Audio post-production

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

A: We did the field recording for a short film that was candidate for an important prize during Rome Film Festival 2025. As said before, we believe that the field recording s the most crucial step for audio because it needs to sound good so that it can be worked on. We didn't do the post production phase, but the sound mixer let us know that our recordings were really good and his job had been super facilitated by that.

Q: What are you working on at the moment?

A: Music and post production for a documentary and field recording for a TV network.

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

A: Marco Ielpo.

Q: Analog or digital and why?

A: The both of them. We use digital DAWs but we often connect them to analog equipment (such as guitar pedal) to use them instead of digital plugins.

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

A: The best of professionalism and honesty.

Q: What do you like most about your job?

A: That we can get to create something new everyday and keep our creativity always on.

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

A: They often ask what sound can do to improve their projects based on what their ideas are. We try to give them some examples so that they can hear and choose on which path the sound of the project can get.

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

A: That anything can be fixed during the post productione phase. The recording phase is extremely important. For example a distorted audio file is no different to an overexposed video, it is nearly impossible to fix it.

Q: What questions do you ask prospective clients?

A: What kinìd of message is your project carrying? Who inspired you to make it?

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

A: Be sure that they understand what your needs are and understand if they can give you what you are looking for.

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

A: Recorder, microphone, headphones, MIDI keyboard, computer.

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

A: More than 10 years and moving across Europe.

Q: How would you describe your style?

A: Action, Melancholy, Hopeful.

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

A: Lynne Ramsay, because of the mood and the sensations she can narrate with her stories and Peter Jackson for the actions and the jaw dropping scenes he has given us throughout his career.

Q: Can you share one music production tip?

A: Stand for your ideas but at the same ask for opinions and trust the tips competent people give you.

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

A: Cinematic, Rock, Pop, Pop Punk, Hard rock, Blues.

Q: What's your strongest skill?

A: Being able to listen and work in a team of people that may have different ideas.

Q: What do you bring to a song?

A: Experience, personal vision combined with the client's and the capcity of translating our clients' ideas into music.

Q: What's your typical work process?

A: We like to talk to the client before starting the job so that we can understand what they really want and need. If all the sound process is entrusted, after recording we generally use the fllowing path: we check the material we have so that we know if and how it needs to be cleaned and restored; then we synchronise it with the video track if there is one; we keep asmuc good material as possible, but if some sounds need to be recorded again we preceed with the foley recording and integration; based on the clients requests we start creating textures and music; when the client is satisfied we end the job with the mix and master.

Q: Tell us about your studio setup.

A: Our Studio has a 5.1 monitor configuration in a sound proof room. We have different microphones that we use depending on the situation: we generally use shotgun condenser microphones for field and foley recordings, but we often use contact and water proof microphones to create unique sound for foley and sound design.

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

A: Hans Zimmer, Steve Jablowsky, Gustavo Santaolalla, Bear Mcreary, John Williams Ennio Morricone, Junkie XL, Ramin Djawadi, Skald, Wardruna, Kyle Dixon, Michael Stein.

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

A: Field and foley recording and sound design for TV shows, short film and films. Dialogue editing and restoration. Creation of sound textures and soundtracks. Mix and mastering for audiovisive products and music productions.