Do you have a new album almost ready? How would you compare it with "Unknown Evolution"?

All 8 tracks for my next album, tentatively titled "Address Change", are finished, i.e. written, and I will begin recording them all soon. I have a problem with titles, though: as I find it difficult to name instrumentals, half of the tracks still have working, temporary titles.

I am using more keyboards (synth guitar, actually) and plenty of steel-string guitars, especially in "Nashville" tuning, whic I discovered recently; this allows me to build more complicated arrangements and have a greater variety in sounds. I am also playing all bass parts myself: I re-discovered what was my first electric instrument... It's great fun. There will be less "acoustic only" tracks (just a couple). I am also trying to achieve better guitar tones, experimenting with mic placement and multi-mic techniques.

I would like to see the new Cd finished by the end of 2004 or the beginning of 2005; I'll definitely keep you updated.

How do you approach composition? Do you work with pieces or do you create a composition from beginning to end?

It depends... On "Unknown Evolution" I usually started from a riff, a chord sequence or a short melody and developed the track from there, thinking of a song structure, building verses and choruses; this time I started with writing complete melodies, which was very new for me and gave me more freedom to write arrangements around them, 'cos I was not forced to follow the chords, as they were not written before.

I am suggesting all my students to write this way.

How important is the jazz influence into your playing?

I think it's not a real influence, as I don't listen to many jazz players; as a guitarist and teacher, though, I have to know the modern way of playing the electric guitar, which has a lot to do with jazz and fusion: for example theory, chord substitutions, a full comprehension of scales and modes and their use and so on, and this is reflected in my playing. In this sense I am not exactly a "metal" player but my tones are definitely heavy.

Let's say I can fake playing jazz convincingly...

Do you find that learning new techniques with the instrument opens new possibilities for you to create compositions?

Technique gives me more freedom overall to create, freeing me to play (almost) whatever I hear in my head.

In fact, I think technique is not just for playing faster but for playing looser, more easily, and not just leads. Sometimes a technique will generate a riff, or a pattern: on "Expressure" for example, from my band's Cd, I use a two-hand tapping technique to create a rhythmic riff, as opposed to the usual legato soloing.

Do you have plans of playing your material live?

That would be way cool!!! At the moment that remains a dream... Unfortunately, the demand for rock instrumentals live is way low, (cover bands rule here in Italy, for good or bad) and the budgetary / technical aspects of putting a five- or six- piece band on the road, especially not being a well-known, top-selling artist would be a nightmare. Also I don't like to play for free, and no way am I gonna ask some of my students to play with me to not pay them.

How was your experience in the Accademia di Musica di Modena?

I had the sheer luck to meet a great teacher (Alex Stornello) who basically ripped apart completely my playing and rebuilt it piece by piece. It was definitely painful and tough but well worth it. Also, after graduating I was hired as a teacher there, so I was twice lucky.

Which was your experience with the Mike Varney column on Guitar World?

That was a big surprise! Being on one of the most important guitar mags in the world... Great exposure and interest from players from everywhere.

Which is your live and studio equipment?

The live equipment is what you see on the website: Furman PL8 power conditioner, Sabine rack tuner, Triaxis preamp, Digitech Tsr-24 Multieffects, BBE 422 Sonic maximizer, Rocktron Velocity 300 power amp and Marshall cabs. Pedals are a Roland GR33 guitar synth and a Midi Buddy pedalboard, plus a 535q wah wah from Dunlop. I like playing with stereo tones, especially leads and cleans; the Gr33 goes into the PA.

Studio: Focusrite Trak Master mic preamp; Sennheiser E609 , Akg C535, Shure SM 57, Audio-Technica At 3528 microphones; Yamaha BB 605 active 5-string bass. My computer is a humble Pentium III running Cubase Vst 5. Sennheiser HD 540 and Akg K240 headphones.

Distorted tones are miked; clean tones are direct from the Triaxis. Steel-string tones from my Yamaha are miked with the Audio-Technica or a combination of mic and direct from the onboard piezo, split on two channels.

Any final thoughts?

I feel very lucky in being a musician and hope to keep working with music, especially composing and recording, which I find most satisfying.

I also would like to thank you so much for this interview. I'll let you know about the new Cd!!!

Interviewed by Federico Marongiu