Behind the Sound: Christoffer Moe Ditlevsen
Epidemic Sound’s artists make our company sing. Join Sweden’s Christoffer Moe Ditlevsen for the 9th edition of Behind the Sound.
Epidemic Sound is the world’s leading soundtracking platform because of our artists. Together, we help everyone from brand-new creators to household names find their voice — that’s worth shouting about.
Today, we’re heading into the 9th edition of Behind the Sound, in which we celebrate the musicians who’re taking Epidemic Sound to the next level. This month, it’s Swedish composer extraordinaire, Christoffer Moe Ditlevsen.
With a bachelor’s degree in Sound Design and billions of accumulated YouTube views featuring his music, Christoffer’s been on the cutting edge of classical for some time. Inspired by death metal and action movies as much as the classical greats, he’s carved out a corner within an ever-popular genre.
His music has the push and pull, the conflict that gives the best classical music such character. The genre is one of the fastest-growing in Epidemic Sound’s catalog, and has enjoyed a social media renaissance over the last few years.
We sat down with Christoffer to discuss the emotion behind his compositions, his songwriting process, and…Slinkies.
What first drew you to composing music, and what keeps you inspired today?
Christoffer Moe Ditlevsen: “My love of movies — I’d say that’s what still inspires me today. Whether it’s watching a film and hearing a great soundtrack for the first time, or revisiting a favorite movie where I almost know every musical cue by heart, it always moves me. The way music and pictures can blend so perfectly to create an entirely new dimension of depth is truly amazing.”
Is there a particular composer, artist, or genre that’s influenced your sound the most?
CMD: “Hans Zimmer, Michael Kamen, Alan Silvestri, Jerry Goldsmith, Ludwig Göransson, James Horner, and John Williams, to name a few! I’m always influenced by the classical Hollywood sound — a full orchestra with all its organic details — but I also love the limitless and beautiful blend of modern synthesis and classical instruments.
“When I write, I always try to make my music sound as ‘realistic’ as possible, even though there are, of course, limitations to sampled instruments. But nowadays, it’s mind-blowing what you can achieve with sampled instruments when you put your mind to it.”
How do you approach creating music for film or media compared to standalone tracks?
CMD: “When composing for [a visual medium], I strive to follow the emotional and physical flow of each scene — the movements, emotions, and other key points that call for a musical response.
“For standalone compositions, there are no visuals to guide the process, so I create my own. I often imagine a scene — sometimes from a film, sometimes from real life, or something more abstract, like a fleeting emotion — and let that vision shape the music. It’s about translating imagery and feeling into sound.”
Can you walk us through your typical process for building a track from scratch?
CMD: “I usually start with an idea — not a big, detailed plan, but more of a direction I want the track to take. Maybe I begin with a few chords, and from there I start building, adding instruments and melodies along the way.
“I tend to overwrite, so there’s always a process of refining, discarding, and mixing stems toward the end. I also get a bit nerdy with the details, tweaking small elements to make the instruments sound as authentic as possible. I’m never truly done, of course — just close enough to feel satisfied.”
Which film scene do you secretly wish you’d scored?
CMD: “It’s hard to pick one, but maybe something from The Revenant. There are just so many beautiful scenes in that movie that I can’t really pick one.”
Are there any ‘secret ingredients’ in your tracks — sounds or techniques fans might not notice at first?
CMD: “I like repetition, so there are instruments and small recurring details woven throughout my productions. I also try to incorporate more ‘unfamiliar’ instruments and sounds to create a broader sonic palette, blending them with synths and sound effects.
“Working with placement and mix is another essential part of my process. A good reverb is one of the best things in the world and can give the music incredible depth.”
Are there certain instruments or textures that feel like ‘your signature’ when you compose?
CMD: “I have a ‘piano drop’ — a fifth-chord drop — that I use quite often, similar to what James Horner used in his music. When I compose, I tend to work a lot with textures, such as a few strings or woodwinds playing irregular notes in the background to create an almost pad-like sound.”
Do you draw inspiration from unexpected places, like everyday sounds or environments?
CMD: “There are certain sounds I love to use when composing to convey a specific feeling. For example, the deep, resonant sound of ice shifting, subtly integrated to create a grand, dark atmosphere. Or the rumble of an earthquake, the rush of wind or water, and more recently, the sound of fast cars passing by, used as a subtle ‘whoosh’ effect in a piece I just completed.”
What’s the most unusual sound you’ve ever worked into a track?
CMD: “There are a few synth sounds that sound a bit unusual in some of my productions. But as a sound effect, a Slinky toy being stretched and recorded is the most unusual — yet amazing — sound I’ve ever incorporated!”
If you could collaborate with any artist, past or present, who would it be?
CMD: “I’d love to do something with my fellow Swede, Ludwig Göransson. I really like his musical approach and sound. But there are many others I’d love to collaborate with — across any genre, really!”
Outside of music, what hobbies or passions feed your creativity?
CMD: “Woodworking to some degree, interior design, being outdoors, and handcrafted arts. Anything that involves creating and building really feeds my imagination and creativity.”
Which track or project are you most proud of?
CMD: “I’d probably say Clima, which was recorded with a group of very skilled musicians. It was a bit complex to write, but it turned out really well. I’m also proud of all the collaborations with other producers that I’ve had the privilege to be part of so far.”
Christoffer Moe Ditlevsen’s music is available on all major streaming platforms.
Listen to Christoffer’s Epidemic Sound discography below, and keep an eye out for the next edition of Behind the Sound.
Related posts: