Music Producer, Orchestrator

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: One highlight was an immersive live performance as Eric Oder at Haus der Visionäre using the d&b Soundscape system in collaboration with Serge Gräfe. I composed and produced the music, designed the spatial mix, and helped shape the live experience. It pushed my practice technically and creatively, blending composition, sound design and spatial thinking into a single performance environment.

Q: What are you working on at the moment?

A: I’m composing music for production music catalogues, producing forward-thinking albums with emerging artists, helping shape their sonic identities, and developing new spatial audio performances and immersive installations in Berlin.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I’m still exploring the SoundBetter community, but I’m always happy to recommend skilled collaborators once I’ve personally worked with them.

Q: Analog or digital and why?

A: Both. They’re colors on the same palette. I choose whatever best serves the emotion, from analog warmth and texture to digital clarity and flexibility.

Q: What's your 'promise' to your clients?

A: To approach every project with empathy, curiosity and precision, delivering thoughtful work on time, with clear communication, and a collaborative spirit.

Q: What do you like most about your job?

A: Collaborating with others. Translating their vision into sound, and seeing how music changes a scene, a space or a performance. I love that every project opens a new world to explore. I aim to embrace the unexpected.

Q: What questions do customers most commonly ask you? What's your answer?

A: Many ask if I can work across different styles. My answer: yes. I focus on the emotional core rather than genre, which allows me to adapt while keeping the artistic identity consistent.

Q: What's the biggest misconception about what you do?

A: That composing or designing sound is just about “making something cool.” In reality, it’s an intentional process: shaping mood, space, narrative and pacing so the audio supports the experience.

Q: What questions do you ask prospective clients?

A: I ask about the emotional direction, references they connect with, the intended audience, and the story behind the project. This helps align creative and technical goals from the start.

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

A: Look for someone who listens deeply. A good match isn’t only about skills, it’s about how well they understand your vision, communicate clearly, and elevate your ideas with creativity.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: A laptop, headphones, a field recorder, a small controller and an acoustic instrument. Enough to compose, design sound and capture the environment for inspiration.

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

A: I began studying classical composition before graduating in Electroacoustic Composition from the Conservatory of Music “Santa Cecilia” in Rome. I moved to Berlin in 2016, continued training in music production and built a freelance practice across film, performance and brand work. I’ve been working professionally for over ten years.

Q: How would you describe your style?

A: Fluid, blending acoustic and electronic elements to serve emotion and narrative.

Q: Which artist would you like to work with and why?

A: I’d love to collaborate with Nils Frahm. His ability to balance fragility and depth — bridging classical and electronic sound, reflects the space where I feel most creatively aligned.

Q: Can you share one music production tip?

A: Start by defining the emotional core, not the genre. Once the feeling is clear, arrangement, sound palette and rhythm fall naturally into place. It keeps the music focused and makes every production decision intentional.

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

A: I mostly work on pop, electronic, cinematic and hybrid scores blending acoustic instruments with processed textures. I also produce bespoke sound design and sonic identities for film, brands and contemporary performance.

Q: What's your strongest skill?

A: Empathy. I listen deeply to understand the emotional intention behind a project, then translate it into sound. This helps me connect with clients, anticipate needs, and shape music that truly supports their vision.

Q: What do you bring to a song?

A: I bring a strong melodic and textural sensitivity, haping emotional narrative through sound. My background in electroacoustic composition helps me blend electronic and acoustic elements in a way that feels natural and distinctive. Whether composing or mixing, I focus on clarity, depth and mood, ensuring the final piece supports the story and stands out sonically.

Q: What's your typical work process?

A: I begin by understanding the creative goals, either through references, narrative direction or emotional intention. I sketch musical ideas and sound palettes, then refine them collaboratively based on client feedback. Once direction is set, I build the composition and sound design, moving into editing, mixing and final delivery. Throughout the process, I keep communication clear and structured so we can move confidently toward the result.

Q: Tell us about your studio setup.

A: My studio is centered around Nuendo, Ableton, Pro Tools and Logic, paired with flexible hybrid routing. I work with virtual orchestral tools, analog synths, and a curated selection of microphones and effects. For spatial projects, I integrate multichannel workflows and have experience producing and performing on the d&b Soundscape system. My setup is designed for fluid movement between composition, sound design, recording and final mix delivery.

Q: What other musicians or music production professionals inspire you?

A: I’m inspired by artists and composers who explore the intersection of acoustic and electronic languages, figures like Ryuichi Sakamoto, Ben Frost, Hans Zimmer, Nils Frahm, and Jóhann Jóhannsson. I also appreciate the detailed engineering and spatial thinking of producers such as Brian Eno, Suzanne Ciani and Alva Noto, as well as live-sound innovators like Serge Gräfe.

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

A: I compose and produce original music, craft detailed sound design, and deliver high-quality mixes and masters for film, branded content, performing arts and multimedia projects. Many clients come to me for a refined sonic identity, whether that means a cinematic score, immersive atmospheres, or polished, release-ready production.