Daniele Tebaldi Email & Phone Number

Ferrara, It

Flero, Lombardy, Italy

Bologna, Emilia-Romagna, Italy

It started with a collaboration project on marketing intel, as an external resource, when the previous Distributor agreement expired. I helped the then Sales + Marketing Director to gauge competing brands' activities and trends on the Italian territory. Served as point of contact to keep the Company in touch with existing users and clients of the former Distributor. Developed the strategy for Marketing, Sales and Distribution that, five years later, led to the incorporation of a local subsidiary – which I subsequently managed for the following twenty years.

Modena, Emilia-Romagna, Italy

Sponsored by the City of Modena and hosted at Centro Musica – Comune di Modena, Live Sound Education was the first vocational training program in Italy specifically aimed at theater and concert production for audio engineers (and remained the only one for a whole decade). I developed the lectures' program and content together with the late Gian Felice Fugazza during the tenure of Milena Valentini as Director of Centro Musica, selected prominent names in the industry to share their professional experience in a forum-like fashion with students and alumni, and took teaching classes upon myself until a roaster of lecturers was selected and appointed over the years.

Greater Milan Metropolitan Area

Served as columnist for SM - Strumenti Musicali, a Music- and Pro Audio technology leading monthly publication, dubbing at products' reviews and electroacoustics theory articles, under the direction of Gian Felice Fugazza, a pioneer of electronic music with worldwide reach into the musical instruments industry from '60s through '90s.

Tübingen, Baden-Württemberg, Germany

Concert sound FOH engineer, specialized in jazz, classical and contemporary electronic music, serving acts as diverse as Bruno Ganz, Stepháne Grappelli, Dave Brubeck, Ensemble InterContemporain, Egberto Gismonti, Maria João, Musik der Jahrhunderte, Eberhard Weber, Paolo Fresu, Herbie Hancock, Bill Frisell, Dave Holland, Nguyên Lê, Scott Henderson, John Zorn, Aki Takase, The Hilliard Ensemble, Arvo Pärt, Dino Saluzzi, George Lewis, Joe Zawinul, Alexander von Schlippenbach, Albert Mangelsdorff, Ulrich Tukur & Blaubarts Orchester, among others.

Bologna, Emilia-Romagna, Italy

Appointed with composing original materials in English language for advertising campaigns, products launches, tradeshows press releases, Company catalogues.

Monza, Lombardy, Italy

Appointed with developing and delivering application-specific strategies to products clusters distributed via own network of Sales Representatives for brands such as (among others) JBL Professional, Soundcraft, Studer, Amcron-Crown, BSS, dbx, 360 Systems, Drawmer, Aphex, Rane, Orban, AKG, Genelec, Denon-Marantz Professional, Mitsubishi Digital, Calrec-Soundfield, Euphonix, Apogee Digital.

Following the renovation of Teatro Comunale in the city of Ferrara, the then cultural production agency (later merged into a cultural foundation model) Ferrara Musica was host to opera and concert productions with renowned orchestras, soloists and conductors such as John Eliot Gardiner, Claudio Abbado, Salvatore Accardo, Maria Joao Pires, Heinz Holliger, Maurizio Pollini, Radu Lupu, Cecilia Gasdia, Ruggero Raimondi, Irvine Arditti, Kronos Quartet, Arvo Pärt, Azio Corghi, Marco Stroppa, The Chamber Orchestra of Europe, Berliner Philarmoniker, among others, with concurrent side activities of spot-on production projects with Miles Davis, McCoy Tyner, Ornette Coleman, Dizzy Gillespie, Bill Frisell.In the years of my appointment I served as recording engineer and audio archivist to document the activities promoted by the Organisation, as well as serving as the local technical liasion to record companies and broadcasters that had own production crews on site for concurrent actitivies at these artists' presence.

I started my appointment with reviewing and adapting existing materials that had been translated into Italian by contracted agencies for compliance of the tone of voice to the audio community jargon, and in the course of time took up the translation directly.