State Of Art Mixing

Q: Analog or digital and why?

A: Both, until a few years ago I was dedicated to as much analog gear as possible, I grew up in that world and it came naturally to me. Today digital has made great strides, plugin emulations are now decidedly close to hardware with the added possibility of recall, energy savings and an even more versatile workflow, I find myself doing more automation today that when I worked on the desk and this is noticeable in the mixes that are more and more dynamic. Despite that, there is some hardware that I can't give up, especially in the tracking phase, I like the sounds to reach my DAW as soon as possible and how I would like them in the mix.

Q: What do you like most about your job?

A: Creativity for sure.

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

A: I try never to create misunderstandings with my clients, communication is our strongest weapon

Q: What questions do you ask prospective clients?

A: Usually I try to understand what emotions they want to convey, music is above all emotions, then I try to understand the type of sound they are looking for, what their favorite artists are or, if they have them, their favorite mix engineers.

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

A: If you're looking for a producer, be open to receiving advice, if you're looking for a mix engineer, don't forget that a good recording and above all good arrangements are the most important component of a great mix.

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

A: Of course my pro tools with any good SSL strip plugin, an API 512 preamp, a Distressor and a couple of good mics, maybe an ATM25 and a u67.

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

A: I started almost 20 years ago, I was a university student who loved music and played guitar in a rock band. I started out as a porter at live performances, this allowed me to get a glimpse of the professionals at work, so I decided to continue with one of the best professional courses in Italy. When I graduated as a sound engineer I started working as an assistant for several of my former teachers and with some of the most important sound services in southern Italy, I had the pleasure of assisting Steve Albini on a record and in the end, almost 10 years ago, I opened my recording studio where I signed some of the most acclaimed records of the Italian underground scene.

Q: How would you describe your style?

A: Again, punchy, airy, obsessed with the way low frequencies work, and above all working with a smile.

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

A: Dave Grohl certainly, he has been able to reinvent himself in many ways, he is an eclectic musician like few others and has absolute attention for his productions.

Q: Can you share one music production tip?

A: My best pruduction tip is not to work in a schematic way, what worked for one record could be the downfall of another, using ears, sensitivity and communication with the artist is key

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

A: I mainly worked on rock. Any type of rock from electronic or alternative to metal, I've done a lot of pop, I've worked with several of the world's leading jazz players when I was working with FOH on live shows, I really don't care much about the genre, I love a lot of different music , if it gives me good vibes, if I think I can do something really great, then I'm happy to do it.

Q: What's your strongest skill?

A: Surely that of not being used to repeating myself, every album is different, every album needs a different approach and for every album I look for something unique, I am a tailored tailor of my clients' music.

Q: What do you bring to a song?

A: Definitely punch, definition, lo-end.

Q: What's your typical work process?

A: It depends on my role, if I have to produce something, I spend a lot of time listening to song auditions, I talk a lot with the musicians, to understand what they are looking for and what kind of sound they want to create. If my role is that of a simple mix and/or master engineer, I talk to the band or producer, for me it remains important to understand what they expect, I listen carefully to the rough mix and sculpt it with decisive strokes.

Q: Tell us about your studio setup.

A: After more than a decade of working on an analog desk, today my studio is DAW based, even if I decided to keep a good part of my outboard, which includes API preamps, Neve, SSL, Focusrite, etc and above all my compressors, such as example my 1176 rev A, my distressors or LA-3A. I integrated with the best plugins around, while my DAW remains Pro Tools.

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

A: Over the years I have tried to blend the characteristics of the producers and mix engineers who have inspired me the most, certainly my greatest mentor remains Andy Wallace, but in my approach to recording and mixing, there are certainly influences from Steve Albini, Joe Barresi, Chris Lord-Alge or Andrew Scheps.

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

A: My mission is to sculpt the artist's sound, it is my priority in a historical moment in which there is a lot of music that comes out every day, having recognizable characteristics is the basis for emerging. Punch, clarity and dynamics are fundamental elements of my mixes.