The story behind the sound

The roots

It began with a violin, a youth orchestra, and Mozart

Long before the synthesizers and the scoring stages, there was a violin, a bow, and a music stand. Classical training gave Kaspar the grammar of emotion, how a line lifts, where a harmony aches, why a silence can land harder than any note. He never unlearned it. That grammar still sits beneath everything he writes.

The turn

Then, as a teenager, a trip to Ibiza rewired him

Electronic music was a different world entirely, built from electricity instead of wood and string, all pulse and texture and space. He started DJing, then producing, learning how a modern record is made from the waveform up. Two languages now lived in one musician: the depth of the orchestra and the pull of the dancefloor.

Another education

But the cinematic instinct didn’t come from music alone. It came from telling stories

Before the scores, Kaspar built a career around ideas: first across marketing agencies, learning how creative work meets commercial reality, then running his own studio producing original superhero stories and content. Writing to picture, building worlds, making an audience feel something on cue, that is where scoring truly began for him. It is why, to this day, he reads a brand as fluently as a score, and why the music always serves the story, never the other way around.

The production

Instinct is only half of it. The other half is control

Kaspar studied Music Production and Sound Engineering at Middlesex University London and the SAE Institute in Amsterdam, composition, sound design, recording, mixing, mastering. It means a piece never leaves his hands half-finished or handed off. He writes it, produces it, and mixes it himself, one vision carried from the first sketch to the final master, with nothing lost in translation on the way.

The test

Then the sense he relied on most almost failed him

A serious hearing injury threatened to end everything, and the road back was long, including stem cell treatment and months of careful recovery. Learning to hear again taught him to listen differently, slower, closer, with more respect for sound than he had ever had. What could have closed the door instead sharpened everything behind it.

Today

Today, all of it, the orchestra, the machine, the story, lives in one sound

From his studio in Amsterdam, Kaspar writes hybrid orchestral scores where classical arrangement meets modern production, and serves as Music Director at Motions V, a creative studio working across Europe, the Middle East, and Asia.

His music has carried fashion films for Jacquemus at IFM Paris, a sonic identity for TARO ISHIDA, and an exhibition at NIO House Amsterdam. In June 2026, AI Filmfest Monaco brought him on stage at One Monte-Carlo to join a panel on running a creative studio in the age of AI - speaking, as a composer, on how AI is transforming music production and composition, and why the meaning still has to come from a person.