GEAR

Over time, I have developed a deep familiarity with various systems of sound communication and control, including MIDI and OSC protocols, as well as Dante networks used in live performances and installation environments. My experience extends to the design and setup of quadraphonic sound installations, along with a dedicated period of research into spatial audio and Ambisonics-based composition. 

Starting from an audio-centered background, I have worked with analog recording consoles, musical instruments, and both vintage and modern outboard equipment. This path has allowed me to refine my ear and develop a critical understanding of sound timbre — enabling me to select and sculpt the sonic textures most suitable for each artistic or conceptual context. 

A central part of my process involves field recording and the use of stereo microphone setups to capture environmental and acoustic sounds. These recordings are often reinterpreted and transformed through digital processing systems, creating a dialogue between natural soundscapes and technological mediation. In parallel with sound exploration, I have developed an approach to video mapping and the manipulation of real-world imagery. I often work with recorded visual material, reprocessing it through software environments to create immersive audiovisual compositions where image and sound interact as a unified expressive field.