45
Years of craft
From 1980 to today, uninterrupted. No breaks, no sector changes.
About
Daniele Masini. Forty-five years inside cinematic sound. Now applied to synthetic voice.
Mix engineer specialised in Italian cinema and television. Il Postino, Ettore Scola, Pupi Avati, Imma Tataranni seasons 3 and 4. Verified IMDb credits. ANIMA grows from this craft, not from an experiment.
Who I am
45 years at the desk. Not an algorithm.
My name is Daniele Masini. I come from forty-five years of craft in sound: dubbing, mixing, post-production, cinema, television. I come from a school where sound was not decoration but narrative. ANIMA was not born from enthusiasm for technology. It was born from the question: can a generated voice be taken to the desk, listened to, corrected, shaped?
Read the investment thesis
100+
Cinema and TV titles
Il Postino, Oscar-nominated. Scola, Avati, Sordi, Troisi. Public and verifiable IMDb credits.
2026
Still in production
Italian-language edition of three Korean features in twenty days — Anchor, Recalled, Light for the Youth — plus Bloat, Lampo, Madre Teresa & Me.
I n t r o
Declared axes
From 1980 as a sound-effects recordist at National Cinematografica, from 1998 as audio head at ETA BETA and CineAudioVideo, from 2006 as freelance at Fono Roma, SEDIF and Oceania Sound. Eight seasons of Medico in Famiglia. Eight seasons of Distretto di Polizia. Three seasons of R.I.S. Il Postino by Troisi. La Cena by Scola. Magnificat by Avati. In the last twelve months: Bloat, Lampo, Madre Teresa & Me, You're Monster, Marmalade, Imma Tataranni. In 2026, the Italian-language edition of three Korean features in twenty days: Anchor, Recalled, Light for the Youth.
ANIMA begins with a precise question: if forty-five years of professional vocal direction could become system, pipeline and reproducible method, what would change in audio production? Not a technical experiment — an answer built on craft.
1980 — 1998
From sound effects to mix
Sound effects recordist at National Cinematografica, then partner at Sound Editor, Gistar and Studio 16. The years when I learned that every sound has physical weight, not just technical weight.
1998 — 2006
The serial years
Head of audio and mix engineer at Eta Beta and CineAudioVideo. Eight seasons of Distretto di Polizia, eight of Medico in Famiglia. Seriality teaches something no single film teaches: holding tone across hundreds of hours.
2006 — today
Freelance and research
Italian edition mix for Fono Roma, Oceania Sound, SEDIF. Imma Tataranni, Makari, Avati's Orto Americano. And in parallel: research on what happens when the mixing desk meets artificial intelligence.
C l i e n t s & P a r t n e r s
Cannes
Venezia
David di Donatello
Cannes
Venezia
David di Donatello
VOICE PRODUCTION • DIRECTION • TAKE • REFINE • RETAKE • ACCESS •
VOICE PRODUCTION • DIRECTION • TAKE • REFINE • RETAKE • ACCESS •
VOICE PRODUCTION • DIRECTION • TAKE • REFINE • RETAKE • ACCESS •
Linked paths
Investors
Read the investment thesis
Market, IP, roadmap and credentials on the dedicated page.
Go to investorsListen
Hear the method
The free pack is the fastest way to understand what distinguishes ANIMA from a generic library.
Open free packContact
Write directly
For investment inquiry, partnership or collaboration.
masini16666@gmail.comL e t t e r f r o m A N I M A
Why I built this.
I am not chasing technology out of enthusiasm. I am not trying to build a machine that speaks better than others. I am trying to understand whether a generated voice, once it leaves the engine, can be taken to the desk, listened to, corrected, shaped, and brought closer to something that resembles a human presence.
Not perfect. Not real in the naive sense of the word. But alive enough to sustain a breath, a crack, a fear, a silence.
I come from forty-five years of craft. From dubbing, mixing, post-production, cinema, television. From a school where sound was not decoration but narrative. Where one wrong attack could break a scene. And where a silence placed at the right moment could weigh as much as a confession.
ANIMA is not a voice generator. ANIMA is a shaping desk.
The engine generates. But the real work, for me, begins after. It begins when the voice arrives raw. When it needs to give way just slightly. When an attack that is too perfect needs roughening. When a pause needs widening by a breath. When the cold of the digital must be warmed by analogical thinking.
I do not want to be swept away by the runaway horse. I want to climb onto it, take its force and try to give it a direction.
— Daniele Masini, Rome 2025
S e l e c t e d C r e d i t s
The work that certifies the method.
Public IMDb credits, verifiable. Not a presentation: an archive of sonic decisions.
Cinema
- Il Postino — Massimo Troisi / Michael Radford (1994) — Sound effects
- Il Tassinaro — Alberto Sordi (1983)
- Giovanni Falcone — Giuseppe Ferrara (1993)
- Magnificat — Pupi Avati (1993)
- La Cena — Ettore Scola (1998)
- 1943–1997 — Ettore Scola (1997)
- S.P.Q.R. 2000 e 1/2 anni fa — Carlo Vanzina (1994)
- Fantozzi in Paradiso — Neri Parenti (1993)
- Orto Americano — Pupi Avati (2023) — Foley
Television
- Distretto di Polizia — 8 seasons RAI/Mediaset (2000–2007)
- Medico in Famiglia — 8 seasons RAI (1998–2005)
- I Cesaroni — 3 seasons RAI (2005–2007)
- Nebbie e Delitti — 3 seasons, Luca Barbareschi (2005–2006)
- Imma Tataranni — seasons 3 and 4 — Foley (2023–2024)
- Makari — Foley (2023)
- Dynasty, Mork & Mindy, Ironside — International track integration (1980–1990)
N e x t M o v e
Contact
For direct requests, collaborations or specific access needs: support@danielemasini.com