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Producing a single or record is seemingly a simple and affordable process.

For many people, a mid-range microphone, a good sound card, several plug-ins, and a good dose of creativity might be enough, wouldn’t it?

Agreed, but with reservation…

the real part is that today, audio technology and the average quality of instrumentation for recording and mixing has grown considerably.

What needs to be explored instead is how to make the most of all this technology, how to integrate digital audio with the best analog instrumentation.

  • When is it better to choose an emulation or when is analog hardware preferable?
  • How to give a feature and “sound” to one’s mix?
  • Should I mix in Stereo or Dolby Atmos?
  • Where will our single be reproduced? Radio, Spotify, Apple Music…? What should I pay attention to?

On Tuesday, April 9, Enrico Sesselego (producer and mixing engineer) will answer this and many other questions.

A Masterclass devoted to Audio and Production.

Audio masterclass: analysis and choice of optimal audio treatment (in recording and final mixing) with respect to different media uses. Approaches and tips.

In collaboration with Antelope Audio.


April 9, 3:30 p.m.

Milk Audio Store, via Francesco Sabatini, 10


Please confirm your participation

Enrico “Kikko” Sesselego, Italian producer alongside international artists

A graduate with Honors from the Musicians Institute of Los Angeles, in guitar (GIT) and Audio Engineering (RIT), Enrico worked for many years in the Los Angeles area with some world-renowned guitarists such as mainly Steve Vai and Paul Gilbert, and also alongside sound engineers such as Ken Allardyce (Goo Goo Dolls), Jeff Peters (Beach Boys) and Eddie Kramer (Led Zeppelin, Jimi Hendrix). On the audio side, he has been a lecturer at the Musicians Institute itself and in the SAEs (School of Audio Engineering) in Nashville and Cape Town.

To date Enrico not only continues his collaborations with US artists and works in the field of studio and live production internationally (Latin America, South Africa, Japan, India, Europe in general) boasting numerous “album credits” productions for major labels plus dozens in so-called independent contexts, but also carries out a fervent seminar and High Education teaching activity in Europe and the World, for Academies and Conservatories of Music (in Italy in the Conservatories of Cagliari, Bologna, Matera, in France in the Universite Paris 8, in Albania in the Universiteti i Arteve, in Japan at TSM), writes in specialized magazines and is technical director of several music festivals of rock and contemporary music.