CFA-Sound stands for premium-grade synthesizer presets, inspiring samples, creative instruments and plugins. Crafted with a deep passion for sound design, attention to detail and years of experience. Aimed to spark creativity, fuel musical ideas and deliver the tools producers need to bring their visions to life.
What began as a personal journey into music production and a fascination for unique synth sounds has evolved into a dedicated sound design label, trusted by artists and creators worldwide. On this page, you’ll get a look behind the scenes — from the early, curious experiments to what CFA-Sound represents today: a place for expressive, detail-driven sounds with character — created with passion and the needs of modern producers in mind.
My journey into sound design began in a rather unconventional way – with a PlayStation 2 and Music 2000. What started as casual curiosity for music production soon turned into a deeper fascination, especially with the distinctive synth sounds from artists like Cosmic Gate, Beam & Cyrus, and DJ Scot Project. I’d spend hours sampling and experimenting, using whatever tools were available – which, at the time, weren’t many.
Eventually, through a few friends, I discovered software like Propellerhead’s ReBirth RB-338 (a nostalgic classic for many), Cubase SX, and Native Instruments Reaktor. I also had the chance to watch a friend produce music professionally, which gave me my first real glimpse into Logic Pro – and from there, things gradually began to evolve.
In 2007, I released my first two commercial soundsets for Vengeance Sound, created for the DiscoDSP Discovery and Korg Wavestation synthesizers. Shortly after, I contributed a sound bank for the Waldorf Q hardware synth for Sounds of Revolution (SOR). From then on, an interesting partnership started.
Then came, in 2008, the most important milestone in my journey: founding my own sound design label, CFA-Sound.
Back then, the digital landscape was completely different. YouTube tutorials didn’t exist, and neither did modern social media. Platforms like MySpace had only just started to emerge, and everything felt new and uncharted compared to today’s standards. But that’s what made it so exciting.
Since then, my products have received numerous positive reviews from magazines, blogs, and the press — as well as endorsements from respected artists across the scene. You can find a complete collection of these reviews on the dedicated review pages.
Over the years, I’ve also contributed custom sound design — including factory presets and expansion content — for several high-profile companies such as MOTU, Camel Audio, Loopmasters, KV331, and FXpansion. Some collaborations and clients unfortunately can’t be named due to NDAs.
At the core of everything I do stands the guiding principle of CFA-Sound: “Discover the sound of tomorrow”
While it may sound like a simple tagline, it carries much deeper meaning. It defines the standard I apply to every product and every single sound. No matter how long it takes, nothing is considered finished until it fully matches the original creative vision — until every detail aligns to offer musicians not just sounds, but a true source of inspiration and a meaningful set of tools to bring their musical ideas to life.
My journey began with sound design for synthesizers — exploring textures, shaping tones, and pushing sonic boundaries. Over time, this curiosity naturally led me to experiment with creating small, compact VST plugins as a way to expand my creative toolkit.
Eventually, I found myself diving into the NI Kontakt ecosystem, where I learned to script custom instruments, define their functionality and layout, and create polished, high-quality user interfaces that bring virtual instruments to life. One of the results of this process is the DC-Zero Vintage Synth.
Along the way, I also discovered a strong passion for UI design itself. I enjoy shaping the visual identity of tools just as much as their sound, something reflected in the custom UI skins I’ve created for reFX Vanguard 2 and Nexus.
More recently, I’ve been exploring new development frameworks and programming environments, opening up new possibilities for future projects. While sound design remains at the heart of CFA-Sound, I’m always interested in discovering new ways to bring creative ideas to life — and that may well include new plugins and instruments in the future.
In 2011, after working together on several projects, I partnered with Oliver Schmitt of Sounds of Revolution (SOR) to launch our joint sound design label and online store: Resonance Sound. Since then, it has grown into our central platform and main distributor — not only for our own work but also for a carefully curated selection of other premium-quality sound brands.
Over the years, Resonance Sound has been present at several international trade fairs and has been a supporter at some international seminars for musicians.
In 2014, CFA-Sound and Sounds of Revolution (SOR) partnered with the renowned developers at D16 Audio Group to create PunchBox, a bass drum synthesizer that was released in June 2016. Combining sound design expertise with D16’s instrument development, PunchBox quickly gained recognition, receiving excellent reviews from the press and strong endorsements from respected artists such as Richard Devine, Chris Liebing, Robert Babicz, Pig & Dan, and many others.
A decade later, the collaboration continued with the release of PunchBox 2 in June 2026. Building on the foundation of the original, the new generation takes the concept further with an enhanced feature set, an evolved workflow and expanded sound design possibilities. Overall bringing the instrument into a new era while retaining the creative spirit of the original.
Ultimately, what keeps me creating sounds is the thought of what they might become beyond my own studio.
A sound can spark an idea, an idea can become music, and that music can become part of someone’s life — tied to a moment, a memory or a feeling that stays with them long after the music has stopped.
I create sounds from my own curiosity and imagination, but what happens next belongs to the people who use them. And that’s what makes this journey so rewarding: knowing that something I created might become a small part of someone else’s creative world.
