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Esther Anaya is a DJ, violinist, and producer who blends the elegance of classical strings with the pulse of the dance floor.
In addition to releasing her own music, she has performed alongside the likes of Rihanna and Calvin Harris, collaborated with Lil Yachty and Snoop Dogg, and graced major festivals like EDC, Coca-Cola Flow, and Baja Beach Fest.
In celebration of the release of her debut Strings and Fire sample pack on Splice Sounds, we had the unique opportunity to sit down with Esther Anaya for an exclusive interview on her approach to the electric violin, sound design philosophy, and more—read on for highlights.
Esther Anaya on how she shapes her sound as an artist
How would you describe your sonic identity in your own words?
Esther Anaya: My sonic identity lives at the intersection of emotion and energy. It’s where classical discipline meets modern dance music—cinematic, powerful, and unapologetically expressive. I’ve always been drawn to music that moves people, whether that’s emotionally or physically on a dance floor, and my sound is a reflection of that duality.
I arrived here organically. I grew up immersed in classical music and performance, but I was equally fascinated by electronic music, rhythm, and club culture. Over time, instead of choosing one lane, I realized my voice existed in the space between them. My influences range from classical composers and film scores to house, techno, and bass music, but ultimately, my biggest influence has been live performance, feeling how a crowd responds and letting that shape the music.
On the note of navigating multiple lanes, you’re a vocalist, DJ, violinist, and producer—how did you get your start in each of these, and how do they influence one another?
Violin was my first language; it’s where everything began. I started training classically at a young age, which gave me a strong technical foundation and a deep respect for musicality. Vocals came naturally as an extension of expression, and DJing followed once I fell in love with electronic music and the culture around it. Producing was the final piece—it gave me full creative control and allowed me to bring all of these elements together under one vision.
Wearing multiple hats isn’t something I see as a challenge; it’s my superpower. Each role informs the other. Being a violinist shapes how I write melodies, being a vocalist influences my phrasing and sound design, and DJing keeps me connected to what actually works in a live environment. Everything feeds the same ecosystem.
Tell us more about the electric violin—what does this instrument mean to you, and how do you incorporate it into your productions and live performances?
The electric violin is my signature—it’s an extension of my voice. I primarily play a Yamaha electric violin, and I treat it the same way a producer would treat a synth or lead vocal. It’s not just an instrument; it’s a sound design tool.
In production, I record raw violin phrases, textures, and articulations, and then process them with effects like distortion, filtering, and modulation to make them feel at home in electronic music. Live, it becomes a focal point—improvisational, expressive, and reactive to the energy of the room.
Do you have any tips for seasoned violinists or people who are just developing an interest in the instrument?
For classical violinists, my advice is to stay curious and don’t be afraid to break rules. Explore pedals, effects, and DAWs—your technique gives you an incredible advantage. For beginners, focus on feel over perfection. Expression and timing matter just as much as technical accuracy, especially when crossing into modern genres.
Esther Anaya on sharing her sounds with the producer community
Tell us about your Strings and Fire sample pack—what was the experience of creating it like, and how did it differ from producing full tracks or live sets?
Creating Strings and Fire was incredibly liberating. Unlike producing full tracks, where everything has to serve a finished song or a live moment, this pack was about creating sounds that spark ideas for other artists.
I approached it very intentionally, capturing emotion, energy, and versatility. I recorded violin phrases, one-shots, vocals, rhythmic elements, and textures in a way that they could live across genres spanning house, techno, bass, cinematic, pop, and more. It was less about perfection and more about authenticity and usefulness.
Do you have any samples from the pack that you’re particularly proud of? How did you craft them?
Absolutely. I’m especially proud of the violin textures and melodic phrases that blur the line between organic and synthetic. Many of them started as raw, expressive performances—sometimes even imperfect takes—that were then processed through effects chains to give them grit, movement, and character.
Some of my favorite sounds came from experimenting—running the violin through distortion meant for synths, pitching vocals into new emotional registers, or chopping live phrases into rhythmic elements. Those moments of experimentation are where the magic happened.
Is there anything else you’d like to share with the Splice community?
I just want to encourage artists to trust their instincts and embrace what makes them different. You don’t have to fit into a single box or genre to create something powerful. Use these sounds as a starting point, not a limitation, and don’t be afraid to push them somewhere unexpected.
Music is about connection, emotion, and movement. If something makes you feel something, you’re on the right path.
Incorporate Esther Anaya’s signature sounds into your own music:
March 6, 2026
