Featured in Sonic Scoop
Seeking synth heaven? You’ll find a pocket of paradise at the studio of Anthony Marinelli in Los Angeles.
Packed with analog synths, this is no keyboard museum. Marinelli puts it all to good use, and this constantly curious composer has got plenty to keep him busy. First off there’s thousands of commercials in his portfolio, including 30+ Apple Computer spots, and clients including Microsoft, Nike, Mercedes-Benz, Jaguar, Budweiser, and even the “This Is Your Brain on Drugs” campaign.
And then there’s the movies. If you’ve seen Hotel, American Gun, Young Guns, Internal Affairs, Timecode, Leaving Las Vegas, Demolition Man, Let It Ride, and Planes, Trains & Automobiles, then you’ve heard what he can do.
It all comes down to a smartly designed studio, an outstanding assemblage of gear and instruments, and a sharp sense of when to delegate authority. Not to mention a willingness to share the secrets of his success — which he does without further ado below.
Composer Name: Anthony Marinelli
Location: Los Angeles, CA
Soundtracks Served: I started my professional career as a teenager playing synthesizers for records and movie sessions. During that time I also co-founded a synthesizer group called the Synners. We performed Classical works such as Beethoven’s 8th Symphony, Tchaikovsky’s Romeo and Juliet Fantasy Overture, some Bach Organ Works, exclusively with synths such as 2 Yamaha CS-80’s, 2 ARP 2600’s, ARP 2500, Prophet 5, Mini Moog and a Tascam 80-8 tape machine.
Our live radio broadcasts got the attention of some movie producers and established Hollywood composers that asked us to program, orchestrate and perform on their films.
Those credits, along with working on Thriller with Michael Jackson, created opportunities to write music for my own projects. I composed hundreds of television ads covering almost all musical genres. This gave me extensive experience to regularly work with string quartets, large orchestras, ethnic instruments, Zydeco bands, choirs, you name it.
I began formally studying conducting since I was primarily working with acoustic instruments for my feature films during this period. I’m still not sure why, but I sent all my analog synths into storage. I didn’t even see them for about 10 years. I now use them every day. They are hard-wired to my console so I can play and record all of them in real time. They are well maintained and sounding better than ever, and I’m back to preforming live with them as well.
Over the last two years I’ve been co-creating BollyDoll, a Broadway musical with songs, score, effects, dance and animation. Working in all these genres has had a profound influence on how I perceive creativity, music, sound, technology and it’s artists.