. It was both inspiring and playable. It had nuance, texture, and it evolved. It was playable, everything that I needed.”
Trey Toy / Castlevania Season 2 / Netflix
Source: Behind the WaveForm™ Ep. 01: How Trey Toy Turned Classic Castlevania Music Into a Modern Score ↗
Video by Emergence Audio / Michael Vignola
“I came away very impressed by the way these carefully crafted sounds evolve in an almost hypnotic way.”
READ REVIEW ↗“The breath, the bloom, the slow unraveling of tone.”
READ NOTE ↗“Cinematic, vivid, energetic and lush.”
READ REVIEW ↗“Solid source material with precise control, continuing the character established across the Emergence Audio catalogue.”
READ REVIEW ↗“What this library demonstrates is the world of expression that lives within the humble flute.”
READ REVIEW ↗“Infinite Upright stands out through its evocative textures, evolving samples and generous set of tools.”
READ REVIEW ↗“Exceptionally pure, organic and contemporary.”
READ REVIEW ↗“The zither’s traditional sound can be mangled beyond conventional expectation through the exposed internal effects.”
READ REVIEW ↗“Full of character and surprisingly flexible at a modest price.”
READ REVIEW ↗“Organic, distinctive and exceptionally good at what it does.”
READ REVIEW ↗“It’s dreamy, evocative and incredibly emotive, but there’s so much you can do to sounds as well.”
READ REVIEW ↗“A deeply evocative guitar instrument that moves from recognisable guitars into ethereal cinematic textures.”
READ REVIEW ↗“Its resonator is really more about treating the piano as a sound source for additive synthesis.”
READ REVIEW ↗“Very usable across a range of genres with enough variation to keep the sounds interesting.”
READ REVIEW ↗“Ranging from natural to ethereal, aggressive to ambient, Panorama Acoustic has a lot to offer.”
READ REVIEW ↗“Simple, natural and hauntingly expressive, with true legato transitions that give the voice character.”
READ REVIEW ↗“A multitude of musically useful and wonderfully expressive cello sounds for picture and general production.”
READ REVIEW ↗“It’s at its most creative when you dive in to the instrument and edit or create your own palette.”
READ REVIEW ↗