Sound is all around us. It tells an unseen story in every film or commercial we see. It captures the craftsmanship and passion in every song we hear. It drives our emotions, moves us, and helps us feel. Sound lies at the heart of my philosophy. I use sound to tell stories, convey emotions and capture identities for musicians, films, brands and more. I currently work at Cederberg Studios.


Music production is all about getting the most out of a band or an artist's feeling and expressions in their music.

When the artist is unsure about how a song or composition will be taken further in the studio, it's important that, as a music producer, I can bring some new thoughts, perspective and ideas to achieve the best results. Through experience I’ve learned that musicians often need an extra outside ear to really help them achieve the best results out of their recordings.

Mixing is about adjusting the music, sound, creative concept and technical skills of a production, with the ultimate aim of finding the perfect balance to bring a desired sound or feeling to the recording or project.

Mixing is a critical and important part of any production. So when mixing a recording, I always think about what the music is missing. A mix for me is the final key wrapping or packaging for a composition, song or sound design project.

In a mix, I use both analogue equipment and digital. I prefer to work on analogue equipment because this gives me a more hands on feeling when working with the music. This also allows me to create a truly unique sound, where contrary to digital equipment, nothing in the analog world can ever be recreated. However some projects are more suitable for digital mixing because they should be more easily accessible and easy to make adjustments to. This flexibility enables me to meet all customer needs and run a more efficient process.

From films and commercials to television shows, live performances and art installations, sound design reinforces a project's story and visual narrative. Sound design is about building and creating sounds to literally design and form a new audible universe for a project.

I like thinking about sound design as a means of adding colouring and punctuation to a visual work. As a sound designer, I have the opportunity to create an environment and mood and decide how an object should sound. It’s in the small details, which the listener doesn’t necessarily think about, but still effects and guides the listener on a subconscious level. That being said, sound design is an extremely important element in enhancing a client's message or story, whether you notice it or not.

Recording is about recording the character in an instrument, voice or other audio source. It’s therefore important to choose the right microphones, equipment and setup to capture and reproduce the character of every individual sound.

Recording should not be underestimated and I prefer to make choices during recording as opposed to in post-production in terms of compression, sound, and equalisation. The more complete a recording can sound during the recording process, the better the experience for the artist, client, musician and ultimately the listener.

I currently work at Cederberg Studios in Kristiansand, Norway.

Voice-over is a production technique where a voice is recorded in studio and used to convey a narrative in a radio, television, film, theatre, or other presentations.

A good voice-over can make an advertisement or movie seem honest, truthful and professional. It’s therefore very important to consider the right choice of microphones, and even voice, to convey the right feeling and complement the visual narrative or brief of a project.

I've Worked with, among others, NRK and Helmet Film & Visual Projects

Mastering is a form of audio post production and is the final step of preparing a recording and mixing for final output.

When mastering, I’m extremely focused on respecting the original work or project I receive. Mastering is about tweaking and adjusting the audio levels for streaming services and different digital and physical audio media. As a mastering technician I make the final adjustments to the equalisation and/or compression of the recording.


Aurora Audio Sidecar
Avid Icon D-Command ES 24 ch
Pro Tools 10/11/12 HDX
Shadow Hills Mastering Compressor
Bricasti System 2 w remote
Manley Slam! Mastering
Thermionic Culture Phoenix ME
Chandler Zener Limiter
Chandler Curve Bender
Inward connections TSL-3
Retro 176
Retro Sta-level
Avalon 2055
Bettermaker EQ 232p
Universal Audio 2-1176
Vintagedesign Cl1Mk2
Ridgefarm Industries- Boiler
Aurora Audio preamp w. eq *2
Chandler TG channel mk2
API 3124+
AEA TRP stereo preamp
Vintagedesign Ca81
Vintagedesign DMP stereo preamp
Audient ASP008
Sansamp PSA-1
Aurora Audio 8*2 Absolute
Vintagedesign Su-1
Greiner Engineering sum.mation


ATC scm50 asl pro
Crookwood M4 mastering console
Genelec 1029-1091 a
Beyerdynamic dt770*7
AKG K240*3
AKG 701


Antelope Pure2
Universal Audio 2192
Croockwood DA
Cranesong Avocet
Lynx aurora 16
Lynx aurora 8
Avid 888


Wunder CM7 *2 matched
AEA r44
AEA 88 mk2 (stereo)
AEA r92* 2
Royer sf12 (stereo)
Schoeps 2*Mk5 CMC6 matched
AKG 414 XLS* 2
Violet The Flamingo Standard
Violet The Flamingo ME
Violet The Flamingo Stereo
Violet The Globe
Violet Amethyst Vintage
Violet Black Knight* 3
Violet Black Finger
Violet The Wedge
Electro Voice RE20
Cascade Fat Head* 2 matched
Sennheiser Md441 Vintage
Sennheiser MD421 Vintage
Sennheiser MD421
Audio Technica AT 4081
Audio Technica 2500
Sontronics DM 1t* 4
Sontronics DM 1s
Audix D6
Audix i5*2
Audix D2*2
Audix D4*2
Se Electronics Titan
Shure Green Bullet
Shure Sm7*4
Shure Beta 52a
Shure Sm57 *5
Shure SM 58*3


Uad-2 Quad *
Waves Mercury
Fab Filter
Slate Digital
NI Komplete Ultimate
And many more

Digital Audio Workstation

Pro Tools