Formal conservatory training in orchestral conducting established a rigorous foundation in counterpoint and harmonic tension. Twenty subsequent years of experimentation with modular synthesis and custom tape degradation introduced an unpredictable, organic warmth into the acoustic framework.
The resulting scores avoid generic cinematic bombast, opting instead for precise acoustic restraint where every instrument occupies a deliberate, uncrowded space within the sonic architecture of the frame.
Four steps from rough cut to final mix
Thematic spotting
Acoustic capture
Tape processing
Final mix integration
Collaborating closely with directors during early rough cuts to map the emotional cadence and unspooling tension of the scene.
Recording felted uprights, muted cellos, and prepared instruments in natural room acoustics using vintage ribbon microphones.
Passing raw acoustic stems through multi-head reel-to-reel machines to introduce subtle wow, flutter, and harmonic saturation.
Weaving synthesized modular textures with acoustic layers so the score functions as an unspoken character in the frame.
Observations from the cutting room
Julian approaches sound design not as accompaniment, but as the underlying architecture of the film's emotional landscape.
Feature Film Director
The upright was recorded at midnight with felt dampeners, preserving the mechanical breath of the room in our choreography.
Contemporary Choreographer
His cues give the actors room to breathe. There is an absolute refusal to over-score the narrative.
Picture Editor
Inquiries regarding narrative feature scoring, chamber commissions, and master licensing.