The opening ceremony of the academic year 2023/24 at Aalto University featured my soundscape composition about the campus. Instead of using visual material, Aalto decided to present its sonic profile to the audience. It was an exciting challenge to find ways in which a soundscape composition can meet branding objectives.

DUST, a research project of MOME's Research Unit of New Materialities (R.U.M.) was selected to the central exhibition of the 2025 Lisbon Architectural Triennale's Fluxes section out of 35 applicants. The Triennale's title was: How Heavy Is a City? DUST was exhibited among five other international urban studies and architecture related research material in Portugal, 2.10.2025. Our project investigated the role and effect of dust (pollen, spores, bacteria, microplastic, salt particles, sand etc.) on the (urban) ecosystem. I created the sounds of the the exhibited material (around 30 minutes of fixed media) of recordings that I made of the Hungarian National Health Centre's (NNK) dust filtering and analysing machines

Others in the project: MOME R.U.M. (Gedeon Tekla, Hámori Péter, Hulesch Máté, Schneider Ákos); Photo: OPI

I created the aural identity of POV Budapest, an international design conference in Hungary, of the city's environmental sounds. I designed an atmosphere for the main stage and a jingle to welcome the speakers on stage.

POV Bp.: "We've collaborated with soundscape researcher Bálint Kiss to craft a unique acoustic experience for POV Budapest. Between and before the talks, you'll hear atmospheres and sound effects inspired by local environmental sounds [...]"

Photos: Bertalan Soós / POV Budapest

Rain, contrary to former beliefs, has structure — it's not a completely random process. Drops are organised into microstructures and drop size distribution (DSD) shows autocorrelatedness.

In these etudes you hear three percussioninsts interpreting rainfall patterns. The patterns used for these pieces are software-generated (using Max and SuperCollider). They follow a doubly stochastic (Cox) distribution and are in line with the current statistical understanding of rainfall microstructure.

The etudes are seeking an answer for the question 'how do we musically re-tell the abstract patterns of precipitation?' Referring to the concept I named the pieces "Run-off" which is the path the water takes after reaching the ground. The first, medium-yield rainfall event happens in an urban setting where the built structures introduce an intermittent texture. The second rainfall event is a heavy but stongly patchy downpour. The third rainfall event is a drizzle with small drops and low water yield.

A four-hour long field recording of Lake Balaton freezing at -12°C, told in 60 seconds.

The recordings I used for this composition were made in January 2022. I spent a week at Lake Balaton to explore the seasonal geophony. On Monday 24th, I arrived on the spot (Szigliget Bay) at 8pm and by 12pm the bay was covered with solid ice. In the end, I threw a pebble on the frozen surface to test it.

The water was gurgling in the beginning, the thin ice was hissing, stretching, crunching, and then suddenly, complete silence. The lake underwent a complete sonic metamorphosis in roughly four hours that I could perfectly monitor acoustically in the complete darkness.

I had the opportunity to work with Barry Truax, a key figure of acoustic ecology, on my master's thesis in which I created a system for categorising the sounds of urban rainfall events. In the thesis I studied hydrology, urban cover types, the texture and timbre (perceptual aspects of) rain. The proof-of-concept work projected 256 urban "rain sound instances" through six hierarchical layers.

In this work I addressed multiple different aspects of rainfall after which I designed a timbre scaling questionnaire (see some of the results below) through which I aimed to map the perception of rain sounds on typical urban cover types. The questionnaire was anonymous.

I worked for Finnish cultural foundation Jenny and Antti Wihuri Foundation on the sound of two portait films about their prize winners in 2023. It was an honor to compose for and post-produce a film featuring Tristan Murail, a hihgly influential composer of 20th century spectral music.

The films were produced for and screened at the Wihuri Foundation's Award & Grant Gala held in Musiikkitalo in 9.10.2023.

TOKYO organisation's podcast about designers and creative professionals sharing their experiences and stories from their life and career. I did a full-stack production for Artlife (recording, editing, sound designing, mixing, and mastering). You can access all episodes here.

An 8-channel soundscape composition about my favourite industrial soundscape in Buda­pest: Nyugati Railway station. Electromechan­ical sounds, PA in different languages, and a hidden spot with a clean echo. You can get the files here.

A set of compositions for Hungarian coreographer Zsófia Nemes's Időlovag, a contemporary dance project inspired by Michael Ende's novel Momo. It premiered in May 2021 in Budapest in the National Dance Theatre's large hall.

Photos: KNI

An 8-channel etude on the electromagnetic soundscape of Kőszeg. I explored the town with a pair of electromagnetic capsules as part of iASK's 2021 workshop.

In the untraceable signal sources I found inharmonic, bell-like sonic content. This was particularly exciting in the context of the history of the bells in Kőszeg — after the world wars, the bells were re-cast and as a consequence the C major chord produced the three pre-war church bells was dismantled.

I have worked with five Media Design students of MOME on the production of a podcast episode in the framework of a BA-level course. During the course we explored the blurred boundary between natural and artificial sounds; we recorded, edited, and published the episode.