My name is Anthony Martin, and I am a composer for film. It is my goal to help enhance the emotional impact of stories told through visual media. My largest point of inspiration has been the work of Hans Zimmer, and the power he can bring to the big screen.
As a composer for film, I strive to complement storytelling using music. Using years of experience and a home studio, I can create a score to accompany and highlight visual cues, give a voice to unspoken feeling, or foreshadow upcoming events.
I am able to deliver each part of a score, from sketch and mockup to the final mixing and mastering, all in a timely manner with an emphasis on service.
With over 10 years in making music, and the academic training to go with it, I've been able to aid filmmakers in finding the sound they need.
Contact me through the green button above and let's get to work.
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Interview with Anthony Martin
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I finally found the time to finish composing for a personal animation project that I'd started 3 months earlier, a film without dialogue where all the story is told by action and body language.
Q: What are you working on at the moment?
A: I'm currently mixing an orchestral Christmas piece.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Not yet, but I look forward to meeting them.
Q: Analog or digital and why?
A: Both, because why not use all the tools available?
Q: What's your 'promise' to your clients?
A: I will promise to do all I can in service of those who hire me
Q: What do you like most about your job?
A: Being able to help people tell the stories they want to.
Q: What questions do customers most commonly ask you? What's your answer?
A: Can you do something like this temp track? -> Yes Do you do mixing as well? -> Yes
Q: What's the biggest misconception about what you do?
A: Music is often seen as deceptively easy, and so is pushed off in terms of time and budgeting.
Q: What questions do you ask prospective clients?
A: Are there any films you find yourself coming back to again and again? Do you have a favorite film score? If you could hire anyone to do the music, who would it be and why? There are way more, but those are the fun ones!
Q: What advice do you have for a customer looking to hire a provider like you?
A: Don't be shy about specifics when it comes to describing music and emotions, sometimes we have to use really weird words when describing music.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A laptop, midi controller, decent pair of headphones, an umbrella, and a guitar for the time off!
Q: What was your career path? How long have you been doing this?
A: I graduated with a degree in music, then had to learn the digital side of the art through furthered education. After 5 years of music creation, learning, and building a set up, I set out to create full time. I've now been making music for 11+ years and counting
Q: How would you describe your style?
A: When I write for myself, I write what I like to listen to: Big, adventure inducing themes!
Q: Which artist would you like to work with and why?
A: There are tons of industry giants out there, John Powell, John Williams, James Newton Howard, Hans Zimmer, Alan Menken, the list goes on; I'd be thrilled to work with any of them. If I had to choose, I'd pick Hans because he's without fear when it comes to truly unconventional sound design and score concepts.
Q: Can you share one music production tip?
A: Use multiple references during playback. Most people listen to either on their phone, in their car, or on < $100 headphones, so while studio monitors and headphones are great, that's not where your music will be heard most.
Q: What type of music do you usually work on?
A: I gravitate toward big action and adventure sounds, something that inspires!
Q: What's your strongest skill?
A: My service. Most musicians want to write "my musical ability," but that's not worth the paper it's written on if they can't deliver on time. My skill is delivering what's been asked for on schedule, and being able to manage time and work efficiently to make it happen every time.
Q: What do you bring to a song?
A: My own unique musical style and mindset: An epic voice and a flair for dramatic music.
Q: What's your typical work process?
A: First is establishing communication and direction; surprises are not often good, and setting expectations creates trust on both sides of an agreement. Next we have a spotting session (or just a conversation if the work is small) and discuss who, what, when, where, and why of the picture with regard to music and emotion. Once these details are set up, I'll get to work and create a draft of themes/important cues, and communicate all the major points with director/producer/music editor. After this is refinement and further definition, and delivery of stems.
Q: Tell us about your studio setup.
A: I just gutted and upgraded my computer, new motherboard/processor, M. 2 nVME hard drives, the works. To go along with it, I've got an Arturia 49 and BCF 2000 midi controller set up, an Akai MPK25 acting back up, and a focusrite 2i4 acting audio interface for two KRK Rokit 5 monitors. The best part is what's in the box: Cubase 11 running dozens of virtual instruments, everything from Spitfire's Albion One for SoundIron's Olympus Choir, and even more curated libraries from Hans Zimmer, Olafer Arnulds, Taylor Davis, and more.
Q: What other musicians or music production professionals inspire you?
A: Both John Williams and Hans Zimmer's work have had a drastic affect on my choice of work; Pirates of the Caribbean: Dead Man's Chest was particularly impactful.
Q: Describe the most common type of work you do for your clients.
A: Most commonly I write dramatic orchestral scores for movies and trailers.