If what you seek is an experimental approach and a unique sound in your film or your piece of music, whether in the composition or in the production work, then I am the right person for you.
I am a Romanian composer, music producer and multi-instrumentalist based in Bucharest, with several past collaborations in film music, score writing, recording and production, audio editing, voice overs and sound design, with artists from all over the world.
I make experimental and yet highly relatable, emotional and powerful instrumental music that draws elements predominantly from classical and contemporary classical music, minimalism, jazz, ambient, electonic, acousmatic, rock, folk, and world music.
Past collaborators described my music as 'anime-like', 'mysterious', 'calming yet exciting', 'unique', and 'befitting for a detective story'.
A bit of a jack of all trades, and enjoying excellent people skills, I have the rare vantage point of someone who understands and can successfully work with very different types of people.
I can help create the perfect soundtrack for your film, create lush and unique sound design, perform and record parts (piano, guitar, bass, recorders, voice, violin), hire and record performers, compile the most beautiful moments from your takes and create the perfect performances, reconstruct and polish recordings, edit your audio, mix and master your audio tracks, and help your art truly stand out from the crowd.
Contact me through the green button above and let's get to work.
3 ReviewsEndorse Dalina Diaconeasa
I worked with Dalina on a project, which focused on mental health. Dalina was always professional, kind and compassionate.
I described the feeling I wanted to be conveyed and Dalina got it straight away, she is so talented and I was so blown away by her pure passion.
A pleasure to work with I would work with her again in a heart beat.
Dalina is authentic and always works so passionately to make sure she captures the essence of the client’s vision. I enjoyed working collaboratively with her for a few animation projects, where she managed, with very little supervision, to create the perfect soundtracks. Communication was excellent and she is responsive to feedback and changes. Highly recommend!
Dalina is wonderful to work with! Very patient, understanding and open minded. I found her creativity and willingness to explore music outside her comfort zone very inspiring and I would highly recommend her for any project or collaboration.
Interview with Dalina Diaconeasa
Q: Analog or digital and why?
A: Digital. Analog in this day and age is either part of grandfather's inheritance, or an expensive hobby.
Q: What's the biggest misconception about what you do?
A: When I show my clients the poor quality Sibelius midi version of the score I wrote for them, they get scared and tend to fail to picture what the score will actually sound like once I'm done with it.
Q: What questions do you ask prospective clients?
A: What is it that you wish to achieve with youe project?
Q: What advice do you have for a customer looking to hire a provider like you?
A: The success of a project depends on how clear and focused your goals are. If they are cleae to you, they will be clear to me as well.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Knife, Fully covering clothes, Lighter, Water bottle, Impenetrable mountain boots. If I really want to make music on a desert island I have my voice and, with a bit of creativity, I can whip up some improvised percussion out of stones or wood or whatever I can lay my hands on.
Q: What was your career path? How long have you been doing this?
A: I started out as a self-taught pianist at around the age of 13. I never had a proper classical training, though the things I learned on my own were part of a classical style training. I then studied music at Falmouth University in Cornwall, which couldn't be more different to a Conservatoire. That is where I learned all about production and music business.
Q: How would you describe your style?
A: My style has been often and intriguingly been described as a medium for meditation in motion. It is relaxing and induces a state of meditation while remaing exciting and captivating.
Q: Can you share one music production tip?
A: Knowing the science behind digital signal processing helps a lot in understanding why quality production works the way it does. For instance, simply becoming aware of the sources of electro-magnetic pollution that become audible in our recordings can help us get cleaner recordings. Or understanding how the order in which your signal goes through effects affects the quality of the signal.
Q: What type of music do you usually work on?
A: Music that tends to be identified as classical, even when it's not.
Q: What's your strongest skill?
Q: What do you bring to a song?
A: The element of surprise.
Q: What's your typical work process?
A: For films I usually watch the film several times, taking notes and outlining potential ques, then I chose a composition method according to the type of music required. For orchesteal or classical music I use Sibelius to first create a score and a midi sequence which I then bring into Reaper and replace with recordings or quality midi sounds. For ambient or experimental music I improvise while watching the moving image and compile recordings of these in Reaper. But for a lot of other types of music I compose everything straight into Reaper in a sort of combination of the two methods.
Q: Tell us about your studio setup.
A: I have a modest yet fuctional setup that revolves around two JBL Studio Monitors, a small Behringer mixing desk, a Focusrite Solo bundle featuring a lovely condenser microphone, a Yamaha DGX640 keyboard, two acoustic guitars and an electric bass, a violin, a soprano, a tenor and a bass recorder, two taiko drums and various other small percussion instruments. I work predominantly in Cockos Reaper off a HP Windows laptop.
Q: What other musicians or music production professionals inspire you?
A: Some of the most inspirational people to me were some of my former university colleagues who were all incredibly talanted musicians.
Q: Describe the most common type of work you do for your clients.
A: Most of the time when I make a soundtrack for a film or advert, I am asked to take over the entire audio side of the project, including the creation of the soundtrack from composition to the final master, the sound design, sometimes even some Folley and voice acting where required, as well as the entire mixing and mastering process.