You grew up in Germany and Austria but your family has its roots in Mexico, something that has deeply influenced your artistic journey. How? 
I think if you grow up multilingual and with two different cultures, you naturally become open to all kinds of cultures and, of course, also to music. That openness to different styles, cultures, and even languages shapes you from an early age. It’s also about the two mentalities that influence how you see and hear things. Even though you don’t hear Latin music directly in my compositions, there are definitely elements that reflect those roots, whether it’s specific scales, syncopated rhythms, or certain lines in my solos. On the European side, I’ve been influenced by the classical composers from Germany and Austria. Classical music is such a big part of the culture here, and I grew up surrounded by classical musicians and that mindset. The idea of performing a piece of music at a very high musical and technical level has always fascinated me.

You’ve studied at the Munich Guitar Institute, Conservatorium van Amsterdam and Berklee College of Music. How have your studies helped shape your playing? 
Each place gave me something different. I learned all the fundamentals of harmony and theory. I also learned what real practice looks like, which helped me become more disciplined and structured. I opened my mind to very advanced jazz harmony and improvisation. Overall, I loved going to music school. I’ve always been very interested in harmony, ear training, and improving on my instrument and as a musician in general. The best way to do that was by studying jazz. That’s why a big part of this journey has been learning the philosophy and concepts of jazz music, even though I would never call myself a jazz player.

Aside from the studies, if you had to single out a few key guitar players that you’d consider pivotal to where you are today, who would you mention? 
There are so many, but definitely John Petrucci when I started. Later, players like Allan Holdsworth, Greg Howe, and the new generation of guitarists such as Martin Miller, Tom Quayle, Rick Graham etc. had a huge impact on my approach and music in general. I’ve always been fascinated by the technical aspects of playing, the precision, and the unique approaches of these players. I’ve transcribed quite a bit of their work. These days, I think there are tons of younger players who are truly amazing and inspire me every day to keep going.

Do you still practice your instrument regularly? If so, what does your routine look like? 
Yes, I try to as much as I can. My entire Patreon and YouTube content revolves around practice at the moment. My sessions are usually very structured, focusing on the fundamentals of technique to get rid of bad habits and make my playing more efficient, as well as exploring different improvisational concepts.

After leaving Obscura, you’re now in Daath as well as Obsidious – plus you have a solo career. How do you juggle being involved in all these projects? 
It can be overwhelming sometimes, especially when several things are happening at once. But I think I’ve found a great way to keep everything organized. For me, it all comes down to organization and clear focus. I try to give each project its own creative space, and they’re all musically very different. Obsidious is really progressive and we have a very clear musical vision for that project. Daath, on the other hand, combines heavy, dark riffs with orchestral elements and a unique atmosphere. My solo stuff is more about what naturally comes out when I sit down and play. So it’s more fusion-based music and a combination of a lot of different styles outside of metal.

Looking back on your journey so far, what are some of the most standout moments to you on a personal and/or musical level? 
I’ve had a lot of moments I’m really thankful for, like performing at NAMM for Kiesel, Neural DSP, and many other great brands, or playing my very first festival shows with Obscura back then. Releasing the first full album with Obsidious was a huge milestone. Sharing the stage with Virgil Donati and Anton Davidyants was another one, as well as releasing my first solo track. I’ve also been lucky to work with Eyal Levi and the band Daath alongside so many amazing people, and I’ve met almost all of my heroes at this point (which is unbelievable). And now, the start of my educational YouTube channel, where we’re about to hit 10k followers, has been incredibly fulfilling. It’s amazing to share my educational side and hopefully inspire other guitar players.

What does your writing spot/home studio look like in terms of gear? 
It’s actually very simple. Everything I write happens right at my home studio desk. I use a Universal Audio Apollo Twin, my Quad Cortex or Neural DSP plugins for the guitar tones, and a pair of Yamaha HS7 studio monitors. I mainly work in Cubase and Guitar Pro and I play Kiesel guitars. That’s it.

You’re just in the midst of writing new material for the next Obsidious album. How has Toontrack played in? Which Toontrack products do you regularly use, and how do they help?
I’ve been using Superior Drummer for years, which is an essential part of my writing. It sounds incredible and is super easy to work with. For this next album, we’re also using EZbass Fretless, which really helps to sketch out ideas for our bassist Linus. I also use EZmix for all my demos, which is another amazing tool I love working with. These plugins make it possible to create high-quality tracks with just a few clicks.

Out of everything that comes with being a musician and in a band – writing, recording, jamming, touring, traveling (the list goes on) – what is your favorite part and why? 
Two things: definitely the creative process – writing and seeing an idea come to life. There’s something magical about hearing an idea turn into a full song. But also, playing and jamming with great musicians and really locking in together. When everything is executed with high precision, that feeling of playing together is something I truly enjoy.