In The Studio

In the studio with Edoardo Gastaldi

We caught up with Venice-based Modern Classical Composer, Edoardo Gastaldi

Jaz from the RepostExchange Team

Fresh off scoring the multi-award-winning short film Etilismo, Venice-based composer Edoardo Gastaldi brings a deeply reflective edge to modern classical and ambient music. What started with a blue 49-key toy keyboard in high school led to years of formal classical training. He now draws inspiration from the likes of Nils Frahm and Sigur Rós, blending post-classical minimalism with deep ambient layers into his signature sound. We caught up with Edoardo to chat about his studio setup, how Repost Exchange has revolutionised the way his music reaches new fans, and his advice on building a lasting career.

How long have you been producing music and how did you learn?

The first memory I have of playing around with instruments and production is from my high school days (it was 2015, or 2016). I had one of those toy electronic keyboards; it was blue, with 49 keys. I still remember it.

Since then, I genuinely grew an interest in piano, and all that revolved around it. Most of the knowledge that directed me towards shaping a path in music came directly from Scuola di Musica “Il Pentagramma,” a music school that I attended while I was concluding my high school studies and throughout my BSc as well.

One could say music has always been my parallel plan in life. It indeed was. However, it all turned into something far more structured than a hobby around 2020, the year in which I started writing music for films and cinema.

What DAW(s) do you use and why?

I use FL Studio for everything that is related to composition, arrangement, production, and mixing. It has always been my go-to digital audio workstation. I find it intuitive and easy to understand, and I could argue I’ve literally been growing up with it… There is some kind of affection involved, indeed.

Since I often play live as well, I often have to adapt my gear and maximise the efficiency of my setup. For live concerts that involve both piano playing and the synchronisation of electronic stems, I experiment with Ableton, FL Studio, and Logic Pro.

What are your favourite pieces of gear and why?

I’m in love with my piano. An upright Kawai that I always use with the felt. I would say it’s everything for me. But I have other gear I find handy. My Novation Launchkey 49, first of most. It’s an old one, though, not the latest version. Yet, it accompanied me over the years to score anything that involved MIDI projects. And it did so in a magnificent way.

Other than that, during live events I try out synths and effects that my (more experienced) colleagues always bring with them. It’s the case with Sequential’s Prophet, KORG’s Minilogue, and icon Pro Audio’s iCreative (Shoutout to Davide Fasiello, Andrea Missiroli, and Charmey for their kindness and guidance in borrowing those beauties to me during our shared stage time).

I find the alchemy fascinating, that of learning while doing, and being surrounded not only by the crowd but, foremost and especially, by a handful of friends and passionate musicians alike who truly believe in you.

What are your favourite software plugins and why?

Mostly, I tend to use the native instruments, plugins, and effects coming with FL Studio. But if I have to pick and name some plugins I really couldn’t do without, these will certainly be anything by Spitfire Audio, Decent Sampler, and Pianobook.

In all three cases, the companies offer affordable sampled instruments that have a warm, gentle, and extremely delicate human touch. Felted pianos, long muted strings, airy pads. Sometimes filled with background noise or little hesitations that add subtle nuances to the whole score, immediately leveling up the music and distancing it from something completely digital-ish.

How would you summarise your approach/workflow when creating a track?

I like to think about it that way: I experience something, and the best way to direct this energy is through music. No matter whether it’s love, sadness, an encounter, a trip, good news, or grief. The most intuitive way for me to “talk” is through my piano. I play, and it tells the things I want to say. Not that I can’t talk; actually, I really can, but my piano is far more poetic than I could ever be.

What resources do you use to improve your craft?

I’m old school in a way; I archived everything I learned from my music school, and I have it handy there. Also, whenever it comes to something very technological or digital issues, I tend to ask my colleagues and friends in the same niche of style. The community of ambient and modern classical music is extremely supportive over there.

What is the last YouTube tutorial you watched that you would recommend to other Re-Ex Members?

I argue that one of the trickiest steps for any musician to understand is what happens after the music is released. It’s somewhat easy to invest a lot of money in the creation, but it is not as straightforward to properly track or even activate the correct platforms that enable royalty income flow.

This video explains in a very visual way how publishing, mechanical royalties, and sync licensing actually affect music income. Most often, just becoming aware boosts our focus and directs it towards the correct path. A great shoutout to my friend Innovaniac Music and his dedication to helping musicians figure out what they should have their eyes on.

What knowledge or advice do you wish you'd learned earlier?

The path is a vision as long as life, and most likely success comes when you’re not thinking about it. The more I’m into it, the more I understand that the music industry is very complex, saturated, and filled with people “skipping” steps just to “get there.”

But I have something to say: if you stay true to yourself, if you play by the rules, and combine talent with dedication and charisma, you’ll get there. And you’ll stay there. Things won’t float away because you’ll know how to handle whichever situation you’ll find yourself immersed in.

What challenges related to making music do you face and how do you overcome them?

I would say the challenges are a lot: from economy, to time, skill development, adaptation to a world in continuous motion, running after ways to get noticed, establishing and maintaining trust in the industry. One answer, one only way to handle these all, is to have one more bit of dedication than of despair.

Unfortunately enough, it’s that easy: you either have a fire inside and music is your mission, your call, or you quit. I was told by somebody these two pillars: “Men at the service of art, not art at the service of men” and consequently “Sometimes, you get noticed just by standing long enough. Showing up is the key.” I have to thank Fabrizio Brugnera for the first quote and surely a mainstream film for the second one.

Can you share any killer tips or techniques?

Don’t be afraid of dreams. The higher your ambitions, the higher your achievements. Sometimes it’s just about believing in yourself. One day somebody asked me to play a concert abroad. It was my first ever abroad concert, and the first concert in which I decided to showcase my own compositions. I was extremely afraid, but I said yes. And it happened.

Since then, there’s no month I’m not touring or being called to play here and there around Europe. Sometimes you just have to believe it (OK, you also have your life bound to extreme economy savings in order to pass the night, a complete lack of routine and of relationships, but that’s part of the package).

Do you try and get feedback or suggestions to improve your music?

I have my trusted niche of colleagues. I ask them. And also I ask to people completely outside of the chain: friends with no music experience, or mastering engineers. They can both give me a different perspective on my craft, with the ear of an ordinary listener or that of a careful frequency splitter.

Which track are you most proud of and why?

Sometimes, it’s the unexpected that surprises us the most, isn’t it? That happened with “She Doesn’t Like to Be Alone,” from my Album “Lost in Togetherness,” written with Charmey.

Not only does it have a very special meaning and a fun creation background, but it also received a warm reception through the SoundCloud and RepostExchange communities by hitting several Charts and Official Playlists.

Has RepostExchange affected the way you make music? If so, how?

I would not say it affected the way I make music. To all extents it didn’t. But on the other hand, I would say it completely revolutionised the way my music is received.

In fact, Repost Exchange led my music to naturally reach new listeners, fans, friends, and soon-to-come colleagues. It is nothing but a thrilling environment with an artist-oriented mindset. A priceless partner.