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Biografia


L’infanzia


Sono nato il 24 aprile 1961 e mi hanno sempre descritto come un bambino taciturno. In effetti ero sempre impegnato a studiare il mondo che mi circondava e passavo moltissimo tempo ad osservare. Inoltre, come veniva sottolineato da tutti i miei insegnanti, avevo sempre la testa fra le nuvole e sembrava che la mia attenzione fosse altrove. Mi divertivo a sintonizzare la vecchia radio a valvole sulle stazioni che trasmettevano la musica classica e mi immaginavo di dirigere l’orchestra e già seguivo il tempo con il movimento delle mani. Nonostante la tenera età dimostravo di avere una innata comprensione per la fisica e le scienze e mio padre era sicuro che sarei diventato un ingegnere. Io invece volevo diventare astronauta
Tutto ciò si guastò quando a 9 anni iniziai istintivamente a suonare ogni strumento a tastiera che mi capitasse fra le mani

L’adolescenza


Il tutto peggiorò quando a 12 scoprii il rock ed iniziai a studiare la chitarra. Poco dopo montai un Pick-Up elettromagnetico alla mia chitarra acustica ed armato di saldatore iniziai a collegarla a qualsiasi cosa potesse diventare un amplificatore. Oltre alla vecchia radio a mobile di famiglia, il mio preferito era un registratore a bobine Geloso al quale mi collegavo sulla testina di riproduzione. Il suono era veramente Grunge e l’ho usato finché un giorno scoppiò letteralmente
A 15 avevo passato il punto di non ritorno e venuto in possesso di una chitarra elettrica iniziavo a suonare nelle garage band. Di pari passo, approfittando del laboratorio a scuola di elettronica, mi costruivo scatolini amplificatori e mixer per il mio arsenale sonoro
A quell’epoca divenni anche il chitarrista cantante del gruppo High Voltage con i quali feci il primo concerto. L’attività musicale diventò frenetica e passai al gruppo dei L.E.D.S. nel quale venne a cantare il giovanissimo Massimo Riva con il quale entrammo in studio per la prima volta all’inizio del ’79

Lo Studio di Registrazione


Registrammo una nostra canzone su uno Studer a 16 piste in sole 3 ore, ma quell’evento cambiò per sempre la mia vita
Lo studio era la neonata Fonoprint che si trovava in un vecchio appartamento nel centro di Bologna
Durante le registrazioni il fonico, Gigi Giorgetti, disse che la Fonoprint si stava per espandere e che stava realizzando un secondo studio con ben 24 piste
A giugno, terminato il 4° anno delle superiori, mi recai di nuovo alla Fonoprint per chiedere se avessero bisogno di un nuovo fonico. Parlai con il presidente e poi con il responsabile tecnico e dal giorno dopo ero in studio. Passai l’estate facendo da assistente di giorno e di notte ai vari fonici che vi lavoravano per iniziare a capire come si svolgeva il lavoro in studio e come nascevano i dischi
E' incredibile pensare che in quell'epoca completamente analogica dovevamo spremere il cervello per creare qualcosa con i pochi mezzi che c'erano a disposizione. L'esperienza fatta all'epoca è stata importantissima per affrontare l'arrivo del digitale negli anni successivi
Dall'autunno in poi iniziai a svolgere i primi lavori come fonico. Di giorno andavo a scuola e di notte in studio
Con il tempo aumentavano la mia sicurezza e la mia esperienza e di conseguenza le responsabilità che mi venivano assegnate
Poco alla volta conquistai la fiducia del giovane produttore Mauro Malavasi , un genio della dance che sfornava continuamente successi di livello internazionale. Da lui imparai tantissime cose importanti nella produzione
Verso la fine dell'82 acquistai un Commodore64 in Germania. Era un personal computer appena arrivato sul mercato incredibile per quei tempi con il quale iniziai a studiare linguaggi di programmazione. Verso la fine dell'anno successivo riuscii ad acquistare una Yamaha DX7 fatta arrivare direttamente dal Giappone perché, visto il successo che aveva ottenuto, non si riusciva a trovare in nessun negozio. Mi buttai a capofitto nello studio di quella nuova tecnologia di sintesi chiamata FM. Fino ad allora avevo sempre usato solo sintetizzatori analogici a sintesi sotrattiva. Studiai profondamente anche il protocollo MIDI che vedevo per la prima volta. Poco dopo iniziai a collegare Commodore64 e DX7 insieme. Poiché la DX7 poteva contenere solo 32 suoni mi scrissi un programma in grado di trasferirli via MIDI al computer ed iniziai anche a creare una vasta libreria di suoni grazie anche all'editor anche questo scritto da me
Così al lavoro del fonico iniziai anche ad affiancare quello del programmatore. Poco alla volta reinvestivo i miei guadagni in nuovi sintetizzatori. Lavoravo tantissimo con la Dance ed in quel periodo mi venivano affidati anche i mix.
In quel periodo conobbi anche il grandissimo Celso Valli, produttore Bolognese che lavorava a Milano che, vista l'espansione della Fonoprint, stava cercando di tornare a Bologna. Iniziai a conquistare la sua fiducia prima registrando e poi programmando le tastiere.
In quegli anni iniziai anche a produrre brani di musica POP/ROCK per conto mio
Nel '87 iniziai un'assidua collaborazione con Roberto Costa, produttore di Luca Carboni. Con lui ho lavorato ad alcuni dischi di Lucio Dalla, Stadio e alcuni cantanti Spagnoli e Sud Americani. Nel 1988 accettai il ruolo di programmatore-tastierista nel glorioso tour Dalla-Morandi che mi tenne lontano dagli studi per sei mesi
Nel '90 ripresi la collaborazione con Celso Valli continuata ininterrottamente fino alla nascita del mio studio. Da lui ho imparato tantissimo nella realizzazione degli arrangiamenti musicali
Nel '92 inizio a muovere i miei passi anche nel settore del Mastering con il disco di Nino Buonocore "La naturale incertezza del vivere"
Dal 2006, ritornato dagli USA dove avevo registrato Io Canto di Laura Pausini, colpito dalle colorazioni di microfoni vintage che avevo avuto a disposizione, decido di dedicarmi alla creazione di microfoni con tecnologie vecchie di almeno 50 anni. I risultati sono ottimi, ma a causa degli elevati costi e dello scarso tempo a disposizione riesco a produrne solo una quantità limitata.

Navigando nel mio sito troverai altre informazioni sparse qua e là
Buona navigazione

Biography


Childhood


I was born on the 24th of April 1961 and I’ve always been described as a quiet child. As a matter of fact, I was always busy studying the world around me and I spent a lot of time watching. I always had my head in the clouds and, as all my teachers underlined, my attention always seemed to be focused on something else. I enjoyed myself tuning an old valve radio on stations which were sending classical music and I thought I was the director of that orchestra, already following its tempo with my hands. I was very young, however I had an inborn understanding for physics and science. My father was sure I’d become an engineer, but I wanted to become an astronaut.
This all broke down when, at the age of 9, I instinctively started playing any keyboard instrument within my reach

Adolescence


It all got worse when, at the age of 12, I discovered rock music and started studying guitar. Right after this, I mounted an electro-magnetic pickup on my acoustic guitar and, armed with a welder, I started connecting it to anything that could become an amplifier. Besides the old family radio cabinet, my favorite was a Geloso reel-to-reel recorder, connected on the playback head. The sound was really grunge, and I kept using it, until one day it literally blew up.
At 15 I reached the point of no return: I put my hands on an electric guitar and started playing in garage bands. At the same time, using the equipment which was available in the school of electronics I was attending, I used to build sound boxes and mixers for my sound arsenal.
At that time I also became the guitarist and singer of a band named High Voltage, and with them I made my first live concert. My musical activity was hectic, and I moved to another band named L.E.D.S. where the lead singer was a very young Massimo Riva. With them I made my first studio recording in 1979.

The recording studio


We recorded one of our songs on a 16-track Studer, but that event changed my life forever.
The studio was the newborn Fonoprint, located in an old flat in the center of Bologna.
During our recording sessions the sound engineer Gigi Giorgetti told us that Fonoprint was about to expand, and that they were going to open a 24-track second studio. Straight after finishing my fourth year at the electronic school, I went to Fonoprint again, asking if they needed a new sound engineer. I talked to the president, then to the technical manager, and the day after that I was already working in the studio. I spent my summer assisting day and night the various sound engineers at work, in order to begin to understand the meaning of working in a studio, and how records were created.
It’s incredible if you think that in that fully analogical era we had to squeeze our brains in order to create something with the help of only few available means. The experience which I gathered then has been very important for facing the digital era in the following years.
Since that autumn I started my first works as a sound engineer. At day I went to school and at night I was at the studio.
My self-confidence, my experience, and consequently also my responsibilities, were constantly increasing in time.
Little by little I conquered the trust of the young producer Mauro Malavasi, a genius of the dance music that constantly churned out success at international level. From him I learned many important things in the production
Towards the end of '82 I bought a Commodore 64 in Germany. It was a personal computer just arrived on the market, amazing for those times with which I started to learn the programming languages​​. Towards the end of the following year I managed to buy a Yamaha DX7 made ​​come directly from Japan because, given the success that had achieved, it was impossible to find in any store. I threw myself headlong into the study of that new technology called FM synthesis. Until then I had always used only analog synthesizers. I studied deeply also the MIDI protocol, which I saw for the first time. Shortly after I began to connect together the Commodore 64 and the DX7. Since the the DX7 could only hold 32 sounds I wrote a program that could transfer to the computer through MIDI and also started to create a vast library of sounds thanks to the editor also written by myself
So in addition to the work of the sound engineer I began to do that as well the synth programmer. Gradually I reinvested my earnings into new synthesizers. At that time I was working a lot with the Dance mixing included.
At that time I also met the great Celso Valli, a producer from Bologna who was working in Milan and, considering the expansion of Fonoprint, was trying to come back to Bologna. I started gaining his confidence first recording his records and then programming the keyboards for him.
In those years also started producing POP / ROCK music tracks on my own. In '87 I started a close cooperation with Roberto Costa, the producer of Luca Carboni. I worked with him on some records by Lucio Dalla, Stadio and some Spanish and South American singers. In 1988 I accepted the role of programmer-keyboardist for the Morandi-Dalla glorious tour, that kept me away from my work at the studio for six months. In '90 resumed my cooperation with Celso Valli, which uninterruptedly continued until the birth of my studio. From him I learned a lot about musical arrangements. In '92 I started taking my first steps also in the field of mastering with the Nino Buonocore record "La naturale incertezza del vivere". In 2006, back from the USA where I recorded "Io Canto" by Laura Pausini, I was very impressed by the sound of vintage microphones that I had available. I decided then to dedicate myself to creating microphones with at least a 50-year-old technology. The result was great, but because of high costs and my limited available time I could only produce a limited amount. Browsing on my site, scattered here and there, you will find other pieces of information Happy surfing

Biography


Childhood


I was born on the 24th of April 1961 and I’ve always been described as a quiet child. As a matter of fact, I was always busy studying the world around me and I spent a lot of time watching. I always had my head in the clouds and, as all my teachers underlined, my attention always seemed to be focused on something else. I enjoyed myself tuning an old valve radio on stations which were sending classical music and I thought I was the director of that orchestra, already following its tempo with my hands. I was very young, however I had an inborn understanding for physics and science. My father was sure I’d become an engineer, but I wanted to become an astronaut.
This all broke down when, at the age of 9, I instinctively started playing any keyboard instrument within my reach

Adolescence


It all got worse when, at the age of 12, I discovered rock music and started studying guitar. Right after this, I mounted an electro-magnetic pickup on my acoustic guitar and, armed with a welder, I started connecting it to anything that could become an amplifier. Besides the old family radio cabinet, my favorite was a Geloso reel-to-reel recorder, connected on the playback head. The sound was really grunge, and I kept using it, until one day it literally blew up.
At 15 I reached the point of no return: I put my hands on an electric guitar and started playing in garage bands. At the same time, using the equipment which was available in the school of electronics I was attending, I used to build sound boxes and mixers for my sound arsenal.
At that time I also became the guitarist and singer of a band named High Voltage, and with them I made my first live concert. My musical activity was hectic, and I moved to another band named L.E.D.S. where the lead singer was a very young Massimo Riva. With them I made my first studio recording in 1979.

The recording studio


We recorded one of our songs on a 16-track Studer, but that event changed my life forever.
The studio was the newborn Fonoprint, located in an old flat in the center of Bologna.
During our recording sessions the sound engineer Gigi Giorgetti told us that Fonoprint was about to expand, and that they were going to open a 24-track second studio. Straight after finishing my fourth year at the electronic school, I went to Fonoprint again, asking if they needed a new sound engineer. I talked to the president, then to the technical manager, and the day after that I was already working in the studio. I spent my summer assisting day and night the various sound engineers at work, in order to begin to understand the meaning of working in a studio, and how records were created.
It’s incredible if you think that in that fully analogical era we had to squeeze our brains in order to create something with the help of only few available means. The experience which I gathered then has been very important for facing the digital era in the following years.
Since that autumn I started my first works as a sound engineer. At day I went to school and at night I was at the studio.
My self-confidence, my experience, and consequently also my responsibilities, were constantly increasing in time.
Little by little I conquered the trust of the young producer Mauro Malavasi, a genius of the dance music that constantly churned out success at international level. From him I learned many important things in the production
Towards the end of '82 I bought a Commodore 64 in Germany. It was a personal computer just arrived on the market, amazing for those times with which I started to learn the programming languages​​. Towards the end of the following year I managed to buy a Yamaha DX7 made ​​come directly from Japan because, given the success that had achieved, it was impossible to find in any store. I threw myself headlong into the study of that new technology called FM synthesis. Until then I had always used only analog synthesizers. I studied deeply also the MIDI protocol, which I saw for the first time. Shortly after I began to connect together the Commodore 64 and the DX7. Since the the DX7 could only hold 32 sounds I wrote a program that could transfer to the computer through MIDI and also started to create a vast library of sounds thanks to the editor also written by myself
So in addition to the work of the sound engineer I began to do that as well the synth programmer. Gradually I reinvested my earnings into new synthesizers. At that time I was working a lot with the Dance mixing included.
At that time I also met the great Celso Valli, a producer from Bologna who was working in Milan and, considering the expansion of Fonoprint, was trying to come back to Bologna. I started gaining his confidence first recording his records and then programming the keyboards for him.
In those years also started producing POP / ROCK music tracks on my own. In '87 I started a close cooperation with Roberto Costa, the producer of Luca Carboni. I worked with him on some records by Lucio Dalla, Stadio and some Spanish and South American singers. In 1988 I accepted the role of programmer-keyboardist for the Morandi-Dalla glorious tour, that kept me away from my work at the studio for six months. In '90 resumed my cooperation with Celso Valli, which uninterruptedly continued until the birth of my studio. From him I learned a lot about musical arrangements. In '92 I started taking my first steps also in the field of mastering with the Nino Buonocore record "La naturale incertezza del vivere". In 2006, back from the USA where I recorded "Io Canto" by Laura Pausini, I was very impressed by the sound of vintage microphones that I had available. I decided then to dedicate myself to creating microphones with at least a 50-year-old technology. The result was great, but because of high costs and my limited available time I could only produce a limited amount. Browsing on my site, scattered here and there, you will find other pieces of information Happy surfing

Biography


Childhood


I was born on the 24th of April 1961 and I’ve always been described as a quiet child. As a matter of fact, I was always busy studying the world around me and I spent a lot of time watching. I always had my head in the clouds and, as all my teachers underlined, my attention always seemed to be focused on something else. I enjoyed myself tuning an old valve radio on stations which were sending classical music and I thought I was the director of that orchestra, already following its tempo with my hands. I was very young, however I had an inborn understanding for physics and science. My father was sure I’d become an engineer, but I wanted to become an astronaut.
This all broke down when, at the age of 9, I instinctively started playing any keyboard instrument within my reach

Adolescence


It all got worse when, at the age of 12, I discovered rock music and started studying guitar. Right after this, I mounted an electro-magnetic pickup on my acoustic guitar and, armed with a welder, I started connecting it to anything that could become an amplifier. Besides the old family radio cabinet, my favorite was a Geloso reel-to-reel recorder, connected on the playback head. The sound was really grunge, and I kept using it, until one day it literally blew up.
At 15 I reached the point of no return: I put my hands on an electric guitar and started playing in garage bands. At the same time, using the equipment which was available in the school of electronics I was attending, I used to build sound boxes and mixers for my sound arsenal.
At that time I also became the guitarist and singer of a band named High Voltage, and with them I made my first live concert. My musical activity was hectic, and I moved to another band named L.E.D.S. where the lead singer was a very young Massimo Riva. With them I made my first studio recording in 1979.

The recording studio


We recorded one of our songs on a 16-track Studer, but that event changed my life forever.
The studio was the newborn Fonoprint, located in an old flat in the center of Bologna.
During our recording sessions the sound engineer Gigi Giorgetti told us that Fonoprint was about to expand, and that they were going to open a 24-track second studio. Straight after finishing my fourth year at the electronic school, I went to Fonoprint again, asking if they needed a new sound engineer. I talked to the president, then to the technical manager, and the day after that I was already working in the studio. I spent my summer assisting day and night the various sound engineers at work, in order to begin to understand the meaning of working in a studio, and how records were created.
It’s incredible if you think that in that fully analogical era we had to squeeze our brains in order to create something with the help of only few available means. The experience which I gathered then has been very important for facing the digital era in the following years.
Since that autumn I started my first works as a sound engineer. At day I went to school and at night I was at the studio.
My self-confidence, my experience, and consequently also my responsibilities, were constantly increasing in time.
Little by little I conquered the trust of the young producer Mauro Malavasi, a genius of the dance music that constantly churned out success at international level. From him I learned many important things in the production
Towards the end of '82 I bought a Commodore 64 in Germany. It was a personal computer just arrived on the market, amazing for those times with which I started to learn the programming languages​​. Towards the end of the following year I managed to buy a Yamaha DX7 made ​​come directly from Japan because, given the success that had achieved, it was impossible to find in any store. I threw myself headlong into the study of that new technology called FM synthesis. Until then I had always used only analog synthesizers. I studied deeply also the MIDI protocol, which I saw for the first time. Shortly after I began to connect together the Commodore 64 and the DX7. Since the the DX7 could only hold 32 sounds I wrote a program that could transfer to the computer through MIDI and also started to create a vast library of sounds thanks to the editor also written by myself
So in addition to the work of the sound engineer I began to do that as well the synth programmer. Gradually I reinvested my earnings into new synthesizers. At that time I was working a lot with the Dance mixing included.
At that time I also met the great Celso Valli, a producer from Bologna who was working in Milan and, considering the expansion of Fonoprint, was trying to come back to Bologna. I started gaining his confidence first recording his records and then programming the keyboards for him.
In those years also started producing POP / ROCK music tracks on my own. In '87 I started a close cooperation with Roberto Costa, the producer of Luca Carboni. I worked with him on some records by Lucio Dalla, Stadio and some Spanish and South American singers. In 1988 I accepted the role of programmer-keyboardist for the Morandi-Dalla glorious tour, that kept me away from my work at the studio for six months. In '90 resumed my cooperation with Celso Valli, which uninterruptedly continued until the birth of my studio. From him I learned a lot about musical arrangements. In '92 I started taking my first steps also in the field of mastering with the Nino Buonocore record "La naturale incertezza del vivere". In 2006, back from the USA where I recorded "Io Canto" by Laura Pausini, I was very impressed by the sound of vintage microphones that I had available. I decided then to dedicate myself to creating microphones with at least a 50-year-old technology. The result was great, but because of high costs and my limited available time I could only produce a limited amount. Browsing on my site, scattered here and there, you will find other pieces of information Happy surfing

L’infanzia


Sono nato il 24 aprile 1961 e mi hanno sempre descritto come un bambino taciturno. In effetti ero sempre impegnato a studiare il mondo che mi circondava e passavo moltissimo tempo ad osservare. Inoltre, come veniva sottolineato da tutti i miei insegnanti, avevo sempre la testa fra le nuvole e sembrava che la mia attenzione fosse altrove. Mi divertivo a sintonizzare la vecchia radio a valvole sulle stazioni che trasmettevano la musica classica e mi immaginavo di dirigere l’orchestra e già seguivo il tempo con il movimento delle mani. Nonostante la tenera età dimostravo di avere una innata comprensione per la fisica e le scienze e mio padre era sicuro che sarei diventato un ingegnere. Io invece volevo diventare astronauta
Tutto ciò si guastò quando a 9 anni iniziai istintivamente a suonare ogni strumento a tastiera che mi capitasse fra le mani

L’adolescenza


Il tutto peggiorò quando a 12 scoprii il rock ed iniziai a studiare la chitarra. Poco dopo montai un Pick-Up elettromagnetico alla mia chitarra acustica ed armato di saldatore iniziai a collegarla a qualsiasi cosa potesse diventare un amplificatore. Oltre alla vecchia radio a mobile di famiglia, il mio preferito era un registratore a bobine Geloso al quale mi collegavo sulla testina di riproduzione. Il suono era veramente Grunge e l’ho usato finché un giorno scoppiò letteralmente
A 15 avevo passato il punto di non ritorno e venuto in possesso di una chitarra elettrica iniziavo a suonare nelle garage band. Di pari passo, approfittando del laboratorio a scuola di elettronica, mi costruivo scatolini amplificatori e mixer per il mio arsenale sonoro
A quell’epoca divenni anche il chitarrista cantante del gruppo High Voltage con i quali feci il primo concerto. L’attività musicale diventò frenetica e passai al gruppo dei L.E.D.S. nel quale venne a cantare il giovanissimo Massimo Riva con il quale entrammo in studio per la prima volta all’inizio del ’79

Lo Studio di Registrazione

Registrammo una nostra canzone su uno Studer a 16 piste in sole 3 ore, ma quell’evento cambiò per sempre la mia vita
Lo studio era la neonata Fonoprint che si trovava in un vecchio appartamento nel centro di Bologna
Durante le registrazioni il fonico, Gigi Giorgetti, disse che la Fonoprint si stava per espandere e che stava realizzando un secondo studio con ben 24 piste
A giugno, terminato il 4° anno delle superiori, mi recai di nuovo alla Fonoprint per chiedere se avessero bisogno di un nuovo fonico. Parlai con il presidente e poi con il responsabile tecnico e dal giorno dopo ero in studio. Passai l’estate facendo da assistente di giorno e di notte ai vari fonici che vi lavoravano per iniziare a capire come si svolgeva il lavoro in studio e come nascevano i dischi
E' incredibile pensare che in quell'epoca completamente analogica dovevamo spremere il cervello per creare qualcosa con i pochi mezzi che c'erano a disposizione. L'esperienza fatta all'epoca è stata importantissima per affrontare l'arrivo del digitale negli anni successivi
Dall'autunno in poi iniziai a svolgere i primi lavori come fonico. Di giorno andavo a scuola e di notte in studio
Con il tempo aumentavano la mia sicurezza e la mia esperienza e di conseguenza le responsabilità che mi venivano assegnate
Poco alla volta conquistai la fiducia del giovane produttore Mauro Malavasi , un genio della dance che sfornava continuamente successi di livello internazionale. Da lui imparai tantissime cose importanti nella produzione
Verso la fine dell'82 acquistai un Commodore64 in Germania. Era un personal computer appena arrivato sul mercato incredibile per quei tempi con il quale iniziai a studiare linguaggi di programmazione. Verso la fine dell'anno successivo riuscii ad acquistare una Yamaha DX7 fatta arrivare direttamente dal Giappone perché, visto il successo che aveva ottenuto, non si riusciva a trovare in nessun negozio. Mi buttai a capofitto nello studio di quella nuova tecnologia di sintesi chiamata FM. Fino ad allora avevo sempre usato solo sintetizzatori analogici a sintesi sotrattiva. Studiai profondamente anche il protocollo MIDI che vedevo per la prima volta. Poco dopo iniziai a collegare Commodore64 e DX7 insieme. Poiché la DX7 poteva contenere solo 32 suoni mi scrissi un programma in grado di trasferirli via MIDI al computer ed iniziai anche a creare una vasta libreria di suoni grazie anche all'editor anche questo scritto da me
Così al lavoro del fonico iniziai anche ad affiancare quello del programmatore. Poco alla volta reinvestivo i miei guadagni in nuovi sintetizzatori. Lavoravo tantissimo con la Dance ed in quel periodo mi venivano affidati anche i mix.
In quel periodo conobbi anche il grandissimo Celso Valli, produttore Bolognese che lavorava a Milano che, vista l'espansione della Fonoprint, stava cercando di tornare a Bologna. Iniziai a conquistare la sua fiducia prima registrando e poi programmando le tastiere.
In quegli anni iniziai anche a produrre brani di musica POP/ROCK per conto mio
Nel '87 iniziai un'assidua collaborazione con Roberto Costa, produttore di Luca Carboni. Con lui ho lavorato ad alcuni dischi di Lucio Dalla, Stadio e alcuni cantanti Spagnoli e Sud Americani. Nel 1988 accettai il ruolo di programmatore-tastierista nel glorioso tour Dalla-Morandi che mi tenne lontano dagli studi per sei mesi
Nel '90 ripresi la collaborazione con Celso Valli continuata ininterrottamente fino alla nascita del mio studio. Da lui ho imparato tantissimo nella realizzazione degli arrangiamenti musicali
Nel '92 inizio a muovere i miei passi anche nel settore del Mastering con il disco di Nino Buonocore "La naturale incertezza del vivere"
Dal 2006, ritornato dagli USA dove avevo registrato Io Canto di Laura Pausini, colpito dalle colorazioni di microfoni vintage che avevo avuto a disposizione, decido di dedicarmi alla creazione di microfoni con tecnologie vecchie di almeno 50 anni. I risultati sono ottimi, ma a causa degli elevati costi e dello scarso tempo a disposizione riesco a produrne solo una quantità limitata.

Navigando nel mio sito troverai altre informazioni sparse qua e là
Buona navigazione