| Interviewed by Scott G (The G-Man)G-Man: When | | | | understand how things work on the inside. The artist of |
| people think of Matt Forger, they usually think of your | | | | today has to learn as he goes, and to help avoid |
| work with Michael Jackson, Quincy Jones, Bruce | | | | costly mistakes and wasting time and money, there |
| Springsteen, Paul McCartney, Glen Ballard, and Bruce | | | | are excellent programs offered by these organizations |
| Swedien, yet when you hand out a CD with examples | | | | to help the artist move forward and understand the |
| of your producing, engineering or mixing, it almost | | | | complex nature of the business. There is also the |
| always has new and emerging artists, people like | | | | advantage of being able to build a team of support |
| Mutant Radio, Laughing With Lulu, The Dharma Bomb, | | | | specialists to help with the areas that you don't desire |
| or Fjaere. What's your thinking behind the choice of | | | | to undertake yourself. Remember, a collaborative |
| avoiding the big names?Forger: While my association | | | | effort can be the most effective way of achieving a |
| with those big names was a wonderful experience, it's | | | | goal, especially when the scope of the undertaking is |
| also in the past.G-Man: But you work with artists at | | | | overwhelming.G-Man: What can you tell us about your |
| every level, including "the biggies."Forger: Oh sure, for | | | | current studio gear?Forger: Simple, straightforward, |
| example, I still maintain a professional relationship with | | | | always an eye to quality. It's not the newest whiz-bang |
| Michael Jackson and contributed to the recent release | | | | device that sets a studio apart. It's the workhorse, tried |
| of "Michael Jackson - The Ultimate Collection," a boxed | | | | and true technology that proves to be the greatest |
| set, and I worked on many of the previously | | | | value. Right now I'm using Pro Tools because it's the |
| unreleased recordings that are included in it, as well as | | | | standard for audio production in the industry. Other |
| overseeing various aspects of the project. This is, of | | | | systems work well too, but some type of compatibility |
| course, very enjoyable to be part of because I got to | | | | is always desirable. I compliment my computer system |
| revisit those eras when I worked very closely with | | | | with a selection of outboard gear |
| Michael as he created the great albums that | | | | that works for my application. I specialize in mixing so I |
| established him as the "King of Pop." For me, that was | | | | have some good reverbs and effects from Lexicon, |
| a learning experience that had no equal. To be part of | | | | Yamaha and Roland. And a mastering chain that |
| history-making projects like "Thriller" and to work with | | | | creates a good final quality product, Neve |
| Quincy Jones taught me what it takes to make the | | | | compressors, DB technologies converters and TC |
| best recordings possible. Not just in a commercial | | | | mastering software in a M-5000 processor. For |
| sense, but as artistic statements, and what it takes for | | | | speakers, I use Tanoys and Custom Altec Monitors. |
| a song to engage the listener, the power of a | | | | They work for me. Very often, clients will say they |
| collaborative team effort, and what it means to "arrive | | | | don't get an understanding of the sound in the studio. |
| at the studio and leave your ego at the door." These | | | | But when they take the mixes out into the real world, |
| and the many other lessons learned are what I bring to | | | | they love the sound. That's where it really counts. If it |
| the table when I work with new and emerging | | | | sounds great in the studio but nowhere else, you're on |
| artists.G-Man: So you're combining the best aspects of | | | | the wrong path.G-Man: From your studio set-up, I can |
| past and present. What are some of the | | | | see that you've embraced the digital world. Is there |
| contrasts?Forger: The old model of the record | | | | anything you miss about the analog days?Forger: |
| business allowed for the development of talent, | | | | There are a lot of things that you get used to when |
| coaching it along the way, working with songwriters, | | | | recording on analog tape. The time it takes to rewind, |
| arrangers, producers and engineers and learning the | | | | the fat sound, the accidents that occur that turn out to |
| craft of record making. That system doesn't exist in | | | | be inspiring, having a track sheet to doodle on. It's great |
| today's business model. Today, with few exceptions, | | | | if you can afford to incorporate an analog stage at |
| major labels look for the most promising bands and | | | | some point of the recording process. Some styles of |
| artists, sign them to a deal, and if they don't sell the | | | | music benefit more than others, but it still adds a |
| numbers that the companies require, dump the act. | | | | charming sonic personality when you can. It has come |
| Before an act has the chance to develop a following | | | | to the point where recording analog is a luxury. For the |
| and learn the ropes, it can be all over. That's what it's | | | | cost of a reel of two inch tape, you can buy a hard |
| about now, the bottom line. Corporate business has no | | | | drive large enough to hold several CDs of recordings. |
| heart and no sense of artistry. I want to look to the | | | | Whatever the choice, use the recording medium to its |
| future, and it's out there. The future of the music | | | | maximum potential.G-Man: What are your thoughts |
| business is in the undiscovered talent that flies below | | | | about tape manufacturing problems?Forger: It's a sad |
| the radar. That's who I want to work with. That's the | | | | state of affairs that analog tape manufacturing has |
| hope of the music industry: the unique, innovative artists | | | | ceased. To deprive those who love the sound |
| who are creating something new and exiting, not | | | | characteristics that it imparts on recordings is |
| regurgitating an old tired formula, or manufacturing | | | | unfortunate. It forces artists, engineers and producers |
| synthetic crap with no emotion or heart. I want to be | | | | to make choices not based on creative style, but |
| part of the future!G-Man: If nothing else is read in this | | | | instead on the corporate influence on the business of |
| interview, I want to thank you for those comments! In | | | | creativity. I have heard that there will be tape available |
| addition to the seven Michael Jackson albums, you've | | | | in the future. It will of course become a specialty item |
| worked with Van Halen, Lena Horne, James Ingram , | | | | and the cost will certainly become much higher that |
| Giorgio Moroder, and many others. Care to comment | | | | what everyone is accustomed to paying now. But for |
| on the difference between sessions with superstars | | | | those who appreciate it and have the financial means |
| and sessions with stars-in-the-making?Forger: In a | | | | to afford it, it will become a premium option in the |
| word: experience. The seasoned pros have one | | | | recording world.G-Man: I know you're one of nearly 100 |
| important quality that sets them apart: they have | | | | top producers affiliated with How does that |
| developed an instinctual feel for music. It's that thing | | | | organization work?Forger: That's a good question |
| that accomplished musicians have. It's an intuitive thing. | | | | because Studio Expresso is different things to |
| You learn to trust your gut through trial and error. | | | | different people, depending on your needs. It's a |
| There is no substitute for it. Some people have it more | | | | clearing house for engineers and producers, a portal so |
| than others. It's a sensitivity, an ability to see inside the | | | | to speak, for the outside world as well as the industry. |
| music and read the different levels of what's occurring. | | | | If you would like to research an engineer or producer |
| Then, to have the ability to recognize and manipulate | | | | for an upcoming project, the background and contact |
| the elements in such a way as to make a more | | | | information is there for many of the industry's top |
| effective communication of the songs' intent. For | | | | people. If you need to co-ordinate a studio project, then |
| newer artists, it's often a matter of helping them | | | | Studio Expresso can help you find a top notch facility, |
| identify and tune into those subtle qualities. And, to | | | | or whatever personnel you may require. If you're |
| focus on what is important and what is just | | | | traveling to LA to make use of the creative assets the |
| background noise that's creating confusion.G-Man: Let's | | | | area has to offer, then arrangements and support for |
| talk about the diversity of your musical interests for a | | | | your project and stay are also available. Studio |
| moment. You recorded a modern-retro band called | | | | Expresso has also been exploring ways to support the |
| The Teddy Boys, then you made some dance | | | | independent music movement by helping new and |
| remixes of a couple of my songs, and you've done live | | | | developing talent ways to network and establish |
| recording for singer-songwriter Caroline Aiken. It | | | | contacts within the industry. Claris, who heads up the |
| seems like you enjoy a wide variety of styles and | | | | organization, also manages producers, engineers and |
| genres. Do you favor certain kinds of music, or are | | | | other talented people on the production side of the |
| there any forms of music you don't like?Forger: I grew | | | | business and offers her expertise and experience in |
| up with the pop radio formats starting in the '60s, | | | | the business to help build their careersG-Man: If an |
| where you could hear the entire assortment of what | | | | artist is interested in working with you, what should |
| was out there. Jimi Hendrix, Frank Sinatra, Roger Miller, | | | | they do? Send you some material first? Contact you |
| The Beach Boys and The Beatles would all be on the | | | | via Contact you directly?Forger: While I don't mind |
| same station. When you heard everything from Jan | | | | talking with a potential client, it's good to establish a |
| and Dean to James Brown in the course of a few | | | | dialog with SE first. If there is any question about how |
| minutes, it gave an overview of what the public in | | | | to approach a producer, then these types of questions |
| general was listening to. When radio in the '70s | | | | can be cleared up ahead of time. Many times I've |
| became album-oriented, it started to narrow the field | | | | taken calls for someone in need of a "producer," only |
| of what would be heard on a given station. In the | | | | to find out in the course of a conversation that they |
| course of my growing up, I always was exploring what | | | | are looking for someone who will co-write songs, act |
| was new and different, what type of instrumentation | | | | as a musician, program beats and synths, as well as |
| was new and exiting. As trends continued, the | | | | engineer, mix and produce. Some artists feel that a |
| influence of ethnic and world beat came to be an | | | | producer should shop the material and secure a deal |
| interesting movement. There are too many styles of | | | | for them. In this business, everyone operates |
| music to name and say that they have all influenced | | | | differently. I work to facilitate the successful completion |
| me, but quality has always been a factor. I've worked | | | | of a recording project, regardless of its complexity. It's |
| on sessions from Classical to Country, New Wave to | | | | always good going in to know the specific qualification |
| New Age, Pop to Punk, music from all parts of the | | | | you're looking for and that you're talking to a person |
| globe, and it's still exciting and a challenge to work on | | | | who has the right set of skills.G-Man: Do you have any |
| something new. If there's a form of music I don't care | | | | thoughts on 5.1?Forger: Yes, It's a beautiful thing. While |
| for, it's the manufactured mediocre crap that gets sold | | | | Michael Jackson's "Captain EO" was one of the first |
| as having something to say when it's just pretentious | | | | digital 5.1 theatrical releases, and working on that |
| drivel.G-Man: Again, thanks for making those | | | | project was groundbreaking, my area of interest is |
| statements. That's great. When you record live, I know | | | | currently the song, and its emotional content. While 5.1 |
| you have a preference for a certain recording | | | | home theater is growing immensely in popularity, most |
| technique. Can you tell us about it?Forger: When the | | | | music today is "consumed" in the traditional stereo |
| situation allows, there is a technique that I love to use | | | | format, and to a large extent MP3 is the format of |
| because of its elegant simplicity. It uses a single high | | | | choice when delivered on computer, iPod, blasters and |
| quality stereo microphone strategically placed to | | | | small systems. Almost the opposite of the esoteric |
| capture the performance, the event and the | | | | environment that a true 5.1 audio system would dictate. |
| environment all at the same time. There is a sonic | | | | And while a listening experience in 5.1 can be very |
| signature that this technique creates that is unlike any | | | | gratifying, most independent artists just don't go there |
| other. It is the capturing of that moment in time, and | | | | because getting the music out in an effective manner |
| when it occurs, you capture a great performance. | | | | is the priority.G-Man: Care to comment on the latest |
| When done properly, it transports the listener to that | | | | format wars?Forger: My only observation is that it will |
| place and the feeling of being there. This technique | | | | work itself out in the commercial marketplace. |
| seems to work best in acoustic and ensemble | | | | Remember VHS/Beta, Quad sound, Laserdisks, 8 |
| situations where the volume is not terribly | | | | Tracks vs. Cassettes. When viewed from a historical |
| overpowering. It has the ability to capture subtlety and | | | | perspective, everyone's hindsight will be 20/20 and the |
| nuance in the perspective of the dynamics of the | | | | question won't be an issue.G-Man: What's the weirdest |
| moment. This is of course what direct to stereo | | | | thing you've done in the studio? In terms of sonics, I |
| recording is all about. I didn't originate the technique, but | | | | mean.Forger: Before the advent of digital technology, |
| have come to appreciate its power and purity. When | | | | you needed to be creative acoustically and |
| an artist is at home with an audience, record the event | | | | electronically. In the song "Billie Jean," when Michael |
| and have a document of that energy and honesty of | | | | sings the line "Do think twice" at end of the third verse, |
| the expression of the music. It can be so simple and | | | | he's singing through a cardboard mailing tube. We often |
| effective. There are also ways to incorporate this into | | | | would record elements in the bathroom (tiled) because |
| a larger recording plan and have extra microphones to | | | | it would give it a short early reflection quality. The main |
| highlight various sections or instruments. I've done this | | | | percussion sound on the song "Beat It" was Michael |
| as well and had very pleasing results.G-Man: How did | | | | beating on fiberboard drum cases with 1x3 inch pieces |
| you get your start in the business? Was there formal | | | | of wood in the mirrored room of Westlake Studio A. |
| training, or did you just begin recording around the | | | | This was all normal. Now if you want to talk weird, on |
| house and hanging out at studios?Forger: Well, my | | | | one song (not MJ) we ran a tape loop around the |
| start in the business was actually when I began mixing | | | | room supported by microphone stands on a two track |
| live shows. I had done other things before that: | | | | machine. It was a loop of burps and was keyed by the |
| classical guitar lessons, playing with electronic stuff and | | | | kick and snare to give the effect of drums that were |
| listening to a ton of records and music. But, it was live | | | | alive and breathing.G-Man: What is "The Matt Forger |
| mixing that gave me the first money I ever earned in | | | | Show"?Forger: The "Matt Forger Show" is the name |
| music, and the sense that I was on to something that I | | | | credited to the sound design elements that I have |
| knew I had a natural ability for. It was being asked to | | | | created. It was started by Michael when we would |
| keep an eye on the mixer for friends who had a band. | | | | work together and often he was in a location that |
| They were impressed that they sounded so much | | | | didn't permit visual contact. We only had our voices as |
| better and that the audience enjoyed the sound. That | | | | a reference. The detachment made it feel as if it was |
| was my first gig. That led to my learning of all matters | | | | a radio program. It became the name I choose to use |
| related to sound. I read, I experimented, I built my own | | | | for my style of work that combines spoken word, |
| gear, I asked questions of people I could find who had | | | | sound effects and music.G-Man: How would you |
| more experience than I did. There was a guy in my | | | | describe the magic or the fascination of music?Forger: |
| town who was a wiz with electronics, and he had built | | | | Music is a form of emotional communication. The |
| a recording studio in an old chicken coup. It was a | | | | combination of rhythmic patterns, melodic progressions |
| funky place to work but the sound that came from | | | | and lyric content, communicate and express feelings |
| there was amazing. I used to hang out there and just | | | | that we share though common experience. A pop |
| watch and try to learn what was occurring. I would | | | | song is a three minute fix of an emotional drug. We |
| work with my friends and try techniques, mic | | | | are connected through our humanity, and most |
| placement, and experimented with everything we | | | | successful songs speak to this. It is our shared human |
| could think of. It was an education by trial and error. It | | | | failings and aspirations that connect us. Whether it's |
| was gratifying when musicians would come by our | | | | telling a story, expressing a feeling or idea, it's the |
| makeshift studio in the drummers' basement or bass | | | | honesty with which we communicate our inner most |
| players' bedroom and comment that they were | | | | self, that allows others to share in the moment.G-Man: |
| spending good money to record with experienced | | | | Are there any common qualities you've observed in |
| people at professional studios and didn't have anything | | | | successful artists?Forger: There is one quality that I |
| that sounded like our recordings. It was all instinct. What | | | | have observed in all the successful artists I have |
| was it supposed to sound like? Like all those great | | | | worked with. That is the ability or talent to understand |
| records that I grew up listening to - that was the | | | | music at an intuitive level. Not just technically or in |
| benchmark. I just followed my heart to tell me what | | | | theory, but at a gut level to feel what is required to |
| the music needed.G-Man: What are some of the | | | | make a piece of music work. This is evident in the |
| reasons you interact with and support NARIP (National | | | | creative process. When asked for an idea, melody line, |
| Association of Record Industry Professionals)?Forger: | | | | counter line, harmony part, arrangement progression or |
| NARIP is a great organization. It's one of those places | | | | instrument texture, I have noticed that certain very |
| that you can go and network with others who are | | | | successful individuals are never at a loss. And, while |
| looking towards the future. There are professionals | | | | not at a loss, always have ideas that are appropriate |
| from all facets of the industry, from the creative side | | | | for the particular situation and are of the highest quality. |
| to the business specialists. If you are looking for | | | | They are on the money instinctively, without |
| someone with a specific skill or are looking to offer | | | | reservation and with complete confidence. They are, in |
| your talents to others, there is always an assortment | | | | fact, "one with the music." This quality I can say is what |
| of people to network with. In the entertainment | | | | separates the most successful artists with those that |
| industry, success is based on who you know more | | | | aspire for greatness. While it is true this is something |
| than what you know. When you have both, you have | | | | that comes with experience, it is also that quality that |
| the potential for great things. As an organization, | | | | allows for success to continue. To have your finger on |
| NARIP holds many panel events, seminars, workshops, | | | | the pulse of what the public feels is one thing, to be |
| and just networking get-togethers. The quality of | | | | able to lead the public with your own sense of what is |
| people who attend is always top notch.G-Man: You're | | | | a true expression of honest emotion is yet another |
| also a participant in organizations like L*A*M*P and | | | | talent.CONTACTS: |
| Venus Music.Forger: Yes, these are also great | | | | |
| organizations because they play an important roll in | | | | |
| backing the independent artist community in the LA | | | | |
| area. I try to offer my support to organizations that | | | | THE INTERVIEWER: |
| have, as a goal, the advancement of the independent | | | | Scott G makes commercials at G-Man Music & |
| music community. It's my belief that the music of | | | | Radical Radio and releases albums under the name |
| tomorrow will come from these songwriters and | | | | "The G-Man" for Delvian Records. His music can be |
| bands. With the major labels no longer developing | | | | heard on commercials for Verizon Wireless, Goodrich, |
| talent, it has created a void of where one can go to | | | | Micron, NASSCO, the Auto Club, and many more. |