Could you describe what you do as an audio engineer in words that are understandable to an audiophile?
I record acoustic music with the goal of preserving timbre, dynamics, and spatial realism. The focus is on microphone technique, phase coherence, and room acoustics rather than processing. I’m also artistic director and I do editing and mastering of all my productions for important labels.
Were you an audiophile before you became an audio professional? What led to this career choice?
Yes. Critical listening and exposure to high-quality recordings led to an interest in how recording decisions directly affect realism and musical credibility.
I’m also a passionate lover of vintage R2R machines technology.
Do you still enjoy listening to music for leisure these days?
Yes, but selectively. I mainly listen to recordings with strong artistic intent and solid technical execution.
What are some of your favorite works that inspired you when you were an aspiring audio engineer?
Recordings where space, dynamics, and tone are treated as essential musical elements, especially early stereo and minimalist classical productions.
Generally Charlin recordings did interest me especially for phase coherence.
What are some of your own works that you’re most proud of?
- Morte della ragione by Giardino Armonico
- Et Iesum by Carlos Mena / Juan Carlos Riveira
- The Devil’s Dream by Vittorio Ghielmi / Luca Pianca
- Belcea Quartet - Szimanovski & Debussy quartets
- All Haydn 2032 series from Vol. 6
Etc.
I’m also technically a bit proud to be the father of panNoir (precise phase pot) that help to mix spot mics with more coherent phase on Pyramix audio workstations.
How do you use headphones in your workflow?
As an analytical reference: checking noise, phase, low-level detail, and spatial consistency. They complement loudspeakers rather than replace them.
I usually use closed headphones for recording balance (Nagra).
I appreciate Hifiman for editing with musicians, for the super open characteristics (we can communicate when I stop the music) and for being super light, comfortable and having higher-end sound quality.
Has HIFIMAN headphones informed your production decisions or the way you listen/mix/master?
Yes. Their (HE1000 Unveiled) low coloration and fast transient response make them reliable for evaluating balance, texture, and decay without exaggeration. I can also well manage the stereo image and the sound is super pleasant.
What are some of the exciting upcoming works you would like to share with us?
For example, I continue the loooong process for the Haydn 2032 series with Giovanni Antonini until… 2032 (integral Haydn symphonies). So many productions is a challenge because the level seems to always demand improvement over previous albums, both technically and musically.
← Back to Artists