Growing up, I was always in love with music and would aggravate my mother on a regular basis by needing to listen to and hear everything that was playing on the radio. As I grew older I would try to produce my own music which in retrospect seemed like complete failures of my 6 year-old imagination. I started to grow my music library as fast as I could, loving to hear all the new sounds of all the genres. At 9 years old I begged Santa for a DJ set and I got just what I wanted. I set it up and was thrilled to be DJ-ing the art and even went to selling my DJ services to my friends for their parties. At 12 years old, I was home from tennis practice for the day and was compelled to try out music production again with my best friend, Shayanth. By this time, technology had come a long way and I could record, edit, and mix for free with only my laptop. It took one day, and I was hooked. Other people were too. My brothers, sister, mother, and father had all shown it to their friends and word got out that I could make a catchy tune.
From there I started back at my piano lessons and wanted to learn all there was to know about music. I got myself a microphone and the latest recording programs I could find. Music was still second to my aspirations to be a professional tennis player at the time, but I never stopped putting in the time every day to make the next song a hit. It all changed when I was 15 years old at my father's birthday party. I slipped on the patio outside and pulled my MCL and received bone contusions in my left knee. At the time I felt cursed, but blessings have a way of disguising themselves in the strangest of forms. My father knew that I would be out of tennis for a while and immediately found a contact of his with a recording studio in the city. There, I learned what makes a record stand out and how to produce, record, and mix beyond my dreams with Pro Tools and various outboard equipment. I was obsessed.
It was 4 months before I could play another tennis match and when I started back up, half my heart felt empty. A voice inside me told me that I needed to be working on music more than my backhand. Thankfully, my parents and family provided overwhelming support for me during the decision and I dove head first into the industry. I started working my way around Miami and worked with professionals and producers in Miami, New York, Los Angeles, and Nashville. I learned many skills and developed them during this time: finding ways to create better recordings and mixes for my clients. I formed my first company, Fiorentino Productions.
For my next task, I took a few months to work with a studio designer and built a professional recording and mixing studio in my home. I started working with producers and artists and bumped heads with a producer I had worked with on and off for a couple years in my own studio, Luan Pernia. We both were looking for another way to showcase our creativity to the masses. The outcome was a record label with a goal to bring the artist, label, and consumer closer together, Fiorentino Records. Working as a producer, recording engineer, mixing engineer, and mastering engineer for all our projects was exhilarating, and kept me busy. Though both Luan and I enjoyed the products we developed and had a good relationship, we weren't having the success we hoped for, so after nearly two years, Fiorentino Records dismantled and I immediately looked for new ideas to move my career forward.
In the next months I continued renting out my studio and using it for my personal projects when I met a singer/songwriter and decided to go directly to the consumers with an idea of creating the customer's own perfect song, so perfect we would need to customize it just for them. So my next endeavor, My Perfect Song began. The road for this had great results and feedback from our customers, but sadly, wasn't financially sustainable. I never let my head fall and got right back into producing, recording, mixing, and mastering projects for local independent groups and had a lot of fun.
I then turned my head back to the commercial side of the industry and contacted the owners of Circle House Studios. I was on a mission to work with more professionals in my field. In February of 2013 I began working at Circle House and Circle Village with artists of all styles with my first sessions giving me the opportunity to record and mix for Atlantic Records' Netta Brielle. The studio kept me very busy and working nearly every day and filling in for anybody who could not make it for the next 10 months. During this time I worked with countless award winning artists and producers as well as many highly talented up and coming artists. On my best friend's birthday a contact put me in touch with six time Grammy award winning artist and producer, Stephen Marley. They booked me for two consecutive days and called me back within the week to work on the rest of their project and become the house engineer for Lion's Den Studios. With Mr. Marley I had the opportunity to work on songs with top 5 Billboard 100 artist Kardinal Offishall, Shaggy, Black Thought of The Roots, Damian Marley, Jo Mersa, Wyclef Jean, Rick Ross, Busta Rhymes, Rakim, and more.