Max Lilja on SoundBetter

I provide an organic sound for your project with cello, halldorophone and Moogs. From open harmonies to dark dissonances my work often has ambient, classical, electronic and minimalistic influences.

I'm a Finnish cellist and composer – and one of the founders of the cello rock band Apocalyptica. I've released three cello electro solo albums and have composed and played music for films, games, radio and projects. I've performed solo concerts in Europe and the US and in my career over thousand concerts in more than sixty countries around the world. In 2024 Pentatone released my crossover Bach Cello Suites – Six Shades of Bach.

As a composer I aim to find a unique sonic identity for the project. A versatile use of quintal harmonies can provide a more interesting start than the more traditional major-minor approach. The organic sonic quality of my Moogerfooger and Moog collection is unbeatable compared to digital instruments of the same type. Rhythms can emerge through electronic instruments, cello percussions and crosstalk.

As an acoustic and electric cellist I'm diverse and expressive with a producer mindset and 30 years of experience in cello recording.

Halldorophone is an Icelandic electro-acoustic feedback instrument with a distinctive sound between music and sound design, known for the award winning Joker and Chernobyl soundtracks, composed by Hildur Guonadottir.

I have my own small studio with high quality gear where I work and record. And if needed there's a bigger recording room next door.

Looking forward to enhance the emotional impact of your project!

I'd love to hear about your project. Click the 'Contact' button above to get in touch.

Credits

Reviews

Endorse Max Lilja

Interview with Max Lilja

Q: Which artist would you like to work with and why?
A: I think we would make organic magic with Tori Amos.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: In the French horror game Othercide, released in 2020, I was the composer for 9 tracks. The team had a clear vision for the game and gave me free hands to make my magic. I composed the music at very early stage. I only had some character and scene images and a short demo video. Outcome was of mix of Trent Reznor and Hans Zimmer – on a cello. The team enjoyed having the music already there while still working on the game. I composed, performed and mixed my tracks. The soundtrack can be found at all platforms.
Q: What are you working on at the moment?
A: A new solo project with a working title Debussy meets Koyaanisqatsi.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: The profile name search function at sound better doesn't work right now... I'll update this later.
Q: Analog or digital and why?
A: Analog. Sound and user interface. Of course there’s also a place for digital.
Q: What's your 'promise' to your clients?
A: I put my heart and soul in to my work.
Q: What do you like most about your job?
A: Walking the unbeaten path. Even if it would be in a familiar field.
Q: What questions do customers most commonly ask you? What's your answer?
A: Why the price? In a composing project I’m usually the composer, the arranger, the performer, the recording engineer and often also the mix engineer. I provide real instruments played by a professional ( that’s me! ) at my own studio with high quality audio gear. The quality difference to computer based midi music is massive. Downside is that it requires a lot more time. And gear. Your cello sounds awesome! What is it? I play an 1850 French cello with a 1927 Hill bow. We produce a full and dynamic sound. For heavier parts I often use a more modern bow with more attack and drive:). Can you compose piano music? I do occasionally use piano and other instruments in my work. But these days there’s so much piano around that I usually search for a more interesting solution.
Q: What's the biggest misconception about what you do?
A: Everything just suddenly happens without time invested in thinking and exploring.
Q: What questions do you ask prospective clients?
A: What are you looking for? What are your expectations? Any references?
Q: What advice do you have for a customer looking to hire a provider like you?
A: The time invested in creating the vision usually pays back. This can also be done together.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Desert island sounds like ”me time”. I find enormous joy in playing acoustic cello. I’d take a cello, some bows, some spare strings.
Q: What was your career path? How long have you been doing this?
A: Started playing at age of 5. Became a professional cellist. Got interested in the world outside classical. Founded a successful cello rock band. Toured the world. Created cello electro. Got composing jobs. Recorded the Bach Suites. And now in 2024 I feel I’ve found my sound. Turning 50 next year.
Q: How would you describe your style?
A: A mix of ambient, classical, electronic and minimalistic influences.
Q: Can you share one music production tip?
A: Silence is also an option.
Q: What type of music do you usually work on?
A: Music with cinematic quality. This can also be pop or rock.
Q: What's your strongest skill?
A: Understanding the underlying emotions.
Q: What do you bring to a song?
A: I bring organic quality and a human touch.
Q: What's your typical work process?
A: In composing projects it’s usually something like this: Study the project. Create a vision. Communicate. Explore. Compose. Communicate. Explore more. Compose. Communicate. Perform. Produce. Communicate. Finished.
Q: Tell us about your studio setup.
A: I have my own small well treated room with RME interfaces and converters and Neumann speakers. I play a 1850 French cello with a 1927 Hill bow. We produce a full and dynamic sound. For heavier parts I often use a more modern bow with more attack and drive:). Nowadays I’m mostly using MBHO C12 as the main microphone for cello. It gives me a pure natural sound of the instrument. A Schoeps-like sound with the benefits of a large capsule. I’ve tried tens of mics… Sometimes a different approach is needed, for this I might use Pearl ELM-A. A very focused sound. Also a very interesting mic. For doubles I usually use a neutral small diaphgram. I often use the notorious Ridge Farm Gas Cooker tube di / pre as a pre amp. Softly driven, it has a very pleasant sound that sits nicely in the mix. For the best possible audio to digital conversion I use RME Adi-2 Pro. The organic sonic quality of my Moogerfooger and Moog collection is unbeatable compared to digital instruments of the same type. For electric cello I have a Carbon-Klang electric with a magnetic pick up and a Chinese acoustic with a String Amp magnetic system. And I also might electrify acoustic recordings.
Q: What other musicians or music production professionals inspire you?
A: I admire artists with long careers who have their own sound but still evolve over time.
Q: Describe the most common type of work you do for your clients.
A: Composing and cello arrangements and recordings. And live playing.