Kosta Cross began his classical training on piano in Moscow at the age of three at the prestigious Tchaikovsky School Of Music, succeeding his musician grandfather (director of the music school) and his father, who played in early incarnations of forbidden Soviet jazz groups and various underground rock bands. At an early age Kosta developed an interest in electronic instruments including Moog, EMS and Crumar.
In the early 80s, Kosta was admitted to Music State College of Ippolito-Ivanov, where he studied conducting (earning a Master’s Degree) and composition of contemporary classical serialists like Alfred Schnittke, Edison Denisov and early 20th century impressionists such as Claude Debussy, Witold Lutosławski etc. While studying, Kosta witnessed performances by pioneering gurus including Leon Theremin and Karlheinz Stockhausen; these experiences formed the foundation for Kosta’s creative work over the last 30+ years.
In the mid to late 80s, with Gorby in power and the introduction of glasnost, musicians of the Eastern European block were able to start touring beyond the Iron Curtain. At this time, Kosta was a member of several bands, including Nikolay Kopernik, Alliance, and Inna Zhelannaya. This new policy of openness created opportunities for Kosta and his bandmates to tour with/open for new-wave/post-punk acts like Big Country, Sonic Youth, Sugar Cubes, and Everything But the Girl, and to participate in large-scale music concerts including the Moscow Music Peace Festival (1989) and events such as Greenpeace Breakthrough (1989).
In early 1991, Kosta arrived in the US and spent most of the decade rebuilding his reputation as an audio production specialist and session musician in New York, San Diego and Los Angeles. During this time, he found a creative niche for his work in the burgeoning experimental scene, working with artists and acts including Psychic TV, Hall, Tugruvu, Anna Homler, Drowning Pool (LA), Cleopatra records and others.
In 1998, Kosta moved to the San Francisco Bay area and joined Pro Tools maker Digidesign/Avid to work on key products that achieved TEC Grammy and Oscar for innovation in the audio industry. While employed by AVID, Kosta acquired techniques from world-renowned mixing and mastering engineers - Andrew Scheps, Tony Maserati, Dylan Dresdow "3-D", Michael Romanowski and others. After leaving the AVID family in late 2016, Kosta's main focus has been producing young artists and providing post-production services to a wide variety of labels and indie filmmakers.