Composer for movie and media

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

A: I am particularly proud of the work on the award-winning short film, "Num3ri." My role was dual: I served as both the Composer and Sound Designer/Mix Engineer. The challenge was fusing a delicate orchestral score with highly abstract, experimental electronic textures to underscore a complex narrative. I am proud because we delivered a cohesive, emotionally resonant soundscape under a tight festival deadline, directly contributing to its success and multiple festival awards.

Q: What are you working on at the moment?

A: Currently, my workload is a dynamic mix of creative and technical projects. I am deeply focused on scoring an atmospheric short film, which requires complex hybrid sound design, while simultaneously handling the mixing and mastering for a powerful Funk/R&B EP. This blend allows me to maintain flow between technical precision and deep artistic immersion, ensuring all projects receive broadcast-ready quality.

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

A: While I primarily handle composition, sound design, and engineering, I am part of a wide network of trusted professionals. I would always recommend clients seek out a top-tier session vocalist or a specialized instrumentalist (e.g., an authentic Reggae bass player) when their project demands a specific performance element that is beyond my core role. Collaboration is key to achieving perfection.

Q: Analog or digital and why?

A: firmly believe the best results come from a hybrid approach. Digital processing is essential for its unparalleled speed, flexibility, and precise recall in complex sessions. However, the unique saturation and undeniable warmth provided by high-quality analog outboard gear are irreplaceable for achieving rich harmonic depth and character in the final sound. My workflow uses the strengths of both worlds.

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

A: My promise is unwavering commitment to your vision: I guarantee that your project will not only receive unique creative depth and meticulous sound design, but will also be delivered with flawless technical precision, ensuring it is polished, powerful, and truly broadcast-ready to compete on the global stage.

Q: What do you like most about your job?

A: What I enjoy most is the moment when the client's creative vision fully merges with technical precision. It’s the thrill of translating an abstract idea into an emotionally powerful composition and then, as an engineer, ensuring that vision achieves flawless sonic clarity and competitive loudness, making it truly ready to compete on any global platform.

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

A: The most common questions revolve around scope and technical delivery. Clients frequently ask, "Can you handle the entire process, from composition to final master?" My answer is always yes: my full-spectrum service ensures total continuity, merging creative intent with technical precision for broadcast readiness. They also often ask about loudness, to which I clarify that while I achieve competitive streaming LUFS standards, the priority is always preserving the dynamic clarity and emotional impact of the music. Finally, regarding revisions, two detailed rounds are standard to ensure the final product aligns perfectly with the initial shared vision.

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

A: The biggest misconception is that the creative process and the technical process are separate. Clients often assume the magic of composition or sound design is the final step, overlooking the specialized technical skill required to ensure the emotional impact survives the modern streaming environment. Great music demands both artistic vision and flawless engineering to be broadcast-ready.

Q: What questions do you ask prospective clients?

A: To ensure a precise quote and efficient process, I first ask clients to clearly define the core emotional narrative or goal of their project, and to provide 2-3 specific reference tracks to establish the sonic aesthetic. Then, we clarify technical expectations: What are the specific LUFS/streaming delivery standards, required file formats, and your definitive deadline? Finally, I confirm the scope of work: Do you require full composition and sound design, or solely professional mixing and mastering services?

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

A: To ensure the best result, come prepared with a detailed brief. Clearly define your project’s emotional goal and provide 2-3 specific reference tracks—this immediately clarifies the sonic aesthetic we are aiming for. Also, be clear about the intended final platform (e.g., Spotify, Film Mix LUFS) and the required file formats. Ultimately, trust your provider to blend your creative vision with the technical precision required for a broadcast-ready final product.

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

A: My career path began with formal training and collaboration with institutions like the F. Venezze, Perugia, and Benevento Conservatories for various concert series. I quickly expanded into technical roles, becoming a versatile Sound Designer and Audio Engineer. Key production and mixing credits include the band Fall Has Come and artist Fenijello. Having worked professionally for over 12 years, my experience spans composing for film, games (including scores for VivaVivaFest and radio jingles), and full post-production for commercial music.

Q: How would you describe your style?

A: My style is defined by versatility and intentional design. I specialize in creating cinematic hybrid soundscapes that fuse orchestral weight with cutting-edge electronics and meticulous sound design. Simultaneously, my production approach is rooted in rich groove sensitivity (Funk, Soul, R&B) and technical clarity, ensuring every piece is emotionally resonant and broadcast-ready.

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

A: would love to collaborate with a technically brilliant, genre-defying act like Snarky Puppy. Their work demands incredibly precise engineering alongside rich musical composition. However, I am equally inspired by the bold sonic experimentation of artists like Iosonouncane and Daniela Pes. My combined skills in orchestral texture, meticulous sound design, and the ability to deliver punchy, commercially competitive mixing would be ideally suited to support and elevate such sophisticated musical production, regardless of genre.

Q: Can you share one music production tip?

A: https://open.spotify.com/playlist/3ePRPhBEC5MKv7JN6h0jUJ?si=OhHieDK6Sfedp4U7A4nbPg

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

A: Versatile in scoring and production: from cinematic Orchestral & Hybrid scores to commercial Funk, Soul, Pop, R&B, World Music, and Reggae.

Q: What's your strongest skill?

A: Meticulous attention to detail, guaranteeing superior sound design and clarity.

Q: What do you bring to a song?

A: I bring a powerful blend of emotional depth and technical precision. As a composer, I find the unique narrative voice for the track. As an engineer, I ensure it achieves optimal loudness, clarity, and competitive polish for all streaming platforms.

Q: What's your typical work process?

A: My process is deeply collaborative, beginning with a meticulous analysis of your brief and any reference tracks provided. I allow the client's vision and specific requests to serve as the core inspiration for the project. I then fuse this creative direction with my diverse skill set: applying my strengths as a Composer for unique musical concepts, a Sound Designer for compelling textures, and an Engineer for flawless technical execution (mixing and mastering). This comprehensive approach ensures the final product is professional, polished, and fully captures your artistic intent.

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

A: "My influences span cinematic pioneers like Hans Zimmer (for his hybrid scoring and sound design innovation) or Junk XL and masters of atmosphere like Trent Reznor & Atticus Ross. On the technical side, I draw inspiration from engineers who define modern audio quality, such as orchestral mixer Alan Meyerson."

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

A: Composing and producing bespoke scores for visual media (film, games, theatre), combined with professional mixing and mastering for final release.

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

A: Oh, well... My keymaster, my Macbook, headphones, a stereo with speakers and, my HHD

Q: Tell us about your studio setup.

A: - Focal alpha 65 (Monitor) - Antelope Discrete 8 Synergy Core (Audio Device) - Sony MDR- 7506 (Headphones) - Arturia KeyLab 88 Mk II (keymaster) - Roland Jd-xi (synth) - Roland Rd 300 - Korg M50 - Arturia V collection - Main professional Audio plugin (Plugin Allience, Softube, Klevgrand, Waves, Soundtoys..) - Logic pro 11 - Main dynamic and condensar microphone (Shure, Antelope, Rode, Beyerdynamyc...)