Tommy Bianchi is a well knowed italian sound engineer skilled in audio mastering, mixing and producing electronic music. His studio the "White Sound Mastering Studio" is one of best european mastering studio, acclaimed for the highest quality and the "state of the art" audio mastering, at same top level of best mastering studio of the world.
The White Sound Mastering is a place where you can listen to music and living an extraordinary auditory experience, thanks to the choice of an high quality monitoring system and implementation of an appropriate acoustic design, studied by Francesco Rubenni, our acoustic consultant and designer of Rosso Fiorentino (high-end speakers). Spatiality, depth, stereo image, position of the instruments into the stereo image, sound levels, crystallinity, purity, detail, colors, shades, are a marked feature of how we listen to music at the White Sound Mastering Studio.
Our studio is designed to offer state of the art mastering services, delivered with the highest quality and technical preparation that make our work unique in the industry and position us on the same level as renowned international studios.We have set up a unique mastering environment equipped with a high end speakers system allowing all kind of audio signal processing through the usage of top class analogue outboards. We have a wide mastering experience, having worked with artists from different musical backgrounds: pop, rock, jazz, electronic as well as house, techno, dubstep and hip-hop.
White Sound Mastering Studio is in the official Apple's Provider List for the protocol MASTERED FOR ITUNES
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
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Interview with Tommy Bianchi
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The Stck Men Project, a modern jazz fusion music project with Tony Levin and Pat Mastellotto for King Crimson. My role was mixing and mastering engineer.
Q: What are you working on at the moment?
A: I'm working with Acustica Audio, cloning via software discrete class A outboards (next project will be "semi modular" passive Pultec style Eq software clone)
Q: Analog or digital and why?
A: Analog and digital sometimes at the same time.
Q: What's your 'promise' to your clients?
A: Best equalization possible, great bass range control
Q: What do you like most about your job?
A: give my personal touch
Q: What questions do customers most commonly ask you? What's your answer?
A: Is possible high loudness? Don't worry is possible the best high loudness, with great dynamic range here.
Q: What's the biggest misconception about what you do?
A: "I can mix with no cognition, everything is possible in mastering"
Q: What advice do you have for a customer looking to hire a provider like you?
A: I suggest look at correlation phase meter for the best mono compatibility possible, no stereo widening and no limiter on mix buss. Don't mix IN THE BOX.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Manley Massive Passive, Maselec MEA2,Pultec eq's, Pendulum PL2, Teletronix
Q: What was your career path? How long have you been doing this?
A: I work in audio mastering from 2007.
Q: How would you describe your style?
A: I'm a musician also. I hate sound engineers don't know music harmony, don't know read music or don't play any instruments. A sound engineer must obligatory knows music.
Q: Which artist would you like to work with and why?
A: Artist with a music dignity. In Italy doesn't exist anymore music dignity.
Q: Can you share one music production tip?
A: The mastering technique "Phenomenon of ghost foundamental or the missing fundamental phenomenon".
Q: What type of music do you usually work on?
A: Techno, House, Pop, EDM, Electronic, Beats, Hip Hop, Rock, Hard Rock, Jazz
Q: What's your strongest skill?
A: Audio Mastering, mixing and electronic music production
Q: What do you bring to a song?
A: At the highest level I can. My mastered files are artefacts loudness war free, with no over compression problems. Great Dynamic Range, and great musical EQ's curve.
Q: What's your typical work process?
A: I have three Digidesign 192 I/O and an Apogee DA16X. A 192 Digital is connected via AES EBU with my Lavry Blue (1 stereo module AD, and three stereo modules for DA). Very often I connect a PC with Sequoia 12 DAW with the LAVRY AD module, so Protools 10 HD makes the DA conversion processed throught all the analog outboards inserted into the MANLEY BACKBONE mastering consolle.
Q: Tell us about your studio setup.
A: Equipment List Eq’s: Maselec Mea-2 | Manley Massive Passive | Markaudio Blex | 2X SSL XR425 Dynamics Range Control: Maselec Mla-2 | Thermionic Culture – The Phoenix | Elysia – Xpressor | Manley – Vari Mu | Smart Research – C2 | 2X SSL – XR418 | Ua Teletronix – LA2A | SSL G Buss Compressor | 2X Empirical – Labs Distressor Analog Peak Limiter: Pendulum PL-2 | Maselec MPL-2 Preamps: Manley Vox Box | Sutera | FCF Audio Harmonic Distortion: Thermionic Culture – The Culture Vulture (Mastering Plus) Vintage: Binson Echorec | Davoli Stereo Compressor | Studer Revox & TEAC Reel To Reel Digital: TC Electronic System 6000 | Apogee Big Ben Converters: Lavry Blue for AD/DA conversion | Apogee DA16X | Avid| Motu Software: ProTools HD 8.1.1 | Magix Seuoia 12 Instruments: DSI Evolver | DSI Prophet 08 | Nord Modular | Nord Modular G2 | Nord Drum | Korg MS20 | Korg VC 10 Vocoder | Elektron SID Station | Elektron Drum Machine | Roland SH 101 | Roland SH 09 | Analog Solution Telemark | Fender Rhodes MK1 | Vermona Piano Speakers: Rosso Fiorentino – Siena Mastering Reference Genelec 8040 | Auratone
Q: What other musicians or music production professionals inspire you?
A: George Massenburg, Bruce Swedien, Bob Ludwig, Roger Nichols
Q: Describe the most common type of work you do for your clients.
A: CD Audio Mastering, Mastering for streaming platforms, Mastered For iTunes, mixing and music producing