I’m Matteo Milani, founder of the studio U.S.O. – Unidentified Sound Object. For over twenty years I’ve shaped sound for film, documentary and commercials.
My work starts from one belief: the most memorable sound comes from human hands. In an era when much audio is AI-generated, I choose real instruments, unconventional sources and both analog and digital synthesis to create sounds no algorithm would return the same way.
I design and mix sound to image — from the first field recording to the final Dolby Atmos master. I build effects from scratch, layer them with recordings I’ve made myself, and keep mixing until the track feels inevitable rather than added on top.
Film, documentary, podcast or brand, the aim is the same: sound you feel before you notice it.
I mix in my own Dolby Atmos room, placing each sound by direction, distance and movement — with Ambisonics, binaural and object-based formats as the project needs.
Done well, you stop hearing speakers and start hearing a place. Immersive audio isn’t a novelty anymore: it’s how cinema, streaming and installations are made — ideal for film, VR and AR.
Together with Lorenzo di Tria, I bring high-end sound to film, commercial and TV sets. Backed by a strong post-production foundation, we capture every take perfectly synced to picture — reliable, unobtrusive, and faithful to the story.
Services include:
crystal-clear dialogue and ambiences
expert wiring and discreet on-set setup
precision audio-video synchronisation
detailed metadata logging for post-production
I record and build sound-effect libraries the hard way: unusual objects, contact mics, field trips and synthesis — chasing sounds you won’t find anywhere else.
Each library ships fully tagged with Universal Category System (UCS) metadata, ready to drop straight into a session — available worldwide on A Sound Effect.
Do you use AI in your work?
AI handles technical tasks only — cleanup, stem separation, variations. Every creative and emotional decision is human. In a landscape dominated by generated audio, hand-built sound is the whole point.
Why “sound shaped by hand”?
Because I still make sound the slow way — real instruments, recordings I go out and capture, hands on the faders. AI handles the cleanup and the grunt work, but the choices that make a mix feel alive are mine. That’s the part you can’t automate.
What does mixing in Dolby Atmos mean?
Dolby Atmos is an object-based format: each sound has its own spatial coordinates and is placed in a three-dimensional space around the listener, not just left to right.
UNIDENTIFIED SOUND OBJECT
Via Dante Alighieri, 51
20032 Cormano (MI) Italy