Luca Martone
Sound Designer & Engineer for theatre, dance and music · Turin
From a theatre stage to dance in virtual reality, from a sound installation that runs on its own to a studio mix: listening guides every project, whatever the context.
Background
I began studying music at the age of nine and played in several rock bands as a teenager.At 22, I decided to dedicate myself to music and enrolled in Electronic Music at the Conservatory of Benevento, where I developed an interest in sound engineering, recording and mixing.After my Bachelor’s degree (2017), I moved to Turin, where I completed a second-level academic degree (Master’s level) in 2022.Here I began working in theatre, my main field today, while developing my practice as a DJ and electronic music selector, exploring the relationship between sound research, performance and club culture.
What I do
I work as a freelance sound designer, audio engineer and mix engineer based in Turin, Piedmont, collaborating with theatre companies, artists and music productions.I am also active in the music project This Season Kills. I teach electronic music with Max/MSP and Ableton Live, and produce both experimental and pop music.
Approach
Listening is at the core of my work. I explore timbre, space and silence as expressive tools, shaping sound into atmospheres and gestures that support the storytelling.I start from the needs of each project and work closely with directors, performers and artists, looking for the balance between experimentation and expression that suits each context.Technique is the tool that lets me understand what a sound asks for and what form it can take within a project.
Sound Design & Sonic Environments
Custom sound design and original scores for theatre, performing arts, installations and documentaries, with sound integrated into the dramaturgy of the performance.
Incidental music and soundscapes
Audio spatialization and sound architecture
Timbral research and expressive language
Live Sound Engineering & Technical Direction
Technical and artistic live sound management for theatrical productions, concerts, festivals and performative events, from setup and calibration to live mixing.
FOH, monitor and microphone engineer
System calibration, optimisation and tuning
Complex audio control setups and live sequences
Technical direction and coordination of tours
Audio Mixing & Post-Production
Studio audio processing and mixing for musical productions and media projects, with attention to balance, dynamics and depth to shape the identity of each work.
Music mixing, from electronic to pop/rock
Editing, cleaning and restoration of audio tracks
Live and studio dynamics control
Timbral shaping and sound finalisation
Training & Technical Consulting
One-on-one training and technical consulting for musicians, performers and aspiring producers who want to master audio technology and music production tools.
Ableton Live and Max/MSP lessons and coaching
Live setup design and sound processing workflows
Introduction to DJing and electronic music selection
Hardware and software integration consulting
Theatre
Sound design and live sound for theatre.
Audio mixing
Recording, editing and mixing for bands and artists.
Other arts
Dance, sound installations, film and technical productions.
My music
Electronic music, sound research and DJ sets.
Music production and sound research
2026
"Minima"
interactive installation
2025
DJ set playlist
Bass House / Club
2025
DJ set playlist
Tech House
2022
"Irregularis Circulatio"
2021
"La Foschia Viola"
2019
Music for the silent film "Cenere"
(with Guglielmo Diana)
2019
"Gentle fire" by Alvin Lucier
(with Guglielmo Diana & Matteo Marson)
2016
"Towards the red
skies - Teverts"
Audio mixing for music productions
2026
Mixing of "This season kills -
This season kills"
2026
editing for "Diletta
Semboloni" live recording
2018
Recording and
mixing "Snais club"
2017
Recording and mixing
"Sileni - Old but gold"
2017
Recording and mixing
"23ABTI - Generazioni"
2016
Demo recordings
"Slow Nerve"
Sound design and audio engineering for theatre
2026
Sound designer for
"Noi gli eroi" (PCM)
2026
Sound engineer for
"Cenci" (PCM)
2025
Technical manager
for "Molly" (Cubo Teatro)
2025
Sound engineer for
"Come nei giorni migliori" (TST)
2025
Sound engineer for "6 personaggi
in cerca d'autore" (TST)
2024
Sound and lighting technician
at “Teatro Tangram Torino”
2024
Microphone operator for
"Antonio e Cleopatra" (ERT)
2023
Sound engineer & microphone
operator in "Enrico IV" (PCM)
2023
Sound engineer & microphone
operator for "Favola" (PCM)
2023
Sound engineer for
"Riccardo III" (TST)
2023
Sound engineer for "Avremo ancora..."
(De Florian Tagliarini)
2018
Sound engineer for
"Mater dei" (PCM)
Performing and other arts
2026
Audio engineer in
"Torino danza"(TST)
2025
"Erik Satie - Vexations"
2025
Audio engineer in
"Torino danza"(TST)
2023
"Il diluvio universale"
2023
"Bestiario virtuale" in
collaboration with Max Viale & BTT
2022
"Tiny uppercase" in
collaboration with Max Viale & BTT
2020
Installation
"Organum pineale"
Courses
Further details on fees, organization, methodology, and study plans
Resources
Thesis, technical insights and materials to read and download.
Events
Upcoming events &
event archive
Tools
Small free tools, creative and practical, for sound and music.
Courses
One-on-one lessons in my studio in Turin, usually once a week. The courses shown are indicative and fully customisable: the path is defined together and adapted to your needs. The first meeting, to set your goals, is free.
Single lesson: €30 per hour
5-hour package: €140, buying guide included
10-hour package: €270, buying guide included
Project files, patches and handouts
DJing
From the basics of the console to building a set, for beginners and for those who want to refine their style.
DJ course program
Electronic music
From your first Ableton session to your own Max/MSP tools, starting from what you want to create.
Electronic music program
Electric guitar
Lessons from your first chords to developing your own sound, starting from the music you want to play.
Electric guitar program
Resources
2026
Personal website
insight
2022
Thesis in Electronic music
Conservatory of Turin
Upcoming dates
11 November 2026 - "Molly" - Teatro Comunale (Vicenza)
15 and 16 November 2026 - "Molly" - Molecole Festival (Mirano - VE)
20 November 2026 - "Noi gli eroi" - Teatro sperimentale (Ancona)
12 December 2026 - "Molly" - Teatro Beragnolio (Chiaverano - TO)
Date archive
2026
31 October 2026 - "Alchemical Frequencies" (DJ set) - Sagra della castagna (Vitulano - BN)
From 7 September to 11 October 2026 - "Torino Danza" - Fonderie Limone (Moncalieri - TO)
18 August 2026 - "Alchemical Frequencies" (DJ set) - The Alchemist (Foglianise - BN)
From 20 to 25 July 2026 - "Noi gli eroi" - Teatro delle Maddalene (Padova)
Do you have a project, a show, or an idea you’d like to develop?
Get in touch: I’d be happy to discuss it. Whether it’s a collaboration, a mix or a price quote, let me know what you need, and I’ll get back to you as soon as possible.
The information submitted through this form will be used to respond to your enquiry. To learn more, click the button below.
E-mail: [email protected]
Noi gli eroi (2026)
Production: Piccola Compagnia della Magnolia (PCM)
Co-production: Centro Teatrale Bresciano (CTB);
Teatro Metastasio di Prato;
Teatro Stabile del Veneto (TSV)
Role: sound designer, sound engineer and music performer
A play by Jean-Luc Lagarce, staged by the Piccola Compagnia della Magnolia and directed by Giorgia Cerruti, about a company of actors suspended between the uncertainty of an imminent war and a life in constant movement.I composed most of the music during a two-month residency, and I also handled microphone work, sound engineering and live sound direction. Sound plays a dramaturgical role: it follows the moods and temperatures of the actors and the stage. The original music, largely built on field recordings from the residency locations, coexists with instrumental sounds sampled from previously released tracks. Ableton Live handles both composition and multichannel playback, creating an immersive listening experience over four speakers. The main challenges were syncing the stage computer with the sound system, the tight deadlines, and negotiating with the director. For the first time in a theatre production, I was responsible for the entire audio department.
Slow Nerve - Demo (2016)
Role: recording and mixing engineer
Demo of the art rock band Slow Nerve, recorded in multitrack in the band's rehearsal room. I took care of drums, bass, guitar, synth and two vocals, working directly in the space where the band normally plays. The sessions taught me how the studio process works and how much the attitude of the person behind the console shapes the result of a recording.
Sileni - Old but gold (2017)
Role: recording and mixing engineer
A self-produced album of eleven tracks, in which the garage rock of Sileni meets touches of punk and blues. I handled recording, editing and mixing, and at the band’s request I also added a few guitar parts. The sessions, held in their rehearsal room, lasted one week for recording and one for mixing. The quality of the amps and instruments allowed me to experiment with microphone placement, while the main challenge was getting the many recorded tracks to sit together in a coherent mix.
Snais club (2018)
Role: recording and mixing engineer
A self-produced seven-track EP by the garage rock duo made up of drums and vocals/guitar. I recorded it live in their rehearsal room, with four microphones on the drums (kick, snare and overheads), two on the guitar (one per amplifier) and one on the vocals, then handled editing and mixing. The sound we were after was dirty in the sense of authentic, true to what was happening in the room. One day of recording and a few days of mixing, which allowed me to start working live. Partially released on YouTube and in full here.
Diletta Semboloni live (2026)
Role: editing engineer
A live recording of a concert by Diletta Semboloni at the Capodoglio in Turin, featuring a world music ensemble of vocals, double bass, percussion, guitar and accordion. Starting from a stereo recording made by the venue’s sound engineer, with no access to the individual tracks, I worked exclusively with equalisation and limiting to correct the flaws in the original mix. It was a clean-up job built on careful listening, in which I had to make up by ear for the lack of control that a multitrack session offers.
This season kills - This season kills (2026)
Role: mixing and editing engineer
Debut album by the project This Season Kills: ten tracks where rock meets new wave, country and British-style songwriting, with a feel that straddles the late 1980s and early 1990s. Starting from multitrack recordings by the artist Raffaele Tummolo, I handled the editing and mixing in Ableton Live, working both on headphones and in the studio. I also play guitar on the project. The recordings came from different sessions and conditions, and my work was to bring them together into a cohesive, well-balanced sound.
Before the mixing
After the mixing
Alvin Lucier - Gentle fire (2019)
Production: Turin School of Electronic Music (SMET)
Role: creator and music performer
A performance of Alvin Lucier’s experimental score, which asks performers to gather a collection of sounds of different kinds, from the buzzing of bees to a baby’s cry, from engines starting up to abstract sounds such as colliding meteors, and to interpret them live. Together with Guglielmo Diana and Matteo Marson, during our studies at the Conservatory, we performed it in eight-channel surround at the Conservatorio di Torino concert hall and in Florence, in collaboration with Tempo Reale. Each of us built our own morphing system in Max/MSP, in which every gesture blends two sounds, along with a system for managing the outputs. The title guided us in creating atmospheres that could shift from very relaxed to very dense, in a dialogue based on mutual listening and on the sound material itself. A technical and musical experience about giving space and taking it when needed.
Organum pineale (2020)
Production: Turin School of Electronic Music (SMET);
Interdepartmental Research Center for Multimedia and Audiovisuals (CIRMA)
Role: creator and composer
A permanent sound installation conceived by Andrea Valle and Stefano Bassanese, realised by me, Guglielmo Diana and Matteo Marson, and on view for about three months in one of the two “ears” of the Mole Antonelliana. I was responsible both for installing a complex system (four loudspeakers on the lower floor, twenty-eight mini speakers with coulisses, an audio interface and a feedback system with two microphones) and for creating the sound contributions. Di Scipio’s algorithm keeps in check the feedback that tends to run out of control, while the visitor, enveloped by sound thanks to the morphology of the space, finds themselves inside the instrument itself: the ear. The main challenge was designing the entire system from scratch, algorithms included, choosing amplifiers, audio interface, materials and cabling for a work that ran autonomously, needing only to be switched on by an attendant.
Erik Satie - Vexations (2025)
Production: University of Turin (UniTo);
Turin School of Electronic Music (SMET)
Role: technical director, sound engineer,
lighting technician and video streamer
A performance of Erik Satie’s Vexations for the centenary of the composer’s death: a piano fragment of about three minutes, repeated 840 times over almost 24 hours by more than 40 pianists who took turns in the atrium of Palazzo Nuovo in Turin. I was in charge of technical direction: floor plan and spaces, audio, lighting, video for the YouTube live stream, and a counting system projected on a large screen, triggered by the pianists with a pedal at every repetition. Two microphones fed the sound to two loudspeakers at the entrance, about 80 metres from the performance. No single element was complex in itself; the difficulty lay in making the whole system work together, and sustaining it for almost a full day was also a physical challenge.
Bestiario virtuale (2023)
Production: Balletto Teatro Torino (BTT)
In collaboration with: Max Viale (sound design);
Carlo Diego Massari (choreography)
Role: sound designer and live sound engineer
An immersive dance performance organised by Balletto Teatro Torino, with choreography by Carlo Diego Massari, for a maximum of five spectators per show: eight twenty-minute performances over the course of a day. The audience, standing in a circle, spends fifteen minutes in a 3D headset, where the dancers each tell their own story, followed by five minutes of live dance at the centre of the performance space, with the headsets removed. As sound designer, in collaboration with Max Viale, I composed entirely original music, including the music for the headsets in ambisonic audio, and I managed the live music over four loudspeakers around the scene. The main challenge was getting the two sound layers, ambisonic and diffused, to coexist, and devising music suited to each context.
Tiny uppercase (2022)
Production: Balletto Teatro Torino (BTT)
In collaboration with: Max Viale (sound design)
Role: sound designer and live sound engineer
The first version (1.0) of the project later developed into Bestiario virtuale, conceived and created by Vanessa Vozzo with the involvement of one of her classes of students from the Politecnico, for Balletto Teatro Torino and in collaboration with Max Viale. As sound designer, I worked on the same two-layer system: ambisonic audio in the 3D headsets and four loudspeakers around the performance space, where the live dance took place.
Irregularis circulatio (2022)
Irregularis Circulatio is a post-acousmatic piece that explores the concept of plunderphonics, coined by the Canadian composer John Oswald. The starting sound material comes from a series of musical experiences that I wanted to pay tribute to; the list of the pieces used is given in a table towards the end of the thesis. The piece tells the story of a handful of rhythmic impulses wandering through various musical worlds in search of a system capable of containing them and allowing them to coexist. After several failed attempts, the impulses finally find a system based on “Euclidean rhythms”.
Il diluvio universale (2023)
Production: Piemonte Documenteur FilmFest
Role: composer (winner of the “Nebbiolo” award for Best Original Music)
In September 2023, together with Simone Rosset, I took part in an artistic residency in Murazzano (CN) lasting about a week, with the aim of creating a mockumentary of no more than ten minutes showcasing the charms of the town.
Out of this came Il diluvio universale (The Great Flood), the story of the young members of Murazzano’s children’s town council who, worried about an approaching flood, free a captive hippopotamus and build an ark, drawing themselves and other townspeople into a series of tragicomic mishaps.
Personal website (2026)
Efficiency analysis on "PageSpeed Insights":
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La foschia viola (2021)
This work takes its title from Jimi Hendrix’s celebrated song Purple Haze. It is a multi-level analysis of the song, with the resulting data translated into other musical parameters. The song form is stretched out: a four-bar chorus becomes an entire section of three to four minutes, while the notes of the accompanying chords, through a complex system, are transformed into largely unexplored scales of six to eight notes, in 24-tone equal temperament (24-TET). The starting sound material consists of samples of the sounds of an electric guitar prepared with fragments of paper, metal, rubber and wood.
Cenere (2019)
Production: National Cinema Museum (Turin);
Turin School of Electronic Music (SMET)
In collaboration with: Guglielmo Diana
Role: composer
Original music for Cenere, a silent film by Febo Mari featuring Grazia Deledda, created on commission from the Museo Nazionale del Cinema together with Guglielmo Diana. We experimented with an unusual approach: each of us composed music for the entire film independently, and only at the end did we bring the two bodies of material together, working through addition, subtraction and re-tuning.
Minima (2026)
It is activated by clicking on the
speaker in the bottom left corner.An essential, shifting and participatory sound environment.Minima stems from a desire to return to a more essential dimension: few elements, minimal interactions and a system capable of generating a constantly transforming sonic surface.The work is conceived as a comfortable listening space where the user can first immerse themselves and subsequently interact, becoming an integral part of the composition. The website itself thus becomes the exhibition space.The sonic structure consists of three generative layers—a sound bed, an arpeggiator and crackling sounds—complemented by two levels of interaction linked to mouse movement and clicking. The materials are entirely synthesized in Max, created using additive and subtractive synthesis, filters, distortion, modulation and delay lines.The composition follows precise rules yet leaves room for indeterminacy. For each event, the system selects—from a finite set of possibilities—which element to play and when. Randomness thus becomes a compositional tool: although based on 139 tracks, every session generates a unique combination.The harmonic material is built around the G major scale and employs Just Intonation to achieve consonant relationships and a more natural auditory perception. Distortion and crackling sounds introduce movement and variation, maintaining a balance between comfort and subtle elements of tension.The result is a composition that never repeats itself while remaining within a defined system: a sonic organism in which structure, randomness, and user interaction all contribute to the final form.
Minima - Technical insights
Sound synthesis
5 Max/MSP patches used for the generation and processing of sound material.Structure
3 generative layers
16 tracks — pad
36 tracks — arpeggiator
32 tracks — crackles
24 tracks — mouse-over interaction
30 tracks — generic click interaction
1 track — specific click interaction
139 tracks total
Pad
A combination of square and sawtooth waves, processed through multi-stage low-pass filters and distortion, with dynamic modulation to create movement and timbral variation.Arpeggiator
Chord inversions built on the first, third, fourth, fifth and sixth degrees of the G major scale, tuned using Just Intonation.Crackles
Dense clouds of impulses, differentiated by resonance and spatial positioning, serving as an element of movement and variation.Interactions
Short sinusoidal pulses—tuned to the background pad and arpeggiator—are triggered by mouse movement. Clicking, on the other hand, generates percussive pulses characterized by vibrating, decaying tails of filtered noise.Generative System
Files are randomly selected within time windows defined for each layer, avoiding consecutive repetition of the same element. Up to five sound elements can overlap simultaneously across the three layers.Implementation
JavaScript + HTML Audio API, integrated into Carrd. Audio files hosted on Cloudflare R2. Playback stops automatically when the user starts another audio or video element on the site.
Privacy policy
Last updated: 4 November 20261. Data ControllerThe data controller is Luca Martone, who can be contacted at [email protected]2. Personal Data CollectedThe following personal data may be collected through the Contact form:Name.
Email address.
Content of the message.Technical information necessary for the operation and security of the website and the delivery of audio content may also be processed during browsing.3. Purposes and Legal Basis for ProcessingData submitted through the Contact form are used to receive, manage and respond to enquiries.Depending on the nature of the enquiry, processing is carried out to respond to the data subject's request and, where applicable, to take steps at the data subject's request prior to entering into a contract. For activities strictly related to website security, processing may be based on the controller's legitimate interests, within the limits established by applicable law.Data collected through the Contact form are not used to send newsletters or promotional communications.Providing your name, email address and message is necessary in order to reply to your request: without this data, it is not possible to follow up on your enquiry.4. Technical Services UsedThe website is built with Carrd (Carrd Inc., United States), which also handles the sending of the Contact form. To help prevent unwanted automated submissions, the form uses the basic anti-spam protection built into Carrd, which does not rely on third-party tracking services.The audio and video files published on the website are delivered through Cloudflare R2 (Cloudflare, Inc., United States), which may process technical data such as the IP address in order to provide the service and ensure its security.Messages sent through the form are received in the data controller’s Gmail mailbox (Google LLC, United States).These providers process the technical information necessary for the operation, security and delivery of their respective services, in accordance with their own terms and privacy policies. The website does not use profiling cookies or statistical analytics tools.5. Data RetentionMessages received through the Contact form and the associated personal data are stored in the email inbox for a maximum period of 12 months from the date of receipt.After this period, the messages are deleted unless further retention is necessary to comply with legal obligations or to establish, exercise or defend a legal claim.6. Disclosure of DataPersonal data may be processed by technical service providers involved in managing the website, Contact form, anti-spam protection and email services, to the extent necessary to provide their respective services.Data submitted through the Contact form are not published on the website or otherwise made publicly available.7. International Data TransfersSome of the providers listed above (Carrd, Cloudflare, Google) are based in the United States, so the data entered in the form may be transferred outside the European Economic Area. Such transfers take place on the basis of the safeguards provided by the GDPR, in particular the adequacy decision on the EU-US Data Privacy Framework for providers certified under it, or the standard contractual clauses approved by the European Commission.8. Data Subject RightsWhere provided for by applicable law, individuals have the right to access their personal data, request rectification or erasure, restrict processing, object to processing and, where applicable, request data portability.To exercise these rights or obtain further information about the processing of personal data, please contact the data controller at the email address provided in this Privacy Policy.Individuals also have the right to lodge a complaint with the Italian Data Protection Authority (Garante per la protezione dei dati personali) or another competent supervisory authority.9. UpdatesThis Privacy Policy may be updated to reflect changes to the website, the services used or the way personal data are processed.