I started recording and mixing in primary school in the early 90’s, armed with a cassette 4-track, one dynamic mic and lots of ideas on the guitar (which rarely were finalized into full songs) in our Helsinki home. By the time I was in the music-focused Sibelius Upper Secondary School during the latter half of the decade and having fully transitioned to electric guitar after classical studies, I got to dip my toes in 16 track analog reel-to-reel recording before the school studio transitioned to early digital in the form of ADAT tapes. I still enthused about playing guitar in various, often experimental or progressive styled bands but started to form an ambition towards becoming a studio professional, which led me to apply to the Sibelius Academy (now part of the Helsinki University of the Arts) and its newly formed Music Technology programme. The SiBa student studios were equipped with the mighty Pro Tools 4.3 TDM system and creativity had (almost) no bounds! Back then, the school had a strong emphasis on the classical and art music worlds so I was the odd one out being a “rock guy”, but at the same time my musical perspectives were broadened in ways that I have appreciated every single day of my career.During my time at the school, I recorded and mixed an endless stream of band demos for friends and acquaintances, which within a few years led to getting label work, sidelining the studies for a long time. For most of the 2000’s I was a “young hotshot” professional recordist and mixer in Finnish pop, rock and even metal circles, with forays into R'n'B and acoustic-based folk/world styles, but around the turn of the decade the music world started to change: album budgets started dwindling and at the same time, big live tracking dates started to fall out of fashion when commercial musical styles evolved. As recording was still something I loved alongside mixing, this meant a pivot towards recording jazz and other acoustic musical styles, which in turn led to film score mixing and recording work, eventually even to organizing and planning full symphony orchestra recording dates. This trajectory has also led to me focusing on new technologies like Dolby Atmos (Theatrical Atmos mixing since 2018), which again made for a pivot back towards streaming Atmos Music work in a variety of genres (since 2022), and tangentially also to game music projects. I still enjoy variety in project styles & musical genres and gravitate naturally towards being cutting edge with technology (truthfully, nerding out bigtime on many an occasion), but find real satisfaction in optimizing the sound and emotional impact of all music crafted with passion and care.