Sculpting the Sound
Before music there’s sound.
Since the 1990s, I have been deeply involved in the music industry, producing genres ranging from Drum & Bass and Trance to Rock and Electronic music. In 2010, I discovered my passion for cinema and have since dedicated myself to sound design for films.
My work emphasizes capturing the intrinsic melody within sounds, creating immersive soundscapes that enhance the narrative and emotional depth of visual storytelling.
Sound born from the world around us, shaped from the memory of a collective imaginary and a stream of emotions.
Working with sound is finding its emotion origin and make it live experiences through filters, effects and re-recordings and resampling.
Sound Design Workflow
Sound design developing comes from the work which needs the sound and its study in details.
From this study some characterizing elements are drawn, what defines the “world” of the work, the universe in which the work lives and what are the “actors”, those active elements that move and give life to it.
I like to investigate the psychology of each actor through associations with colors, animals, materials, giving them a character in a larger design. Every actor and every characterizing element exists in a choreography that defines the depth and different levels of reading of the work itself.
This first analysis is followed by the search for references and documentation; these are sought in popular culture, history, technology, art … I go searching of those archetypal aspects or universal culture that allow us to strongly characterize aspects, make them more real, and make them perceive as belonging to the same universe.
Once these aspects have been defined, various techniques are chosen with which to represent these elements through the appropriate recording techniques, choice of signal processing and sound palette.
For example, representing the frailty of a world using the noise of fragments of porcelain rubbed in a large and empty environment; describe a digital but extremely real world by generating digital glitches by means of software and then re-recording them on tape using an old and run-down cassette recorder searched in a flea market.
After that we can discuss these choices with the direction (in case of a movie), the artist, or the artistic direction to understand if the given interpretation is consistent with the work and eventually repeat all the steps.
The sound and me
My journey into sound began in the late ’90s as a drum & bass producer and in two trance projects under the name “Butterfly on acid” and “Poesie electronique“.
In the early 2000s, I began working with Marinella Tenaglia (Eleta) for what would become the band Noise a.m. , combining Marinella’s experiences as former lyric music singer and rock music songwriter.
During those years I started working in some live events as a sound engineer and I helped other artists in the production of songs, arranging, defining sounds, mixing. Among all the name of Andrea Oliva (La Bestiaccia) stands out.
In 2010 I meet Alberto Giorgis, a young film director and producer who involved me first in a movie contest (“50 Ore Torino“, and in the audio post-production of the feature film “Altro Quando” then.
It is that experience that made me understand that I could combine my love for cinema with my artistic skills and start a new experience.
In the following years, having completed university studies, I attended a 6-month course for “Sound Engineer for video” at “Piazza dei mestieri“, in collaboration with the Music Lab.
Also in that period I started working on film sets as a live sound engineer and I used my experience as an electronic producer to work as audio editor, post-production sound engineer, and sound designer for some short films
From the 6-moth course experience I started collaborating with the Double Dominant studio and production house in Turin, whose peculiarity is the production of buskers and my skills in Sound Design and experiences in the field of cinema and visual arts in video post-production allowed me to make a unique contribution to the study.
Work with ears and hands
To my love for music, sound and cinema is added my love for craftsmanship, which leads me to experiment with the construction of instruments and controllers.
Despite many failures and some almost useless creations, I have never lost the desire to experiment, and this translates into a unique approach to each new job I deal with: for every new sound design work, the possibility of creating new “devices” to create or processing sounds, from simple “broken” cassette recorders manipulated during recording or playback to “reverberation bodies” obtained from guitar cases or “inappropriate rooms“, from circuit bending of toys to “home synthesizers”.
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