Rycote Uncovered: From Concert Stages to Rugged Landscapes: Alberto Bellini’s Journey in Sound Recording

Alberto Bellini

Meet Alberto Bellini, a production sound mixer with over a decade of experience in live sound and film audio. From major concerts to challenging documentary shoots in remote locations, Alberto has built a career on precision, adaptability and passion for sound. In this interview, he shares insights from his recent projects, his experience with Rycote products and the realities of working in the film industry.

Q: Alberto, can you tell us about the projects you’re currently working on?

Alberto Bellini: "I’m involved in several documentary projects. Recently, I worked in the Aeolian Islands, specifically Ginostra and Salina. One documentary focuses on the local environment and wildlife, including a story about goat invasions, while another explores the history of Latin American communities living there. These shoots often involve extreme conditions —strong winds, rocky coastlines and unpredictable weather —which makes sound recording particularly challenging."

Q: Which Rycote products have you used on these projects?

Alberto Bellini: "I’ve used both the Modular Windshield Kit and the Nano Shield. In very windy conditions, the Modular remained the most reliable solution for strong wind and harsh environments. The Nano Shield, however, is excellent for quick setups and lighter rigs, especially indoors or in controlled conditions. Its magnetic closure makes assembly remarkably quick, and its lightweight design is perfect for boom operations during long shooting days. Also, I was incredibly impressed by the Nano Shield suspension system."

Q: What about the Nano Shield suspension system?

Alberto Bellini: "The suspension is outstanding. I’ve tested it in demanding situations, including long takes and complex camera movements, and it delivered clean, noise-free audio. In my opinion, it’s a premium-quality component. Even when I used the Nano Shield without the basket —just the mount —the suspension worked flawlessly."

Q: Which microphones were you pairing with these systems?

Alberto Bellini: "Mostly the Sennheiser MKH 416, a classic for outdoor work thanks to its durability. More recently, I’ve started working with the Sennheiser MKH 70 as well, and it has impressed me with its reach and overall performance.
I also tested Rycote’s OM08 microphones for ambient recordings, and they performed beautifully, transparent and natural, with a sound that felt like listening with my own ears."

Q: What challenges do you face as a production sound recordist in Italy?

Alberto Bellini: "One of the biggest challenges is the lack of emphasis on audio compared to cinematography. In many productions, sound is treated as secondary —something functional rather than creative. The priority is often just to capture dialogue cleanly, while immersive sound design or innovative approaches like ambisonic audio are overlooked.
I’ve tried introducing VR audio and ambisonic setups to create richer soundscapes, but I often face resistance from directors or DOPs who worry about complexity or equipment interfering with the visual setup. Educating teams about the importance of sound —how it shapes the emotional impact of a scene —is an ongoing effort.
Another challenge is budget constraints. In Italy, production budgets have tightened significantly, which often means working solo without a dedicated boom operator or assistant. This forces me to manage multiple tasks at once: mixing, booming and handling wireless systems —all under time pressure. It’s demanding, but it also pushes me to be resourceful and efficient."

Q: How did you start your career?

Alberto Bellini: "My journey began at 19 when I enrolled in a sound engineering programme in Rome. It was an intensive course that covered everything from acoustics to post-production. After that, I spent several years working in live sound for concerts —everything from small gigs to major events.
When the pandemic hit, live events stopped and I returned to Calabria. That’s when I transitioned into location sound for film. My first feature was a two-month shoot and it was a significant learning experience - I had to adapt quickly from live mixing to film sound. But I loved it. Since then, I’ve specialised in documentaries and feature films, combining my technical background with a passion for storytelling through sound."

Q: What’s next for you?

Alberto Bellini: "I have several exciting projects coming up. I’ll be working on a new wave of Sicilian TV series, which are gaining a lot of attention in Italy at the moment. After that, I’ll spend about four weeks in Palermo on a dramatic feature film that blends mafia elements with a romance storyline.
I’m also continuing my long‑term documentary work in the Aeolian Islands. The material we’ve been gathering there will eventually be developed into a film pitch, so I’ll be returning to capture additional tracks.
On top of that, I hope to collaborate again with the UK production company Copa90. I’ve already worked with them on a sports documentary for YouTube focused on Palermo Calcio, and it was a completely different environment from my usual projects. I’m looking forward to exploring more in this genre."