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ABOUT THIS VIDEO

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In this video, I sit down with renowned forensic musicologist Richard L. Green—someone I’ve trusted with my own music for over 30 years. Richard has worked behind the scenes saving companies like Disney, Warner Bros., Fox, and Universal Music Group from potentially billions in copyright claims. His insight is second to none when it comes to understanding how to protect yourself from legal claims and how to create works you can own for a long term career in music.

As AI tools become more common in composition, we explore a question that’s critical for anyone making music today: can you really call AI-generated music “your own”? Can you copyright it? Can you monetize it without future risk? And if not—you might be setting yourself up for career-ending legal trouble down the line and jeopardizing your long-term career.

Richard and I unpack the benefits of AI, but also the massive unknowns surrounding its use. This is more than a conversation—it’s a master class in protecting your music and your future.

Originality still pays. And understanding It will save you.

Please like and subscribe and let me know what you think in the comments—and if you've already run into questions about AI and ownership, I’d love to hear your experience.

Also check out my synthesizer course "Think Like a Synth" anthonymarinellimusic.com to learn the exact method that I've used on records and films.
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ABOUT ANTHONY

Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns , Internal Affairs , The Man From Elysian Fields , 15 Minutes and Planes, Trains & Automobiles , been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller .

His extensive work as a young arranger, orchestrator and performer for Quincy Jones , Jack Nitzsche , Lamont Dozier , Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.

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