DJ, producer, traveler between worlds and sounds, Filippo Quaglia is, among other things, Music Supervisor for Soundreef Media Service. Talent scout for recording and for the X-Factor broadcast, Dubmaster of the Italian Institute of Cumbia, artistic producer of Almamegretta, Young Signorino and many others, oversaw the sound design of international brands such as Gucci, Lavazza, Alfa Romeo and Toyota.
How did you become a supervisor at Soundreef?
Through a 360° journey in the music. I am a producer/DJ and sound designer, so I have both artistic and technical skills -from arrangement to mastering. Also, as a DJ, I am constantly monitoring global music trends. This allows me to first evaluate and select the music to be submitted to Soundreef Media Service, and then to organize it in playlists that sound pleasant to consumers and,a bove all, that are effective for our customers.
Could you explain us what your work consists of?
A major part consists in keeping up to date with the music catalogue, because it really is huge and it updates very quickly. This allows me to understand which songs can work best on which brands, but it’s not enough. The radios that use our music are located all over the world, soI interact with them to understand the trends and needs of the various territories as adequately as possible.
How many playlists have you created for commercial premises?
I lost count, but roughlyI would say thousands of them.
In doing this, how important is your personal experience as a consumer?
In my opinion, even more than your own experience, it is important to understand to which type of consumer the brand is addressed. I try to profile themas much as possible, analyzing the work that competitors do, to create the correct schedule for the target audience, always trying to move the balla little bit forward. How is Soundreef Media Service different from its competitors? From my point of view, there are two factors that bring out Soundreef Media Service when compared to its competitors. The first is the quality of the music: we select songs that are not intended to act as a carpet but rather, songs that follow the classical recording journey, and that we use for this type of business. The secondfactoris indeed our selection -the careful study of every single track.
This year, due to the pandemic, people have experienced commercial spaces less: has this caused any change in musical demands?
The speed at which we are returning to our normal lives makes it difficult to make any prediction. I can say that some genres have seen a growth in popularity-I am thinking of Chill Hop and Ambient -and this, in my opinion, reflects both the slowdown of the last year and a half and the greater introspection it has brought on.
Will all the limitations imposed on public spaces affect their sound system?
In my opinion, they affect the music more. Not being able to experience some space has led to the search for new ones. I am thinking of physical activity at home, for example. It was music that has had to adapt to these new geographies, moulding itself in a liquid way according to the space.Just as we have done, after all.
