I began in 2012 sequencing chip melodies for web games in a rented box room — ninety-second loops, zero budget, brutally honest players. That grind set my two rules for life: land a theme people remember, and build it to survive its thousandth repeat.

By 2017 came my first console shooter, and by 2021 I was cutting live orchestra dates while growing Vale Tones, my own sample-instrument line. The box-room habits stuck: each cue gets loop-tested, laptop-speaker-checked and heard fresh at 2 a.m. — because that is exactly where your audience meets it.

These days I divide the year between game scores, feature films and bespoke sound design, backed by a tight crew of orchestrators, mix engineers and field recordists I have worked with for a decade.