Gianni Moroccolo with Timoria, in the studio and Sanremo

Two complementary books have been published, released in 2025 for books Aparteadore, at the end of a successful crowdfunding campaign that collected the adhesion of 738 co-producers: “The bass notor”-a collection of transcriptions on the score and tablature of the bass parts of over 100 of the most representative songs of the career of Gianni Moroccolo-and “Memoirs of a low-low sound” And the evolution of those songs, revealing anecdotes, reflections and background on his music. From the latter, courtesy of the publisher, we draw these Bani relating to the collaboration of Moroccan with the Timoria.

Francis Caprini, the inventor of one of the first contests, rock by Italy, had become the manager of the Timoria and proposed me to produce their debut album, Colors that explode. Thanks to Francesco, the Timoria had signed a contract record with Polydor and then, after years of experiments And studies, I finally was faced with the possibility to work with a good budget, in a well -equipped study And with an excellent emerging band.

Yes, but also with a remarkable responsibility on the shoulders: On my work they depended on the success of the disc and the task, not easy, to satisfy the expectations of the Timoria, of Francesco Caprini and Polydor.

I asked Giorgio Canali to collaborate in production of the disc and, after a short pre-production at Omar’s house Pedrini, we started working in the studio in Brescia. With i Timoria decided to record as much as possible in “direct”, Ring all together and looking for the magical version of each piece. I liked Timoria: the songs chosen for the disc They were very beautiful, the band’s sound was personal and they had A way to make music. Omar was the leader undisputed, the creative and propulsive source of everything; Francesco Renga had an impressive vocal stamp; Diego Galeri, Enrico Ghedi and Carlo Alberto Pellegrini were All good musicians, happily at the service of the whole.

Once arranged arrangements and structures of the pieces, the my job was to put them at ease in the studio, to help them in moments of difficulty and make them play. We worked a lot on the dynamics and the expressive, both of the tools and the voices, trying to eliminate the superfluous and any useless tinsel. I did not seek execution perfect, but the emotionally stronger one, the most credible and close to their feeling.

My work and that of Giorgio were a lot of facilitated From the meeting with Dario Caglioni, a sound engineer very good and experienced, who lovingly assisted us in each phase of disk processing. I felt protected: he reassured me and solved every problem always with a smile.

We finished the album in his new studio in Milan, where We recorded some overdubs and then put on a bench Cadac, a wonderful mixer. Indeed, more than a mixer, a radiator: A generator of harmonics and a unique sound.

The Timoria were happy with their first album, Francesco Caprini also, and so I think it was also for Polydor.

My first time in Sanremo was in 1991 with Timoria. Entrance in the direction audio staggering for the emotion: there were five Gigantic mixer in a row, in front of the other. On each two acoustic coffers; The effect generated an apparent frastuon indecipherable sound. In reality, each mixer dealt with one Specific section (orchestra, groups with battery, choirs, etc.) and, chain, they sent everything to the last, which mainly dealt to add and mix the voices and the effects to the rest.

The manager told me immediately that I could forget about Miss the Timoria, because nobody, apart from the resident technicians, could operate on the desks (obviously all analog and not programmable!). In that chaos, what could I have done? From that room was broadcast the sound performance of Each artist, the one that everyone would listen to on TV and to the radio. A wrong mixing, a too high tool, a confused sound, a little readable voice … nothing was enough for ruin a performance.

I tried to approach with kindness and humility to each phonic responsible for your section, making few requests for modification, only the essential ones. And so, passing From mixer to mixer, I arrived at the bottom, where I could finally listen to the final result. I got up a little: everything was more that acceptable. Of course, but they were only the afternoon tests. All the settings were meticulously marked, but It was obvious that the evening of the performance would be anyway A Lotto terno.

Timoria climb on stage. While they are about to start, I notice the line check that I don’t get the guitar of Omar; SUDO COLD! I ask for help from the phonic, but for them and Everything is OK. The piece starts and, from the video monitor, I see Omar that quickly raises the volume of his guitar which, I believe for The emotion had forgotten closed. With a fur of delay, The sound comes. I run between mixer and mixer, I ask for changes and, When I arrive at the last, I realize that the piece is Finishing, but mixing and more than discreet.

I go quickly into the dressing rooms and see everyone happy: Now I can relax a little too. But for a short time, because the day after the emotion was even stronger: the Timoria, with the song The man who laughs (contained in the album Rhythm and painfrom me produced), they win the criticism award.