The Beginning

"I loved computers and understood that I could do things in them that traditional instruments could not. I made my first few steps by being self-taught with software from Magix called Music Maker, where I did a lot of “gym”, but I was very limited so I started studying at St. Louis, an electronic music college in Rome, with Maestro Luca Spagnoletti. I learned how to produce in a professional way with Steinberg's Cubase SX2, and I started a long academic journey that lasted about 14 years."

"My sound must be warm and enveloping, airy and fluctuating, with nuances of randomness."

"I love when warm and meaty bass sounds, like from a MiniBrute, contrast with sonic environments… for me soundscapes are everything! Quite often I start a song from the atmospheres, because they draw me in a sound space, where I start walking."

Beats and Brutes

"In our DNA we have the sounds of the first classic drum machines, 606, 808, 909, etc., that immediately recall a musical aesthetic. With the DrumBrute I have the same feeling, even if the sounds are different and they have their own well-defined character. I love kick sub, hat and snare, but the most creative thing is polymetry programming, sometimes controlling other instruments with the MIDI drum map."

"DrumBrute, I would say, it's an instant classic."

"Some tracks from my IDM project “Fatalism” were entirely written with the DrumBrute. "

Classics for Modern Music

"My first "Moog" VSTi was the Mini V in the early 2000s, later I bought the Modular and all the rest. You don't need to have "futuristic" machines to make modern music, just make a good sound design to make fresh sounds. I believe that the source of synthesis is the first step towards the creation of sounds that represents you: I can start from a classic Moog, SEM, Prophet V or a complex DX7 V, at the end it depends on how you place it in your production. Synths are beautiful but they don't become music on their own… yet!"

"The V Collection represents the greatest sound legacy of the past years, will always be the starting seed of everything… "

Being Signed to Mau5trap

"My first contact with deadmau5 was by pure luck: he was playing one of our tracks, made with Frankyeffe, called “Fading Out” feat. Njira (it includes a MiniBrute arpeggio:) in his BBC residency."

"After that we got in touch with the A&R label: they asked me to send them some music and they appreciated it very much."

"Mau5trap is a really great venture and I love and enjoy working with them. Besides I’m already engaged in some pretty awesome projects for 2019 and I hope it will turn out a great year for me. "

More on the Machines

"In MiniBrute 2S I love its versatility and its ability to insert in any setup. Sometimes we process the signal of the MiniBrute 2S in some high-end machines at 'LoudnProud' Mastering studio where I work and get really immense sounds... I also use it in pop productions as a sub-layer for emphasis on low-end."

"Moreover, it has a small Beatstep Pro inside. It’s a perfect combination to create sequences, rhythmic structures and freaking random melodies cause sometimes I make it fight with its neighbour, the Beatstep Pro."

"The impressive thing of the MiniBrute 2S is the sound, sharp and prickly... it's pure techno!"

But Wait… There’s More

"The Beatstep Pro represents one of the few certainties of my studio and my live set. It’s almost always the master clock of everything or the bridge between DAW and hardware machines."

"BeatStep Pro one is, in my opinion, the definitive device for the control of synths and drums, both live and in the studio. With BeatStep Pro I control external synthesizers, modular, DrumBrute and everything that is CV clocked."

"I try to create melodic patterns by ear without looking at notes values to get something unconstrained by the tone key, then I also enjoy “CVing” other parameters of the synthesis path, such as filter cutoff or FM index or whatever. It's a perfect hybrid control surface."