How would you define your main role on most of the projects you work on at the moment?
Mixing Engineer – Stereo and Dolby Atmos.
Please tell us a bit about your musical background. How did you get started in the music industry? What was your pathway to your current role?
I studied Classical Guitar at the conservatoire in Italy, and after a couple of years teaching, I moved to the UK to pursue sound engineering. I did my degree in Wales and later completed a Master’s in Record Production in London, where I worked with a range of upcoming artists and really crafted my skills.
I started out doing live sound for theatre, which led to studio work recording and mixing vocal guides for stage productions. That opened the door to Qube, where I came in as an assistant and eventually became senior engineer. From there, I built strong relationships and started freelancing, collaborating with producers, artists and engineers – including work with Ellie Goulding, Joey Bada$$, Denzel Curry, Stormzy, Olivia Dean and more recently, David Guetta, Armin van Buuren, and Juls.
What or who inspired you to follow this path?
A deep love for music, which grew through classical training, and a strong creative drive that didn’t necessarily need to be expressed through performance. The studio became the perfect space for that.
Are there any highlights from your work that you are particularly proud of?
Two come to mind. The album Peace & Love by Juls – Stereo Masters and Atmos Mixes – it was an incredible project with sounds and instruments recorded in Ghana and a line-up of amazing artists. The other is The Book Thief musical, for which I recorded and mixed the cast album. That one was especially meaningful, tying back to my early theatre days and the satisfaction of navigating some real challenges along the way.
What’s one tip you can share with other MPG members that could help their workflow?
Even if it’s not the fastest route, I keep my mix template very minimal. It helps me stay flexible and approach each mix with a fresh perspective.
What’s one tip you would like an MPG member to share with you?
I’d be keen to hear how others handle rates and contracts across different genres and formats. It’s something we often overlook, but it plays a big part in building a long-term career.
Do you have any words of wisdom for people wanting to get into a similar music production role to yours?
You’ve got to create your own opportunities – just make sure you’re ready when they come. And never underestimate how much your attitude and the way you interact with people can impact your career.
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