Hi, my name is Elio Carosone and I am a multi-instrumentalist sound engineer with an in-depth knowledge of classical harmony, as well as a vast technical know-how on various audio-related works.
Hi, my name is Elio Carosone and I am a young and dynamic sound engineer with a passion for creating exceptional immersive tracks. I am a multi-instrumentalist with an in-depth knowledge of classical harmony, as well as a vast technical know-how on various audio-related works.
I have been mixing independently for over eight years, using only the best professional audio programs. I specialize in composing instrumental tracks, commercial jingles and soundtracks for short and medium-length films of various genres.
When it comes to composing, I prefer writing for late classical and early romantic orchestras. As for mixing, I like crafting acoustic tracks and indie music.
My mixing process includes a hybrid analog-digital approach, which makes each track special and alive, while the editing or restoration work is done entirely digitally. My compositional process, which usually takes 48 hours for final delivery, sees a four-part writing translated into an orchestra according to the rules of classical harmony.
Files can be delivered in any universal format.
Tell me about your project and how I can help, through the 'Contact' button above.
Interview with Elio Carosone
Q: Which artist would you like to work with and why?
A: I would love to help people that need a true realistic orchestra ITB and don't want to settle for a mediocre product, because I believe that my method can make orchestral production take enormous leaps forward
Q: Can you share one music production tip?
A: Four-part writing, the study of the acoustics of orchestral spaces and the awareness of the musician's uniqueness are the fundamental ingredients for great orchestral writing
Q: What's your strongest skill?
A: I know how to use limited gear for exceptional results
Q: What's your typical work process?
A: I always start writing a four-part harmony, then I separate the midi lines according to the section I want them to be in. The newly created tracks are brought into sub-project where I can fully control every single aspect of the engine-instrument and the general performance of the group throught in-depth live midi automations. The sections are then combined in an hyper-realistic virtual environment and merged together with volume automations. Finally on the master track I add a custom tailored tape saturator, a light touch of parallel equalizer, a soft multiband compressor and a transparent limiter to bring out the true sound of a symphonic orchestra
Q: Tell us about your studio setup.
A: I prefer to work fully ITB with Reaper and my Monolith m1060 planar headphones as my main monitoring system. To feel the noise of a symphonic orchestra I also use a pair of Rokit KRK RP5 speakers. To write for it I use an M-Audio keyboard and to perform it I use a WiiMote as a real time midi controller, patched trought a self-written script with GlovePIE
Q: What other musicians or music production professionals inspire you?
A: From a compositional point of view I'm a huge fanboy of J. S. Bach. From the orchestrational point of view I love both the eroic firmness of Beethoven' symphonies and the harmonic complexity of a Paul Dukas
Q: Describe the most common type of work you do for your clients.
A: My most common type of work is creating movie soundtracks or custom music tracks for general purposes
- Composer OrchestralAverage price - $200 per song
- Film ComposerAverage price - $200 per minute
- Game AudioAverage price - $300 per day
- Full instrumental productionAverage price - $200 per song
- Mixing EngineerAverage price - $150 per song
- RestorationAverage price - $100 per hour
I offer unlimited revisions to ensure your complete satisfaction.
- Ludwig van Beethoven
