Film Composer and Orchestrator

Q: What advice do you have for a customer looking to hire a provider like you?

A: I believe that if you seek an arranger you are looking for someone to babysit your child, and if you seek a composer you are looking for a babysitter for your idea, which is kinda the... same? You get my point, hopefully. When it comes to your children you probably want someone to raise them properly and do their very best. Be sure you understand each other and they can take care of them. For as much as this is certainly "just a job" for some people, I believe you will be able to tell when there is gonna be some extra care, if you are talking to the provider that is right for you.

Q: What was your career path? How long have you been doing this?

A: Seven years this year - if you don't read this in 2023, seven years and running. I studied harmony and classical literature, and years of papyrs and vases turned me into a sucker for storytelling, which hopefully says everything about how I write music today. I like music that develops, and I like music that tells a story. I moved to Amsterdam to finish my studies, and here I kept working on music for my friends in Italy. When it came to the point that I realized I could turn it into a job, that is exactly what I did. I opened my company here in the Netherlands and through internet and contacts I kept it going, and I'm quite proud of that.

Q: Analog or digital and why?

A: Digital. I can write faster, hearing immediately how it will likely sound, I can correct mistakes. Last but not least, I can do recalls.

Q: What do you like most about your job?

A: The music.

Q: Can you share one music production tip?

A: I got four for you! Wiggle your CC1's and volumes a ton when writing or mixing instruments such as violins, flutes Saturate your brass ever so slightly to give them the brassy magic. Brightening too much the mix bus, then compress or even limit exactly the area you boosted, it gives a lot of air without destroying anyone's ears. Use an imager on your doublebasses, so you can keep them panned heavily (as they should be in most classical music scenarios) but their low end you can make mono, to keep the punch and depth of the mix. Extra: phase and reverbs are the real enemies.

Q: What type of music do you usually work on?

A: Mostly soundtracks. When it comes of arrangement, simple string sections for pop songs, or heavy orchestras for heavy music.

Q: What do you bring to a song?

A: Width and depth. And drama, why not.

Q: What's your typical work process?

A: A lot of talking, questions, back and forths of ideas, and exchanging of references, to understand what my clients seek. I like to have a call when it is possible, to get to know each other and have a deeper understanding of what's needed: I found that usually is more clear when it happens via speech. After that, technicalities, bpm, key and such if it is an arrangement, specific indications if it is an original piece. And after that, I would start write, usually I make at least a couple of demos or alternatives, on piano or with simpler patches, to be sure I'm on the right path. Once that is confirmed, I keep working until completition.

Q: Describe the most common type of work you do for your clients.

A: Typically on Soundbetter, if it is not regarding a full production, I like to think I give a facelift to songs. Song which the artist believed to be needing some extra oomph, and if they come to me that is typically the orchestral type, of oomph! I believe that is a good 60% of what I do through this platform. The rest is composition, tailored to whichever needs are requested.