When, after hurricane years in Fiorentine music and fashion in the late '60s — early '70s, Maurizio Pieri found himself entering the position of the bank clerk at his 23, he probably just couldn't give up his creative nature so easily.

Thank to TEAC's first 4-track stereo quad (iconic A-3340), in 1974 he was able to upgrade from the multiplay (sound-on-sound) Revox mono technique and created a proper base for the recording and mixing tapes.

Soon the home studio became an affordable alternative to the much more expensive professional studio for musicians with more ideas than money.

In the following years, Marino Vismara (of NADMA/Rca), Mauro Sarti, Pierino Iandelli, Patrizia Lopez and Flavio Cucchi, and many others stepped there.

Giovanni Unterberger cut here his very first LP for WEA (which was prized by TEAC distributor in Italy, Linear Spa, with the Tascam 80-8, eight tracks, with accompanying Model 5 and 1 mixers). He later made there all his early albums as leader of his well of talents Lizard Contemporary Guitar Label.

Roberta Voltolini recorded in the studio her demos at the beginning of her career, which at one point (1978) led her to the San Remo song contest festival.

Guerrando Bellesi, as tour manager and collaborator of Gianni Sassi, a founder of Cramps records, brought Maurizio to record a live performance of Aktuala in the neighborhood of Florence (Grassina). This rare tape is still in the collection of OMus.

In the late '80s, Lino Capravaccina recorded there his 1987 solo album for Roberto Donnini's Lynx label.

With Roberto Donnini Maurizio Pieri also produced (from 1979 to 1986 ) Donnini's three Tunedless I, II, and III — the avant-garde music albums, which brought in the studio people like Donella Del Monaco (Opus Avantra), Giovanni Schiaffini, etc.