Before starting solo cello looping project I was already using the cello often in my sound designs for theatre as I found picking up the cello more immediate than sitting in front of a computer VST to get the effect I wanted when working quickly.

A few requirements I discovered especially in theatre sound design/underscore to not get in the way of the dialogue - as opposed to film where it is possible to get away with more as the dialogue is recorded. First is paying attention to frequency. Keeping out of the way of vowels and articulation (sibilance) by using very low and very high allowing the dialogue to punch through. Also if music has a lot of transients and is rhythmical this can get in the way of articulation and also detract from the dialogue. Overt changes like modulation (change of key) also distract also this can define too much for the actors emotionally. They need enough space so they don't have to hit certain points at certain times. Especially when they performing a show for a long run they need enough space to play and discover new things top keep their performances fresh.Also if the music is too 'static', 'monotonous' & 'repetitive' its will also ironically bring attention to itself. The ear needs constant evolving change - that's what happens in the world around us

So I needed to create music bearing all these things in mind. Prime numbers and asynchronous loops were a way of keeping music continually unfolding without having to change key. Using low cello drones altering the formant or balance between in harmonics by how close I played to the bride of the cello combined with very high natural harmonics.

Here is one of those sound design beds I used often in a sound design 'palette'. Most recently in a production of Romeo & Juliet for the balcony scene to create a sense of 'discovery' and magical wonder. It is the first sincere scene win the play