Creating sounds from scratch is the poorly-kept secret behind my (and quite a few other musicians) music. I have an intimate knowledge of many software and hardware synthesisers and I am the proud owner of a vast collection of unique acoustic and electronic instruments that I use regularly in my work.
Composers, music tech companies and production houses regularly hire me to create bespoke sonic palettes for their projects.
My clients include Arturia, Krotos, Massive Music, Karanyi Sounds, Pulse Audio, Unisonar and many more.
Alessandro’s been a really valuable addition to our sound designer roster over the past year—with high-quality presets in the cinematic and sci-fi genres on V-Collection and Minifreak—and it’s a pleasure working with him.
Lily Jordy. Sound Design Manager, Arturia
Larger than life, cinematic pads and fragile textures are some of the most interesting tools in a composer’s palette: I love their ability to set a mood with only a few notes and evolve over time, morphing into something beautiful or terrifying.
Every synthetic or organic pad tells a story with sound.
The bread and butter of the true crime and investigative composer.
After having written over 200 cues for shows like The Genetic Detective, 20/20, The DNA of Murder, In Pursuit with John Walsh and many more, I started to grow bored of the pre-canned, tired sounds that plague our composing tools and became obsessed with creating interesting yet perfectly usable synthetic pulses from scratch. There is a real art in making simple sounds that continuously evolve over time and keep the listener engaged while not drawing attention to themselves. Unless you want them to...
As a lover of tapes and ambient music, crafting fragile and grainy keys and plucks fills me with joy. Verticale was one of my favourite projects to work on and we sampled an upright piano prepared with four layers of felt, passed on to cassette.