Our wind band often played arrangements of symphonic music, amongst which a lot of film music as well.
Have you always been into this type of music?ĭue to my background as an orchestra musician, I’ve always been into acoustic and orchestral music.
You’ve come to specialize in engineering and mixing of classical music and scores. Here I worked my way up during more than 17 years, from assistant engineer to Chief Scoring Engineer and now Head of Music Department.
After finishing my studies, I wanted to return to my home country to work there, and got a job at Galaxy Studios. I managed to get a place in the program and eventually became one of Germany’s youngest Tonmeisters. It was or a five-year Tonmeister education which didn’t exist in Belgium at that time. A good friend of mine then told me about the Sound Engineering degree in Düsseldorf, Germany. Towards the end of my school career, when I had to decide what to do with my further life, I wanted to continue making music professionally, but not as a musician or teacher (since there weren’t a lot of job opportunities in Belgium at that time). How come you ended up behind the console and what drew you towards engineering/mixing? Still today I am performing with my own brass quartet, which the four of us founded as students 25 years ago… I also got basic education in playing snare drum and double bass. I studied at the two biggest Academies of Music of Eastern Belgium for about ten years and got diplomas in french horn, solfeggio and chamber music. At the age of nine, I started playing in the local wind band of my village, which was performing on a remarkable level – that way I was “forced” to become a good musician, too, being their principal horn player. I am a classically trained french horn player. Tell us a little about your background and how your interest in music began.
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