Pop & Urban Mixing Engineer

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

A: I will treat the song as music first and a technical project second. I’ll listen carefully to your vision, be direct about what I think can improve the record and make sure every decision serves the emotion and direction we agreed on.

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

A: One project I’m especially proud of is “L’effetto che cerco” by Doxa, where I worked as producer, mixing and mastering engineer. I was involved from the creative direction through to the final sound, so I could shape the production and mix as one continuous process. It represents very well the balance I look for between clarity, impact and emotion.

Q: Analog or digital and why?

A: Digital for most of my workflow. Modern tools give me precision, instant recall and the freedom to experiment quickly without interrupting the creative process. I love the sound and philosophy of analog equipment, but I care much more about the result than the format used to get there.

Q: What do you like most about your job?

A: The moment when a song suddenly feels like a record. When the vocal, production and mix lock together and the emotion becomes obvious, that’s the part I enjoy most.

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

A: That mixing is mainly about making things louder, cleaner or more expensive-sounding. For me, the real job is deciding what the listener should focus on and shaping the energy of the record so the emotion translates immediately.

Q: What questions do you ask prospective clients?

A: I usually ask what they love and dislike about the current rough mix, what references they have in mind, what element of the song should feel most important and where the track is going to be released. I also like to understand whether they want me to stay very close to the rough or reinterpret the balance more creatively.

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

A: Don’t choose an engineer only because you like how loud or polished their mixes sound. Choose someone who understands the emotional direction of your music and whose taste aligns with yours. Technical skill matters, but taste and communication are what usually make the difference.

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

A: I started producing and engineering music at 17, in 2018. I later earned a Bachelor’s degree in Audio Production at SAE Institute Milan and went on to work as an assistant to producer Michele Canova Iorfida. That experience exposed me to high-level productions and shaped the way I approach both the creative and technical sides of making records.

Q: How would you describe your style?

A: Clean but visceral. I like clarity and control, but I never want a record to feel sterile. The goal is polished enough to compete, while still feeling human, physical and emotionally alive.

Q: Can you share one music production tip?

A: Don’t think of automation as a final touch. Use volume, effects, stereo image and dynamics automation as part of the arrangement. A great record should evolve from section to section, even when the instrumentation stays almost the same.

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

A: Modern pop, urban, R&B and trap, especially vocal-driven records.

Q: What's your strongest skill?

A: Understanding what a song is trying to communicate and amplifying it. I’m very sensitive to the emotional hierarchy of a record — what the listener should notice, feel and remember — and I use production and mixing decisions to make that message come across more clearly.

Q: What do you bring to a song?

A: Perspective. My goal is not to make every song sound like me, but to understand what makes that specific record special and bring it forward. That can mean making the vocal feel more intimate, the low end more physical, the chorus wider or simply removing things that distract from the emotion.

Q: What's your typical work process?

A: I usually start by listening to the rough mix before touching anything. I want to understand what already works, what the artist is trying to communicate and where the record is losing impact. Then I build the mix around the emotional center of the song — usually the vocal, groove or main hook — and work outward from there. Once the direction feels right, I focus on detail, translation and final polish.

Q: Tell us about your studio setup.

A: I work in a professional monitoring environment with a fully in-the-box workflow, which allows me to move fast, recall sessions instantly and stay extremely precise during revisions. My setup is built around accurate monitoring, high-quality conversion and a carefully selected collection of mixing, mastering and production tools.

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

A: I mainly mix and master modern pop, urban, trap and R&B records, often with a strong focus on vocals. I also handle vocal production, editing and additional production when needed, helping artists take a rough mix or production to a finished, release-ready record.