Sound engineer, producer, arranger, sound designer, guitarist. Engineering degree, plus professional certifications in Audio Engineering / Music Production, and Audio Mastering. Avid Pro Tools experienced user. Operating in fully equiped studio (fonderiefoniche.com)
Born in Asti in 1973, engineer, producer, sound-engineer, composer, arranger, sound-designer, guitarist with a modern/jazz background. In parallel with his main activity of industrial R&D manager, he worked as a music teacher (theory, improvisation, harmony and modern guitar) since 1994, studio and live musician, arranger and sound-designer for theatral performances, technical consultant (sound, vibrations, environment, audio-related environments design, forensic audio). Since more than 20 years he is involved in audio-engineering , recording, mixing, restoration and audio mastering, both in analog and digital domain. Professionally certified in Sound Engineering and Audio Mastering in the UK, SIAE (italian association of authors and publishers) associated author and composer, co-founder in 2004 of the company Ondesferiche (independent label), since more than a decade he operates in his own private studio ("Fonderiefoniche") as arranger, producer and sound engineer.
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- Massimo Cotto
- Dado Bargioni
- Giorgio Faletti
- Elisa Casile
- Stefano Corona
- Luciano Ferrante
- Howard Jones
- Orange Project
- Beppe Giampà
- Marius Seck
- Il Divino Otelma
- Marco Sforza
- Alexander Macinante
- Simone Poncino
- Mario Nosengo
- Matteo Curallo
- Marco Genta
- Chiara Carrer
- Naudy Carbone
- Gianpiero Malfatto
- I Fiati Pesanti
- Robin Boult
- Justyna Wasowska
- Federica Dal Canton
- Italo Colombo
- Chiara Dello Iacovo
- Fast Frank
- Brown Bull
- Chiara Buratti
- Ornella Vanoni
5 ReviewsEndorse Manuel Daniele
I got the fortune to know manuel and I can just say: "This man has a great knoledge about the music filed".
I gave to him my album and he made a great master , I mean , my stuff has been mastered as I wanted ! my album will be released in few weeks with my own label and definitly he is my master engeneer for all my future releases
I had the opportunity of mastering a mix from Manuel, and liked very much the sound quality and the overall balance. He's a really nice guy to work with, showing great skills and music taste.
I work with Manuel Daniele at the Fonderie Foniche from the very beginning! He has made his slow metamorphosis maintaining the sensitivity of the exellent musician melted with the competence of the great sound engineer, getting the balance between the two sides of the craft, hovering between artistic taste and technical skills! Love this Place/Man!
Manuel has a great taste for music and is always looking for the perfect sound. It's ten years since we work together and he was always able to turn my demos into fab tracks, facing new challenges and winning every time
I was in the studio of Manuel several times, warm and professional place.
He has a great knowledge of audio equipment and dynamics.
Two towers rack full of outboard gear surround the main workstation.
Manuel works with singers and musicians of international renown, always giving an imprint crisp and sophisticated in its work.
Interview with Manuel Daniele
Q: What type of music do you usually work on?
A: Pop, rock, acoustic, jazz, folk
Q: Analog or digital and why?
A: Both worlds have great features as well as weak points. My approach (that's quite common today), is to join analog and digital getting the best from each domain. Tracking, especially, is an activity where I can't live without analog gears building my sound.
Q: Describe the most common type of work you do for your clients.
A: I can offer different "levels" of service, starting from being a simple recording, mixing and/or mastering engineer for a couple of hours, up to a full artistic production. Besides to be an engineer I'm a musician, arranger and producer since several years, so one of my typical works (and the one I most love) is to offer a completely produced finished-work starting from a rough idea. Often clients come to me with some words and a bunch of chords, and go back home with a complete finished song, arranged, played by professional musicians, recorded, mixed and mastered.
Q: What was your career path? How long have you been doing this?
A: I started to study music in 1976, I spent a lot of my youth listening all kind of music and playing, studying and eventually teaching modern guitar and improvisation. I entered for the first time in a professional recording studio in 1990 for a demo, and I immediately felt in love with this world, because it was a perfect synthesis of my two main passions (music and technology). I kept on frequenting studios and engineers for years, as a musician and beholder; in the mean time I graduated in engineering, and kept on playing, arranging, composing, in parallel with more technical activities (including science of materials, industrial processes, quality/environment/safety, acoustic, sound and vibration, forensic consulting). I started in the '90s to build my own home-studio, starting from a Fostex 4-tracks tape recorder with a mixer and some outboards, and step-by-step following the evolution of music production from analog to digital domain, up today.
Q: Tell us about your studio setup.
A: My today's setup is built around a native Pro Tools 11 & 12 system, several analog gears (a vintage Studer 089 mixing console from the '60s, and a bunch of preamps, compressors, EQs, various processors and channel strips from Universal Audio, Avid/Digidesign, TL-Audio, SSL, ART, Line6, Tech21, Alesis, and custom-built equipments), and the Universal Audio UAD2 & Apollo hardware/software platform (12 cores total). I use a Solid State Logic ethernet-controlled superanalogue router, coupled with Apollo's and RME converters, to flexibly patch my hardware as physical front-end or insert for both recording/tracking and mixing. As an alternative to analogue tracking, I sometimes choose the UNISON technology from UA (Neve 1073 preamp especially). A good selection of microphones (Neumann, AKG, Oktava, Marshall Electronics, Shure) complete the recording chain. I'm used to build my sound starting from tracking, rather than recording "aseptical" as per today's trend; I love to record tracks with a very well defined timbrical character from the beginning, using colours from preamps and compressors. This requires professional skills, good outboards, and clear ideas. One workstation (Mac Pro) manages all analog routing via the SSL, and is equipped with Pro Tools 11 as well; a second one (rackmounted Xeon Win10) hosts the Pro Tools 12 native environment and the UAD2 DSPs. I'm used to digitally mix and sum ITB on Pro Tools, making quite large use of DSP-powered plugins, combined with analog outboards as physical inserts. About monitoring, I use RME DACs and a full-analog monitor controller to feed 3 copules of monitors (2.1 nearfield system made from Adam A7x + Adam Sub7 is the most used), in an acoustically treated and properly designed control room, plus AKG and KRK headphones.