A l l i n n i a

Musical roots and the tools I use

I make music with piano and guitar, building most tracks with virtual instruments in Cubase’s Piano Roll. When I record guitar, it’s through an Apollo Twin; for keys, I reach for an Alesis V49. I started producing back in 2006 on an Intel Mac Pro and kept at it until the machine finally gave up in 2014, which led to a long pause.

In 2020 I rebuilt everything on Windows: a 10th‑gen i9 in a Fractal Define R7 XL with plenty of SSD space. After years of plugin and OS compatibility headaches on macOS, I switched and haven’t looked back. Stability and simple expandability matter to me more than brand loyalty.

What I’m trying to make

When I returned to writing in 2023, I leaned into a more exploratory, push-the-boundaries approach. Earlier albums like Behind the Shades and Trendsetter were me learning to shape my voice inside more traditional structures after getting feedback about “odd progressions” and lack of form. That exercise helped, but I’m happiest when the music follows emotion first.

I’m an INFJ to the core, and my work is how I process things and stay balanced. Some pieces are too weird to market; a few land closer to mainstream, and I’ll post those to AudioJungle. I don’t make money doing this. It’s just what I do because I need to. Music is a compulsory act for me. I see something in my head and try to paint the emotion in sound.

What’s next

I’m getting albums mastered and out to distributors and quietly hoping someone stumbles on a song that feels like a small treasure. As of December 2024, there are 300+ tracks on this site and around a hundred more in the vault.

I still carry a soft spot for unfinished projects from 2014 — Anonymia and The Dark Side of Man — but I’m careful with them. The move to a new rig changed a lot under the hood, and I don’t want to lose what made those recordings special. I rarely sing now, and I’m picky about revisiting old material. I’ll remake a song I truly love (like Rachel’s Tree), but most of the early tracks are perfect to me as they are—even if the mix is rough. That history matters, and I want to preserve it.