The meticulousness and craftsmanship of a classical orchestral composer with the spirit of a rocker.
Luca Petracca was born in Rome, 1988. He starts his musical studies as guitar player, graduating in classical guitar at the conservatory S. Cecilia of Rome. Right after his graduation, begins his path in composition, which becomes very quickly his main interest. In 2011 Luca moves to The Netherlands to graduate in classical composition at the “Conservatorium van Amsterdam”. Here he gets in touch with a huge variety of musical styles, performances and starts to partecipate in several projects which combine different genres or forms of art. This melting pot of experiences becomes the core of his musical expression and continuous research. Luca’s works are the result of his many different influences, life experiences and personal heroes; from Bach’s counterpoint, to late romantic harmonies, Thom Yorke, folk Italian music, rock and electronic. His strong will to explore new environments, cultures and to work together with different people, brought Luca to be involved in various projects; scoring for orchestras, chamber ensembles, theatre music, soundtracks and collaborating with several artists as composer, arranger and producer.
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Interview with Luca Petracca
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I'm particularly attached to the orchestral arrangements I made for the band 2elementi, that was my first real paid experience as orchestral composer and arranger. I was pretty scared to jump in the studio with a real orchestra to conduct in front of me, I was still studying back then, but that was the moment when I clearly realised this is the job I wanna do for the rest of my life.
Q: What are you working on at the moment?
A: I'm producing an experimental jazz/electronic album for a band, working on my new album and hopefully, fingers crossed, I should be starting soon a Netflix movie (as composer).
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Not really, I'm new here
Q: Analog or digital and why?
A: If possible analog, I like the warmth, character and vitality of it. Often deadlines, budgets and continuous revisions make me go for digital, which is anyway a good and professional solution.
Q: What's your 'promise' to your clients?
A: I always complete what I start and respect the rules we have set.
Q: What do you like most about your job?
A: Collaborations can be super inspiring and you always learn a lot!
Q: What questions do customers most commonly ask you? What's your answer?
A: Time of delivery and costs. I always try to answer honestly and realistically to everything, I like to set all the rules and conditions first. Then I just wanna focus on my job.
Q: What's the biggest misconception about what you do?
A: I'm not just a technician
Q: What questions do you ask prospective clients?
A: I always try to fully understand their idea (if they have one)
Q: What advice do you have for a customer looking to hire a provider like you?
A: I care for whatever I do and I have a big respect for my customer's ideas and necessities but at the same time I demand for the same kind of respect for what I do.
Q: What was your career path? How long have you been doing this?
A: I've been into conservatories for 10 years, first graduating in classical guitar and then obtaining a bachelor and master degree in classical Composition. I started working in this field in 2015, already while studying.
Q: How would you describe your style?
A: Orchestral-Ambient
Q: Which artist would you like to work with and why?
A: I'd love to have a collaboration with Nils Frahm and to score for a movie by Matteo Garrone or Paolo Sorrentino
Q: Can you share one music production tip?
A: Techniques and sound gears are just tools, musical ideas, understanding and sensitivity are the real core of this job.
Q: What type of music do you usually work on?
A: Lots of different kinds: soundtracks, orchestral, ambient, minimal, pop, rock
Q: What's your strongest skill?
A: I'm not one of those egocentric artists, I like to listen to any kind of idea, trying to deeply put my self in it and share whatever I can from my side into it.
Q: What do you bring to a song?
A: I care a lot about the narrative aspect of a song so I try to respect and enhance that as much as possible
Q: What's your typical work process?
A: I receive the brief from a director, singer, agency or music producer then I start sharing my ideas about it and if possible some music examples to show how I would execute it. If we find a common strategy we discuss about the budget and conditions, once everything is defined and set the game is on.
Q: Tell us about your studio setup.
A: I have my own studio, small but professionally equipped to record solo instruments and to work properly when I program orchestral scores using sound libraries. I like to combine live and programmed instruments. When the budget allows that I collaborate with a bigger studio that can accomodate orchestras and ensembles.
Q: What other musicians or music production professionals inspire you?
A: Jóhann Jóhannsson, Danny Elfman, Nils Frahm
Q: Describe the most common type of work you do for your clients.
A: I mainly work as orchestral composer and arranger for movies/documentaries or collaborating with several artists who need some orchestral touch in their projects
- Composer OrchestralContact for pricing
- String ArrangerAverage price - $250 per song
- Film ComposerContact for pricing
- Full instrumental productionContact for pricing
- String SectionContact for pricing
- Bass UprightContact for pricing
- ViolinContact for pricing
3 revisions allowed
- Danny Elfman
- John Williams
- Jóhann Jóhannsson
