Producing records is my favourite job, both on the technical and artistic sides of it. Working side by side with a musician or a band, helping them develop their ideas and find their own voice is something really rewarding. This process is developed through several steps, from preproduction to actual recording and mixing.

Deepest Sea is my private studio, where I track most stuff. I have good amount of gear and I’m not afraid to use it! I often do tracking in other places as well, being them established studios (such as O.F.F. Studio or Rubedo Recordings) or random rooms (theatres, churches, rehearsal spaces etc). With my portable recording rig I can track anywhere there’s a clean AC source.

I love mixing, being it a session me or someone else recorded, because it involves quite a lot of creativity. In my control room I use a variety of analog and digital equipment to achieve balanced and well sounding mixes.

Mastering is the last phase of music production. It consists of giving the ultimate shape to your mixes, adjusting their loudness to adapt to the distribution format (cd, lp, digital, cassette and so on).

I’m quite a gear nerd, having an array of amps, cabs, pedals and microphones lets me cover many different sound territories. Whatever specific sound you are after, being it a round 70s bass tone or a tight death metal guitar, I can reamp your lines and get that organic sound that amp sims and IRs often fail to deliver – this being particularly helpful for those of you guys doing home productions.
If you’re looking for a piece of gear which is not on my list, feel free to ask about it: I have connections with several artists, studios, and backline rentals in my area, so it shouldn’t be hard to find it.

Live sound
Working as resident engineer at many venues and festivals has made me familiar with many genres, such as metal, techno, noise, hardcore punk, jazz, post rock, hip hop, acoustic, indie rock and so on. I’ve also been touring around Europe as a sound engineer since 2006 with many different bands doing almost any kind of gig, from intimate pub shows to big outdoor festivals. I’m available as foh engineer, monitor engineer and eventually as backliner or tourmanager too.

Pedal modding
When it comes to pedals, I’m a firm believer that there’s no need to spend hundreds bucks in fancy versions of circuits that have been released decades ago. Most of times cheap underdogs can be easily modded to better suit players’ needs, check out my mods page to see which pedals I can work on.

header picture courtesy of Mariella Cusato