The journey of an audio engineer can go in many directions. For me, it really kicked off in 2014, just after graduating from the Audio course at Mediacollege. KAOSTV invited me to handle the audio for a livestream from the DreamHack Festival in Sweden.
Starting out with KAOSTV and later StreamConcepts, I worked on a wide range of (esports) productions for DreamHack. Later, DreamHack merged with ESL Gaming, for whom I still regularly freelance on productions around the globe.
In recent years, I’ve also worked with companies like Stream My Event (for brands like Bol and JDE Peet’s) and Loadout Entertainment (ETH Denver, Halo Championship Series 2024 in Salt Lake City).
My broadcast work can roughly be divided into three roles:
1. Live Audio Engineer
I make sure every audio source is coming in clean and sounding its best—whether it’s for the program feed, front-of-house at an event, or both. I’m also often responsible for music playback and sound design elements that bring energy and identity to a production.
2. Broadcast Technician
A broadcast technician’s job starts well before the red light goes on. I take care of the setup, signal flow, audio/video patching, and troubleshooting. If something breaks mid-show, I’m the one solving it fast and clean—ideally before anyone notices. And when things go smoothly? That’s thanks to solid prep and experience.
3. Intercom Technician
Clear comms are the backbone of any smooth-running show. Over the past few years, I’ve specialized in setting up and managing intercom systems—especially with Green-GO. One of the standout gigs was ESL ONE Raleigh 2025, where I managed over 80 users across wired and wireless packs, linking teams between Stockholm and Raleigh in real-time.