Luigi Bruti in the 1980s with Vittorio De Scalzi of New Trolls.
In the 1970s, music was a soul’s urgency.
It wasn’t enough just to listen to it; you had to live it, create it, give it a voice. Luigi was just a young man, his head full of ideas and his hands always moving across a worn-out keyboard. The province felt too small for him, yet it was also his home. Every melody that was born in his bedroom tasted like freedom, but clashed with a harsh reality: if he wanted to record, he had to leave. Rome, Milan… distant, expensive cities, with prestigious studios that felt cold, rigid, like Swiss clocks.
The schedules were timed down to the second. You entered, played, left. No space for last-minute inspiration, no break to rethink an arrangement, no real connection between the musician and the engineers in the room, no exchange, no empathy. The result was often clean, professional, but soulless. Something was missing: the music was missing.
It was then that Luigi realized his mission wasn’t just to play. It was to create a place where music could truly be born. Not just a studio, but a creative refuge. A place in the province — where no one would ever have to leave to chase their own sound — that could offer cutting-edge technology and, above all, an atmosphere of welcoming, listening, and collaboration.
That studio would become a landmark for musicians of every genre and level. A place where ideas weren’t measured by time, but valued; where recording happened, but also talking, experimenting, making mistakes, and starting over. Where technique served the soul, not the other way around.
Thus, a shared dream was born. Thus, a studio was created that still today reflects the vision of a young man in the 70s who only wanted to make music… and managed to build a place to truly make it.
In 1980, the Marche Recording Studio was born, a small recording room dedicated to creating demos and rehearsals, the result of passion and collaboration between three friends. The business started with an 8-track Fostex recorder, followed by a 16-track model, marking the first steps in a technical and creative evolution.
In the 1990s, the professional audio industry was revolutionized by technological innovation, marking the beginning of a new era in music recording. Luigi Bruti eagerly embraced this change, being the first in Italy to experiment with digital recording on Hard Disk: with the adoption of three Roland DM-80 units, he brought his studio to a total of 24 digital tracks, making the definitive leap from analog to digital.
The rise of DAWs on increasingly advanced computers imposed further transformation in the industry. It was time to renew: new spaces, new equipment, new investments.
In this crucial phase, Luigi Bruti chose to go solo and founded MR Studio, a solid and cutting-edge reality capable of combining quality and technological innovation while always staying up to date with the times.
Ah… MR Studio is the acronym for Marche Recording Studio, and it is pronounced “emme erre” studio, not “mister studio” 😉
Luigi Bruti, born in Montemonaco in September 1960, has earned the following qualifications:
High School Diploma in Scientific Studies
Conservatory Diploma in Theory and Solfeggio, Complementary Harmony, Electronic Music, and Complementary Piano
C.D.M.I. Diploma in Accordion
In 1976, he won the Italian Accordion Championship, and the following year, he claimed the international title.
During the 1970s, he was among the founders and members of two musical groups, I Monaci and Il Vascello Fantasma, with which he produced two albums and appeared on popular TV programs such as Domenica In, Festivalbar, and Disco Ring.
From 1978 to 1980, he collaborated with a record label as a composer, performer, and synthesizer programmer, creating soundtracks for film. Notably, he worked on the soundtrack for Passione d’Amore by Ettore Scola, alongside the renowned Maestro Armando Trovajoli.
Throughout his career, Bruti has also distinguished himself as an arranger and sound engineer, collaborating with international artists and contributing to music production and the training of new technical professionals in the industry.
In 2004, he became the talent scout and producer for Linda, who placed third at the 54th Sanremo Music Festival and won the Critics’ Award for Best Arrangement.
During the same period, Luigi Bruti began a collaboration with the University of Engineering in Ancona, where he taught courses in Musical Acoustics as part of the Technical Physics program.
From 1978 to 1989, Luigi Bruti worked as a musical consultant for SIEL, contributing to the design of legendary instruments such as Cruise, Siel Orchestra 2, Piano 4, and Opera 6.
From 1989 to 2014, he joined Roland Europe, initially as Director of R&D and later as Marketing Director. During his time at Roland, he designed the entire line of Arranger Keyboards, from the iconic E-20 to the G-70, filing numerous patents in Europe, the USA, and Japan, and composing many of the internal Demo Songs.
Additionally, he collaborated on the development of Roland sound samples and contributed to projects with prestigious companies such as ILIO Entertainments/Spectrasonics in Los Angeles.
His contributions to innovation led to his mention in the book I Believe in Music by Ikutaro Kakehashi, the founder of Roland Corporation, for his pivotal role in the development of the V-Accordion, of which he was the inventor and researcher.
In 2014, following the closure of Roland Europe, Bruti gathered a team of 12 engineers and musicians to develop two groundbreaking technologies:
True to Life (T2L), for innovative digital pianos
Harmony Poly-Fragmentor (HPF), the foundation of the XMURE APP for iOS, the world’s first app to offer real-time audio accompaniment instead of MIDI.
These developments caught the attention of PROEL’s CEO, Fabrizio Sorbi, who acquired Roland Europe and initiated a collaboration with Bruti for the creation of DEXIBELL, which was officially presented at the NAMM Show in Los Angeles in 2016.
How, When, and Why DEXIBELL Was Born: Interview with Luigi Bruti at NAMM
From 2021 to 2024, Luigi Bruti led the Italian team at DEXIBELL in an international collaboration with the Japanese team at KORG, directed by Fati Fehmiju, to develop the FISA SUPREMA, the first digital accordion produced by KORG.
This innovative project combines tradition with advanced technology to deliver unprecedented sound quality.
The FISA SUPREMA introduces revolutionary features, including:
Advanced sensors for the bellows, faithfully replicating the dynamic range of an acoustic accordion.
Extensive sound customization, with the ability to update and load new accordion sounds.
MIDI and digital integration, ensuring perfect compatibility with modern music production systems.
The project achieved great international success, solidifying Luigi Bruti’s role as a key figure in the development of cutting-edge musical instruments.
Beyond its applications in live performances and studios, the FISA SUPREMA proves to be an exceptional resource for interpreting film scores, offering a realism and expressiveness never before achieved.
Thanks to its unique features, it opens new creative possibilities, with original arrangements conceived and interpreted by Luigi Bruti himself.
In a recording studio, the assistant is not simply a sound engineer or technician behind a console. When they are also a musician, their sensitivity changes everything: they understand the needs of the artists, anticipate the producer’s requirements, and speak the same language as those who are creating. They don’t just press “record,” but actively contribute to the creative atmosphere, knowing when to intervene discreetly and when to let the inspiration flow. Having an assistant who knows music not only on a technical level but also emotionally makes the process smoother, more empathetic, and effective. In a space where art takes shape, this dual expertise truly makes a difference.
Cristiano Pagani collaborates as a freelancer for MR Studio’s clients. Born in Rome on February 22, 1977, he is a musician, sound engineer, and arranger. He graduated from scientific high school and later pursued studies in architecture.
He was the owner of PTSD Studio Recording in Porto d’Ascoli from 2008 to 2015.
Cristiano has composed music scores for the film Am I Evil by Richard Terrasi (USA), which won the Avoriatz Award as the best independent film, and for the film The Dark Side of the Moon by Richard Terrasi (USA).
He has worked with several labels including My Kingdom Music, Aural, Audioglobe, and Soulfood for mixing, production, and arrangements.
He is currently under contract with My Kingdom Music, owned by Francesco Palumbo (SPV-Sony).
Cristiano has released four albums with his band PTSD and has toured extensively across Europe. He is a singer, drummer, sound engineer, and arranger.
He holds certifications in Steinberg Cubase Studio Pro and Logic Pro X.
In the video below, you can see Cristiano Pagani performing as a singer with his band PTSD.
Giorgio Emidi collaborates as a freelancer for MR Studio’s clients. A musician, sound engineer, and producer, since 2017 he has been working on the production of local artists, releasing several singles and handling all aspects of the artistic process.
At the same time, he has released three songs under his own name, writing the music, lyrics, and arrangements. In his EP “Diffraction,” he channels his passion for synthesizers and electronic music production.
Some of his tracks are included in the Resonant Music catalog from Bristol, a company that specializes in music licensing for visual media.
In 2019, he participated in a mastering course at the Massive Arts studio in Milan, taught by Alberto Cutolo.
In 2023, he earned a second-level Academic Diploma in Sound Engineering from the Saint Louis Conservatory in Rome, where he refined his skills in acoustic instrument recording, production, mixing, and mastering.
Over the years, he has worked on recording various EPs and experimental projects. He also teaches music production at several schools in Pescara.
Giorgio regularly collaborates with companies providing live sound engineering for events.
Alone Again – Jade Hoffman
Orchestra da camera
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