About

Biography

Sound. Technology.
Expression.

Natalia Milanesi (also credited as Natalia Rodrigues Milanesi or Milanezi) is an audio innovation technologist, sound engineer, music producer, composer and educator based in England. She works at the front of a rapidly evolving landscape, developing methods that harness emerging technologies to empower and expand what is possible in sound and music. Her practice spans AI-assisted composition and mixing, adaptive systems, motion capture as a compositional interface, immersive technologies and spatial audio, and remote production, with a particular focus on how these technologies can be made accessible and genuinely useful to creators.

"Technology should serve as a tool for creative expression, not replace it."

Her approach comes from a rare vantage point: that of someone equally versed in traditional recording practice in world-class studios and at the research frontier, bringing critical, hands-on experience to every question about what technology can and should do for creative people.

Over more than a decade, she has worked across renowned studios including Abbey Road Studios, Angel Recording Studios, Abbey Road Institute, Windmill Lane Studios, RAK Studios, Tileyard Studios, Space Mountain Studios and Meridian Studio, gaining deep fluency across a range of professional consoles including the Neve VR, Neve 88RS, SSL AWS 948, SSL Duality, API 2488, and TL Audio VTC. Shaped by her studio background and musical experience, her work in technology extends to a clear-eyed engagement with the ethical dimensions of AI in music, where she advocates for artist-centred development, transparency and fair treatment.

Throughout her career, Natalia has worked with artists including Sam Smith, Flyte, Jaz Coleman (Killing Joke), Steve Diggle (Buzzcocks), Martin 'Youth' Glover, Paolo Nutini, Zoe Devlin (Alabama 3), Nile Rodgers, Kandle, Kiscsillag, Kiranpal Singh, Connor Selby, Pierdavide Carone, Penny Foster and Arthur Navarro, among many others. She has also contributed to projects with Disney, ITV, BBC and Netflix.

Her work across film and television includes composing and music supervising for BBC Three's Boarders, contributing to recording sessions for ITV's Grace and BBC's Call the Midwife, and facilitating interviews including Nile Rodgers for British Vogue. Her live and events work spans concert production, festival management and large-scale music programming.

Education is a defining strand of Natalia's practice. She has taught aspiring engineers and producers in state-of-the-art facilities, fostering both technical rigour and collaborative thinking. She has delivered and supported masterclasses at Abbey Road Institute London alongside some of the UK's most respected practitioners, including Haydn Bendall, John Dunkerley, Bernard Butler, Alex Scannell and Silvia Massey, and has delivered multiple workshops about emerging audio technologies as well as traditional recording and mixing techniques at the University of Westminster. Her educational work extends across institutions nationwide, and is supported by a broad network of industry partners including SSL, DPA, Sonible, Eventide, Softube, Teenage Engineering, Dreamtonics, Headline Audio, Genelec, HHB, Sontronics, East West, ControllaVoice, Yamaha, Devious Machines, XLN Audio, Melda Production, United Plugins, WA Production, iZotope and others.

Her academic formation reflects the same rigour and commitment she brings to her professional work. She holds a Master's Degree with Merit in Professional Media Composition from the University of Chichester, a High Advanced Diploma with Distinction in Music Production and Sound Engineering from Abbey Road Institute London, and a Diploma with Distinction in Music Production from the Institute of Arts and Communication Techniques (IATEC), Rio de Janeiro.

At the heart of everything she does is a deep belief in sound and music as transformative forces in arts and culture. Whether working with an artist to realise a long-held creative vision, composing for screen, or developing new frameworks for how technology can serve musicians, she approaches each project with the same commitment: that the work should matter, connect and endure. For Natalia, enriching the cultural landscape is not a by-product of her practice. It is the point.

Across all of her work, Natalia is guided by a conviction that the most significant advances in audio technology are still ahead, and that the people best placed to shape them are those who understand both the tools and the creative imperatives they serve. As the boundaries between composition, engineering and research continue to dissolve, she remains committed to building practice and knowledge that keeps human expression at the centre, equipping the next generation of practitioners to navigate that future with both technical confidence and artistic integrity.