I am an avant-garde cellist based in Los Angeles. I'm known for my collaborations with artists across genres including classical music, pop, hip-hop, noise, and metal. I have worked with Grammy-nominated artist Tanya Donelly, producer John Vanderslice, Don McLean, Casey Crescenzo, and Van Dyke Parks for recording and live performances.
I am a vibrant and passionate performer. My music is rooted in my love of the avant-garde and performance art. As a composer, I work in a variety of genres, trying my best to blend them in meaningful ways. My work has been featured in films and commercials as well as runway fashion shows.
My solo music makes use of a loop station and produces heavily layered, textural soundscapes that are perfect for indie films/documentaries and more. Much of my music is informed by the noise scene and my classical roots.
I have a vast catalogue of cleared music available for licensing.
Upcoming projects include an indie documentary with distribution through Field of Vision about prisoners in San Quentin prison who have contacted COVID-19.
Tell me about your project and how I can help, through the 'Contact' button above.
Interview with Cellista
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: My last project was 'Transfigurations.' It was a multimedia project I created and toured nationally and internationally. It featured a full-length book I wrote, an album, and a stage piece.
Q: What are you working on at the moment?
A: A short indie doc about prisoners at San Quentin who contracted COVID. An outreach program with the NYPhil working with young composers. A giant multimedia project entitled 'Pariah.'
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Andrew Joslyn is a pal and colleague and all around badass.
Q: Analog or digital and why?
A: Why choose? Different projects require a different approach.
Q: What's your 'promise' to your clients?
A: I am dedicated to your vision.
Q: What do you like most about your job?
A: The ability to meet new people in unusual situations and make the best of friends after only one gig.
Q: What's the biggest misconception about what you do?
A: That it's all play and no work.
Q: What questions do you ask prospective clients?
A: What is your vision for this project (personal, work related etc). Where do you see me fitting in? What is your expectation for me fitting into the project?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Let's talk about business first. When, where, how, why, budget, etc. then we can get creative.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Just the cello and a copy of my Bach cello suites will do :)
Q: What was your career path? How long have you been doing this?
A: I have been working professionally since 2015 when I toured with Tanya Donelly on her West Coast tour with Throwing Muses. My roots are classical and I was attending graduate school for cello performance when I began performing full time. Since then I have worked with a number of big names but have also found a home for myself in the visual arts and dance scene. I work across disciplines to tell my story.
Q: How would you describe your style?
A: Ambient, experimental, and richly layered. Border crossing.
Q: Which artist would you like to work with and why?
A: I want to work with the experimental artist Pamela Z.
Q: Can you share one music production tip?
A: When in the room be quiet and listen.
Q: What type of music do you usually work on?
A: As a session player I do not have one type. But I am known for my ambient, noise-oriented sets infused with a classical foundation.
Q: What's your strongest skill?
A: My ability to find a project's essence. I play with sensitivity and awareness.
Q: What do you bring to a song?
A: Richly layered, cinematic music using only the cello as my palette and a loop station. I work hard to find the sonic aura of projects.
Q: What's your typical work process?
A: For film I sit with the image and typically "live score" it using my loop station and then transcribe my improvisations. Sometimes I work off of a sonic reference.
Q: Tell us about your studio setup.
A: I use Logic and Ableton and have access to a variety of mics.
Q: What other musicians or music production professionals inspire you?
A: Pamela Z, the female engineers coming out of Women's Audio Mission
Q: Describe the most common type of work you do for your clients.
A: Live performance including: Live scoring films, accompanying spoken word artists, corporate and social events. Recording: Session work for bands across genres, composing for commercials, and indie films.
I was the composer, cellist, and producer in this production
- CelloAverage price - $100 per song
- Film ComposerAverage price - $150 per minute
- String SectionAverage price - $100 per song
- Full instrumental productionAverage price - $400 per song
Up to two revisions.
Turn-around is approximately 3 weeks from when services rendered.
I retain copyright in all material.
Recording costs are not included.
- Zoë Keating
- Tanya Donelly
- Pamela Z
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