There is a strong possibility that I'm the right person, and you have only one way to find out! Let's play, shall we?
I'm an audio engineer with 23 years of experience.
My specialties are:
Music: recording, editing, mixing.
Audio: repair and restoration
How can I help you?
I started in the audio world at a young age; being surrounded by some audio technicians within my family helped me becoming an audio enthusiast. Years later I decided to study to become a studio technician. Along the way I learned to play some instruments.....
I also speak Italian (native) and Spanish.
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
1 ReviewsEndorse Lele Benanti
Lele Benanti is an excellent engineer whom I hired to do some digital editing for me. After listening to the revised tracks, I can clearly hear the improvement. Lele and I communicated well, and the work was delivered ahead of schedule. I definitely recommend Lele for any editing or mixing jobs.
Interview with Lele Benanti
Q: What's your strongest skill?
A: If I don't know how to do something, in one way or another, I will learn how to do it.
Q: What do you bring to a song?
A: I like to think that I bring my own perspective to other people's perspectives and creations. My musical sensibility and a little bit of my taste.
Q: What's your typical work process?
A: It can vary. When editing, if I have to remove noise or cut out unwanted information, the only process is to make sure to listen carefully and take action only when necessary. If I have to edit or time-align multiple syncronized tracks, like drums, I have to be sure that everything is locked so no sync is lost. I then correct only the errors, and in doing so, I try not to lose the musicality of the song. I only snap to the grid if it is needed (like in EDM) or if the client asks me to. Same story for the restoration: listen and act only if needed. Mixing-wise, it depends on the song; if there is a rough mix or a demo, I'll listen to that until I can tune to it. If I'm not getting any emotional response, even if it's little, I will speak to the client and maybe decline the job. But if I can feel something, then I'll start to look for the focal point, the part or the instrument that drives the song, and I'll start from there.
Q: Tell us about your studio setup.
A: It's all ITB. Very simple. An Antelope discrete 8 pro audio interface, a Windows-based PC, Reaper DAW or Protools (I love Reaper...), a little boombox (mono monitoring), a pair of Mackie HR824, and a pair of JBL 4312a A nice acoustic-treated room. That's it.
Q: What other musicians or music production professionals inspire you?
A: The list is very long. It also depends on what I'm looking for in a production. Al Schmitt, George Martin, Geoff Emerick, Alan Parsons, Ken Scott, Jeff Lynne, George Massemburg, Bob Clearmountain, CLA, Andrew Scheps, Greg Wells... I think I've got all the bases covered!
Q: Describe the most common type of work you do for your clients.
A: The most common would be editing and mixing. From time to time, I get to record or produce a band. Even if I act as a producer most of the time, especially during recording, I try not to appear as one.