Arts Radio

Image : http://www.flickr.com

Interview with Scott G (G-Man)

G-Man: When people think of Matt forger usually think of your work with Michael Jackson, Quincy Jones, Bruce Springsteen, Paul McCartney, Glen Ballard, and Bruce Swedien, but if by the hand of examples from your CD production engineering or mixing, it almost always has new and emerging artists, people like Mutant Radio, laughing with Lulu, The Dharma Bomb, or Fjære. What is your thinking behind the choice to avoid largeName?

Forger: During my collaboration with the great name has been a wonderful experience, even in the past.

G-Man: But you work with artists at all levels, including "the biggies".

Forger: Oh, sure, for example, I maintain a professional relationship with Michael Jackson and has contributed to the recent release of "Michael Jackson – The Ultimate Collection, a box, and I worked in many of the original photographs that are included in it, andSupervision of various aspects of the project. This is of course very gratifying because these are periods where I work closely with Michael, while the great albums that have it as "the King of Pop again found created." For me, this is a learning experience that had no equal. In part, the draft decisions in history as "Thriller" and is working with Quincy Jones taught me what it takes to make the best shot possible. Not only in the economic sense, but as an artisticStatements, and what it takes for a song, engage the listener, get the power of collaborative teamwork and what it means "the study means that your ego at the door." These and other lessons to learn, what they bring to the table when working with new and emerging artists.

G-Man: So you're combining the best aspects of past and present. What are some differences?

Counterfeiters: The old model of business records enabled the development of talent, coachingalong the road, working with composers, arrangers, producers and sound engineers and learn the craft of making records. The system does not exist in today's business model. Today, with few exceptions, the majors are trying to sign the most promising bands and artists who sign a contract, and if not sell the numbers that companies need to dump the stock. Before an act has the opportunity to develop a following and learn the ropes, may be over. This is what is now the bottom line.corporate business has no heart and no sense of art. I look to the future, and it is out there. The future of the music business is in the undiscovered talent that flies under the radar. This is what I want to work. This is the hope of the music industry: a unique, innovative artists to create something new and out, not regurgitating an old tired formula or manufacturing synthetic crap with no emotion or heart. I want to be a part of the future!

G-Man: if nothingotherwise, in this interview to read, I want to thank you for your comments! In addition to seven albums of Michael Jackson, has worked with Van Halen, Lena Horne, James Ingram, Giorgio Moroder, and many others. Care to make a difference between sessions with superstars and sessions with the stars-in-the-comment?

Forger: In a word: experience. The pros have an important characteristic that distinguishes them: they have developed an instinctive feel for music. It 's the thingThe musicians have achieved. And 'something intuitive. You learn to trust your good trial and error. There is no substitute for them. Some people have more than others. This is a sensitivity, the ability to see the music and read the various levels of what is happening. Then, to have the ability to recognize and manipulate the elements to ensure more effective communication of intent the songs'. For new artists, is often a matter of helping them to identify and developthose fine qualities. And focus on what is important and what is just background noise, the confusion is.

G-Man: What about the diversity of his musical interests for a moment. He sent a gang of modern-retro called The Teddy Boys, then some dance remixes by some of my songs, and you have the live recording of the singer-songwriter Caroline Aiken did. You seem to enjoy a variety of styles and genres. Do you agree with certain types of music, or areThere are forms of music, you do not like?

Forger: I grew up in '60s pop radio formats where you could hear the range of what the overall. Jimi Hendrix, Frank Sinatra, Roger Miller, The Beach Boys and the Beatles were all the same department. If you've heard everything from Jan and Dean James Brown in the course of a few minutes there was an overview of what the public was generally sound. When the radio was in the 70sAlbum-oriented, began in what would be heard on a specific channel narrow. During my adolescence, I was always looking for what is new and different about the type of equipment was new and exciting. While the trends continue, the impact of ethnic and world beat came to be an interesting exercise. There are too many types of music by name and say that they have all influenced me, but the quality has always been a factor. I worked on sessions from Classical to Country, NewWave to New Age, Pop to Punk, music from around the world, and is still exciting and challenging to work on something new. If it is a form of music that interests me so no, it's the shit that has to be as mediocre to say something, if it's only pretentious dribble is sold.

to make the G-Man: Thank you again for such statements. That's great. When you record live, I know you have a preference for a particular recording. Can you tell us about it?

Forger: When thesituation permits, there is a technique I like to use thanks to its elegant simplicity. Use a high quality stereo microphone strategically placed to capture the performance, organization and the environment all at the same time. This is a signature sound that this technique creates is unlike any other. And 'capture the moment in time, and when you enter, you meet a great performance. If done correctly, the listener to that place and sense ofto be there. This technique seems to work best in acoustic and ensemble situations where the volume is not very overwhelming. It has the power, subtlety and nuances in the perspective of the dynamics to capture the moment. This of course is what is directly in stereo recording of all. Did not originate the technique, but have learned to know their strength and purity to appreciate. When an artist at home with a record audience for the event and have a document that energy and honesty ofExpression of music. It can be simple and effective. There are also ways to integrate these into a larger recording plan and have extra microphones to highlight various sections or instruments. I did and had a very nice result.

G-Man: How did you start your business? There was formal training, or have simply accumulated around the house and hang Studios?

Forger: Well, my entry into business reality, when I started living mixingshows. I did other things first: classical guitar lessons, playing with electronic order and listening to a ton of records and music. But it was live mixing that gave me the first money I earned in music, and the feeling that I had a natural affinity for something, I knew I had. It 'been asked to keep an eye on your mixer for friends, a band had to keep. They were impressed that they played much better and that the public enjoy the sound. That was my first concert.My learning of all issues, from the sound. I have read, I experimented, I built my equipment, I wondered who I found, had more experience than me. There was a man in my city, a wizard with electronics and had built a recording studio in an old chicken coup. It was a funky place to work, but the sound came from there was fantastic. I used to hang out and just watch and try to learn what happened. I want to try with my friends and workTechniques, microphone placement, and experimented with everything we could think of. It 'was a statement by trial and error. It 'was gratifying when musicians would come through our makeshift studio in the basement of the drummers' bedrooms or comment bassist and making use of spending money well with people with experience in professional and have nothing that sounded like our recordings. It was all instinct. What should sound like all these great records I grew upuntil you hear – that was the point of reference. I followed my heart to tell me what the music needs.

G-Man: What are some reasons to interact and support NARIP (National Association of Record Industry Professionals)?

Forger: NARIP is a great organization. And 'one of those places you can go and network with others looking to the future. There are professionals from all facets of the industry, the creative side of business specialists. If youLooking for someone with a particular skill or communicate their talents for others, there is always a selection of people to network. In the entertainment industry, the success of you know more than what you know is based. If both of you, you have the potential to do great things. As an organization, NARIP panel organizes many events, seminars, workshops, networking and just sitting. The quality of people's participation is always first class.

G-Man: You're aParticipants in organizations like L * A * M * P and Venus Music.

Forger: Yes, these are large organizations because they play an important role in supporting the independent artist community in Los Angeles. I try my support for organizations that operate as its objective the promotion of independent music community. And 'I am convinced that the music tomorrow will come from these songwriters and bands. The majors are no longer the development of talent, has created a void, wherecan go to understand how things work inside. The artist has to learn from today, how, and to help avoid costly mistakes and time and money, there are excellent programs offered by these organizations to move forward to help the artists and understand the complex nature of the business. There is also the advantage of being able to build a team of support specialists to address the areas that do not help the desire to engage. Remember, a joint effort can be moreeffective means of achieving a goal, especially when the size of the enterprise is overwhelming.

G-Man: What can you tell us about your current studio equipment?

Forger: Simple, straightforward, always keep an eye on quality. It is not the new device wizard-bang, a separate study. And 'the battle cry, and proven technology that is proving to be the greatest value. I'm currently using Pro Tools as the standard for audio production industry. Other systems also work very wellbut some kind of compatibility is always desirable. I congratulate my computer with a selection of outboard
This works for my application. I specialize in the mix, so I have some good reverbs and effects Lexicon, Yamaha and Roland. And a mastering chain that creates a good final product quality, compressors Snow, DB TC converter technology and software for burning in a processor M-5000. For speakers, I use Tanoys and Custom Altec Monitors. They work for me. Very often, customerssay they do not get a sound understanding of the study. But if you take the mixture in the real world, love the sound. Here's where it counts. If it sounds very studio, but nowhere else, you're on the wrong track.

G-Man: From your studio set-up, I see you are embracing the digital world. There's something missing on the analog days?

Forger: There are a lot of things you get used to recording on analog tape. How long does itrewind, the fat sound of accidents that occur on a long sheet doodle inspiration. It 's great if you can afford to place an analog stage at some point in the registration process. Some types of music will benefit more than others, but still adds a charming personality Sonic, if you can. It is up to the point where recording analog is a luxury. For the cost of a roll of duct tape by two inches, you can purchase a hard drive big enough to hold several CD recordings.Whatever your choice, use the recording medium to its full potential.

G-Man: What are your thoughts on the production of tapes of problems?

Forger: There is a sad state, which has stopped the production of analog tape. So how to take those who provide the sound which is a shame when you take the love. It forces artists, engineers and producers to make decisions not based on creative style, but the corporate culture influence the success of creativity. I heardthat the tape in the future. It is obviously an element of specialization and the cost will certainly become much higher, which is all used to paying now. But for those who have financial means to afford and know to appreciate, become a premium option in the recording world.

G-Man: I know they are affiliated with one of nearly 100 top producers with StudioExpresso.com. How does this organization?

Counterfeiters: This is a good question because StudioExpresso is different things to different people, depending on your needs. This is a clearinghouse for engineers and producers, a portal to tell the outside world and industry. If you want an engineer or producer for an upcoming project, the background and is seeking contact information for many of the industries top people. If you coordinate a study project, then Studio Expresso can help you a first class service, or at least the staff can. Request If you move to Los Angeles has to offer the use of creative activities to make the environment, then how and support for your project and stay are also available. Studio Expresso is also looking at how the independent music movement, and developing new ways for talented network and establish contacts within the industry to support. Claris, head of the organization operates, producers, engineers and other talented people on the production side of business andoffers its know-how and experience to help build their careers

G-Man: When an artist interested in working with you, what should he do? Leave some material first? Contact via StudioExpresso.com you? Contact you directly?

Forger: Although I do not mind talking with a potential client, you should establish a dialogue with SE first. If there is any question about how a producer, then these types of approaches are questions can be resolved early. FrequentlyI got the call to someone in need of a "producer", only to discover during a conversation that act for someone to write co-Tracks is a musician and synthesizer beats program, and research as an engineer, mix and produce. Some artists feel that a producer should shop the material and secure a deal for them. In this business, everyone is different. I work for the completion of a project to facilitate the registration, regardless of their complexity. It 's always goodGo to the specific qualification you are looking for and I know you talk about a person who has the right set of skills.

G-Man: Do you have any idea on 5.1?

Forger: Yes, it's a beautiful thing. While Michael Jackson's "Captain EO" was one of the first Digital 5.1 cinema release, and work on this project was innovative, it is my field of interest is currently the song and its emotional content. While 5.1 home theater is a tremendous growth in popularity, most musicToday is "consumed" in the traditional stereo format and MP3, to a large extent, the format of choice, if available on your computer, iPod, blasters and small systems. Almost the opposite of 'esoteric environment that requires a 5.1 audio system. And while a listening experience in 5.1 can be very gratifying, most independent artists just do not go there because the music is always the priorities effectively.

G-Man: Care in the latest format commentWar?

Forger: My point is that working in the commercial market. Remember VHS / Beta, Quad-tone, laser discs, cassette vs. 8 tracks. Seen from a historical perspective, hindsight is 20/20 and all concerned will not be a problem.

G-Man: What's the craziest thing you've done in the studio? As for the Sonics, I mean.

Forger: Before the advent of digital technology, you must be creative, acoustic and electronic. Inthe song "Billie Jean" Michael, when the line "Do not Think Twice" at the end of the third verse sings, singing through a cardboard tube list. We often would record elements of the bathroom (tile), it would give a quality quick thinking early. The main percussion sound for the song "Beat It" by Michael beating on fiberboard drum cases with 1×3 inch pieces of wood in the hall of mirrors Westlake Studio A. This was normal. Well, if you talk funny, on a song (not MJ), weran a ring around the room supported by microphone is on a two-track machine. It 'was a series of burps and was codified by calcium and snare, giving the effect of drums that were alive and breathing.

G-Man: What's "The Counterfeiters Matt Show"?

Counterfeiters: The Matt Forger Show "is the name credited to sound design elements that I created. It 'was started by Michael, we are working together, and often was in a place that did not allow eye contact. We just had ourCast as reference. The replacement was the feeling, like a radio program. It was the name I chose for my work style that I use the word, sound effects and music combines spoken.

G-Man: How the magic and charm of the music?

Counterfeiters: Music is a form of emotional communication. The combination of rhythmic patterns, melodic progressions and lyric content, communicate and express feelings, but we share common experiences. A pop song is athree minutes to fix a drug emotional. We are talking about connected by our humanity and the most successful songs for it. And 'our common human weaknesses and desires that unite us. Whether to tell a story, express a feeling or an idea, is the honesty with which we communicate our innermost self, that other countries, at present, may exchange among themselves.

G-Man: There are some common traits that have been observed in successful artists?

Forger: There is a quality I observed in allthe most successful artists I have worked. This is the ability or the talent to understand music on an intuitive level. Not just technically or in theory, but I felt on the abdomen, which is required to work a piece of music. This is evident in the creative process. If an idea, melody, counter line, harmony progression provision or part of the act required texture, I noticed that some people are never very successful at a loss. And not a loss, always have ideasThat for the particular situation and are of better quality. I am instinctively on the money, without reservation and with full confidence. They are, in fact, "one with the music." This quality can only say that what separates the most successful artists with those who strive for greatness. While this is something that comes with experience, is the quality that allows success to continue. So you have your finger on the pulse of what the public feelsOne thing to be able to inform the public with their sense of what is a true expression of honest emotions have yet another talent.

CONTACTS:

http://www.mattforger.com

http://www.studioexpresso.com

http://www.gmanmusic.com

http://www.narip.com

http://www.delvianrecords.com

Image : http://www.flickr.com

Interviewed by Scott G (The G-Man)

G-Man: When people think of Matt Forger, they usually think of your work with Michael Jackson, Quincy Jones, Bruce Springsteen, Paul McCartney, Glen Ballard, and Bruce Swedien, yet when you hand out a CD with examples of your producing, engineering or mixing, it almost always has new and emerging artists, people like Mutant Radio, Laughing With Lulu, The Dharma Bomb, or Fjaere. What’s your thinking behind the choice of avoiding the big names?

Forger: While my association with those big names was a wonderful experience, it’s also in the past.

G-Man: But you work with artists at every level, including “the biggies.”

Forger: Oh sure, for example, I still maintain a professional relationship with Michael Jackson and contributed to the recent release of “Michael Jackson – The Ultimate Collection,” a boxed set, and I worked on many of the previously unreleased recordings that are included in it, as well as overseeing various aspects of the project. This is, of course, very enjoyable to be part of because I got to revisit those eras when I worked very closely with Michael as he created the great albums that established him as the “King of Pop.” For me, that was a learning experience that had no equal. To be part of history-making projects like “Thriller” and to work with Quincy Jones taught me what it takes to make the best recordings possible. Not just in a commercial sense, but as artistic statements, and what it takes for a song to engage the listener, the power of a collaborative team effort, and what it means to “arrive at the studio and leave your ego at the door.” These and the many other lessons learned are what I bring to the table when I work with new and emerging artists.

G-Man: So you’re combining the best aspects of past and present. What are some of the contrasts?

Forger: The old model of the record business allowed for the development of talent, coaching it along the way, working with songwriters, arrangers, producers and engineers and learning the craft of record making. That system doesn’t exist in today’s business model. Today, with few exceptions, major labels look for the most promising bands and artists, sign them to a deal, and if they don’t sell the numbers that the companies require, dump the act. Before an act has the chance to develop a following and learn the ropes, it can be all over. That’s what it’s about now, the bottom line. Corporate business has no heart and no sense of artistry. I want to look to the future, and it’s out there. The future of the music business is in the undiscovered talent that flies below the radar. That’s who I want to work with. That’s the hope of the music industry: the unique, innovative artists who are creating something new and exiting, not regurgitating an old tired formula, or manufacturing synthetic crap with no emotion or heart. I want to be part of the future!

G-Man: If nothing else is read in this interview, I want to thank you for those comments! In addition to the seven Michael Jackson albums, you’ve worked with Van Halen, Lena Horne, James Ingram , Giorgio Moroder, and many others. Care to comment on the difference between sessions with superstars and sessions with stars-in-the-making?

Forger: In a word: experience. The seasoned pros have one important quality that sets them apart: they have developed an instinctual feel for music. It’s that thing that accomplished musicians have. It’s an intuitive thing. You learn to trust your gut through trial and error. There is no substitute for it. Some people have it more than others. It’s a sensitivity, an ability to see inside the music and read the different levels of what’s occurring. Then, to have the ability to recognize and manipulate the elements in such a way as to make a more effective communication of the songs’ intent. For newer artists, it’s often a matter of helping them identify and tune into those subtle qualities. And, to focus on what is important and what is just background noise that’s creating confusion.

G-Man: Let’s talk about the diversity of your musical interests for a moment. You recorded a modern-retro band called The Teddy Boys, then you made some dance remixes of a couple of my songs, and you’ve done live recording for singer-songwriter Caroline Aiken. It seems like you enjoy a wide variety of styles and genres. Do you favor certain kinds of music, or are there any forms of music you don’t like?

Forger: I grew up with the pop radio formats starting in the ’60s, where you could hear the entire assortment of what was out there. Jimi Hendrix, Frank Sinatra, Roger Miller, The Beach Boys and The Beatles would all be on the same station. When you heard everything from Jan and Dean to James Brown in the course of a few minutes, it gave an overview of what the public in general was listening to. When radio in the ’70s became album-oriented, it started to narrow the field of what would be heard on a given station. In the course of my growing up, I always was exploring what was new and different, what type of instrumentation was new and exiting. As trends continued, the influence of ethnic and world beat came to be an interesting movement. There are too many styles of music to name and say that they have all influenced me, but quality has always been a factor. I’ve worked on sessions from Classical to Country, New Wave to New Age, Pop to Punk, music from all parts of the globe, and it’s still exciting and a challenge to work on something new. If there’s a form of music I don’t care for, it’s the manufactured mediocre crap that gets sold as having something to say when it’s just pretentious drivel.

G-Man: Again, thanks for making those statements. That’s great. When you record live, I know you have a preference for a certain recording technique. Can you tell us about it?

Forger: When the situation allows, there is a technique that I love to use because of its elegant simplicity. It uses a single high quality stereo microphone strategically placed to capture the performance, the event and the environment all at the same time. There is a sonic signature that this technique creates that is unlike any other. It is the capturing of that moment in time, and when it occurs, you capture a great performance. When done properly, it transports the listener to that place and the feeling of being there. This technique seems to work best in acoustic and ensemble situations where the volume is not terribly overpowering. It has the ability to capture subtlety and nuance in the perspective of the dynamics of the moment. This is of course what direct to stereo recording is all about. I didn’t originate the technique, but have come to appreciate its power and purity. When an artist is at home with an audience, record the event and have a document of that energy and honesty of the expression of the music. It can be so simple and effective. There are also ways to incorporate this into a larger recording plan and have extra microphones to highlight various sections or instruments. I’ve done this as well and had very pleasing results.

G-Man: How did you get your start in the business? Was there formal training, or did you just begin recording around the house and hanging out at studios?

Forger: Well, my start in the business was actually when I began mixing live shows. I had done other things before that: classical guitar lessons, playing with electronic stuff and listening to a ton of records and music. But, it was live mixing that gave me the first money I ever earned in music, and the sense that I was on to something that I knew I had a natural ability for. It was being asked to keep an eye on the mixer for friends who had a band. They were impressed that they sounded so much better and that the audience enjoyed the sound. That was my first gig. That led to my learning of all matters related to sound. I read, I experimented, I built my own gear, I asked questions of people I could find who had more experience than I did. There was a guy in my town who was a wiz with electronics, and he had built a recording studio in an old chicken coup. It was a funky place to work but the sound that came from there was amazing. I used to hang out there and just watch and try to learn what was occurring. I would work with my friends and try techniques, mic placement, and experimented with everything we could think of. It was an education by trial and error. It was gratifying when musicians would come by our makeshift studio in the drummers’ basement or bass players’ bedroom and comment that they were spending good money to record with experienced people at professional studios and didn’t have anything that sounded like our recordings. It was all instinct. What was it supposed to sound like? Like all those great records that I grew up listening to – that was the benchmark. I just followed my heart to tell me what the music needed.

G-Man: What are some of the reasons you interact with and support NARIP (National Association of Record Industry Professionals)?

Forger: NARIP is a great organization. It’s one of those places that you can go and network with others who are looking towards the future. There are professionals from all facets of the industry, from the creative side to the business specialists. If you are looking for someone with a specific skill or are looking to offer your talents to others, there is always an assortment of people to network with. In the entertainment industry, success is based on who you know more than what you know. When you have both, you have the potential for great things. As an organization, NARIP holds many panel events, seminars, workshops, and just networking get-togethers. The quality of people who attend is always top notch.

G-Man: You’re also a participant in organizations like L*A*M*P and 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 have, as a goal, the advancement of the independent music community. It’s my belief that the music of tomorrow will come from these songwriters and bands. With the major labels no longer developing talent, it has created a void of where one can go to understand how things work on the inside. The artist of today has to learn as he goes, and to help avoid costly mistakes and wasting time and money, there are excellent programs offered by these organizations to help the artist move forward and understand the complex nature of the business. There is also the advantage of being able to build a team of support specialists to help with the areas that you don’t desire to undertake yourself. Remember, a collaborative effort can be the most effective way of achieving a goal, especially when the scope of the undertaking is overwhelming.

G-Man: What can you tell us about your current studio gear?

Forger: Simple, straightforward, always an eye to quality. It’s not the newest whiz-bang device that sets a studio apart. It’s the workhorse, tried and true technology that proves to be the greatest value. Right now I’m using Pro Tools because it’s the standard for audio production in the industry. Other systems work well too, but some type of compatibility is always desirable. I compliment my computer system with a selection of outboard gear

that works for my application. I specialize in mixing so I have some good reverbs and effects from Lexicon, Yamaha and Roland. And a mastering chain that creates a good final quality product, Neve compressors, DB technologies converters and TC mastering software in a M-5000 processor. For speakers, I use Tanoys and Custom Altec Monitors. They work for me. Very often, clients will say they don’t get an understanding of the sound in the studio. But when they take the mixes out into the real world, they love the sound. That’s where it really counts. If it sounds great in the studio but nowhere else, you’re on the wrong path.

G-Man: From your studio set-up, I can see that you’ve embraced the digital world. Is there anything you miss about the analog days?

Forger: There are a lot of things that you get used to when recording on analog tape. The time it takes to rewind, the fat sound, the accidents that occur that turn out to be inspiring, having a track sheet to doodle on. It’s great if you can afford to incorporate an analog stage at some point of the recording process. Some styles of music benefit more than others, but it still adds a charming sonic personality when you can. It has come to the point where recording analog is a luxury. For the cost of a reel of two inch tape, you can buy a hard drive large enough to hold several CDs of recordings. Whatever the choice, use the recording medium to its maximum potential.

G-Man: What are your thoughts about tape manufacturing problems?

Forger: It’s a sad state of affairs that analog tape manufacturing has ceased. To deprive those who love the sound characteristics that it imparts on recordings is unfortunate. It forces artists, engineers and producers to make choices not based on creative style, but instead on the corporate influence on the business of creativity. I have heard that there will be tape available in the future. It will of course become a specialty item and the cost will certainly become much higher that what everyone is accustomed to paying now. But for those who appreciate it and have the financial means to afford it, it will become a premium option in the recording world.

G-Man: I know you’re one of nearly 100 top producers affiliated with StudioExpresso.com. How does that organization work?

Forger: That’s a good question because Studio Expresso is different things to different people, depending on your needs. It’s a clearing house for engineers and producers, a portal so to speak, for the outside world as well as the industry. If you would like to research an engineer or producer for an upcoming project, the background and contact information is there for many of the industry’s top people. If you need to co-ordinate a studio project, then Studio Expresso can help you find a top notch facility, or whatever personnel you may require. If you’re traveling to LA to make use of the creative assets the area has to offer, then arrangements and support for your project and stay are also available. Studio Expresso has also been exploring ways to support the independent music movement by helping new and developing talent ways to network and establish contacts within the industry. Claris, who heads up the organization, also manages producers, engineers and other talented people on the production side of the business and offers her expertise and experience in the business to help build their careers

G-Man: If an artist is interested in working with you, what should they do? Send you some material first? Contact you via StudioExpresso.com? Contact you directly?

Forger: While I don’t mind talking with a potential client, it’s good to establish a dialog with SE first. If there is any question about how to approach a producer, then these types of questions can be cleared up ahead of time. Many times I’ve taken calls for someone in need of a “producer,” only to find out in the course of a conversation that they are looking for someone who will co-write songs, act as a musician, program beats and synths, as well as engineer, mix and produce. Some artists feel that a producer should shop the material and secure a deal for them. In this business, everyone operates differently. I work to facilitate the successful completion of a recording project, regardless of its complexity. It’s always good going in to know the specific qualification you’re looking for and that you’re talking to a person who has the right set of skills.

G-Man: Do you have any thoughts on 5.1?

Forger: Yes, It’s a beautiful thing. While Michael Jackson’s “Captain EO” was one of the first digital 5.1 theatrical releases, and working on that project was groundbreaking, my area of interest is currently the song, and its emotional content. While 5.1 home theater is growing immensely in popularity, most music today is “consumed” in the traditional stereo format, and to a large extent MP3 is the format of choice when delivered on computer, iPod, blasters and small systems. Almost the opposite of the esoteric environment that a true 5.1 audio system would dictate. And while a listening experience in 5.1 can be very gratifying, most independent artists just don’t go there because getting the music out in an effective manner is the priority.

G-Man: Care to comment on the latest format wars?

Forger: My only observation is that it will work itself out in the commercial marketplace. Remember VHS/Beta, Quad sound, Laserdisks, 8 Tracks vs. Cassettes. When viewed from a historical perspective, everyone’s hindsight will be 20/20 and the question won’t be an issue.

G-Man: What’s the weirdest thing you’ve done in the studio? In terms of sonics, I mean.

Forger: Before the advent of digital technology, you needed to be creative acoustically and electronically. In the song “Billie Jean,” when Michael sings the line “Do think twice” at end of the third verse, he’s singing through a cardboard mailing tube. We often would record elements in the bathroom (tiled) because it would give it a short early reflection quality. The main percussion sound on the song “Beat It” was Michael beating on fiberboard drum cases with 1×3 inch pieces of wood in the mirrored room of Westlake Studio A. This was all normal. Now if you want to talk weird, on one song (not MJ) we ran a tape loop around the room supported by microphone stands on a two track machine. It was a loop of burps and was keyed by the kick and snare to give the effect of drums that were alive and breathing.

G-Man: What is “The Matt Forger Show”?

Forger: The “Matt Forger Show” is the name credited to the sound design elements that I have created. It was started by Michael when we would work together and often he was in a location that didn’t permit visual contact. We only had our voices as a reference. The detachment made it feel as if it was a radio program. It became the name I choose to use for my style of work that combines spoken word, sound effects and music.

G-Man: How would you describe the magic or the fascination of music?

Forger: Music is a form of emotional communication. The combination of rhythmic patterns, melodic progressions and lyric content, communicate and express feelings that we share though common experience. A pop song is a three minute fix of an emotional drug. We are connected through our humanity, and most successful songs speak to this. It is our shared human failings and aspirations that connect us. Whether it’s telling a story, expressing a feeling or idea, it’s the honesty with which we communicate our inner most self, that allows others to share in the moment.

G-Man: Are there any common qualities you’ve observed in successful artists?

Forger: There is one quality that I have observed in all the successful artists I have worked with. That is the ability or talent to understand music at an intuitive level. Not just technically or in theory, but at a gut level to feel what is required to make a piece of music work. This is evident in the creative process. When asked for an idea, melody line, counter line, harmony part, arrangement progression or instrument texture, I have noticed that certain very successful individuals are never at a loss. And, while not at a loss, always have ideas that are appropriate for the particular situation and are of the highest quality. They are on the money instinctively, without reservation and with complete confidence. They are, in fact, “one with the music.” This quality I can say is what separates the most successful artists with those that aspire for greatness. While it is true this is something that comes with experience, it is also that quality that allows for success to continue. To have your finger on the pulse of what the public feels is one thing, to be able to lead the public with your own sense of what is a true expression of honest emotion is yet another talent.

CONTACTS:

http://www.mattforger.com

http://www.studioexpresso.com

http://www.gmanmusic.com

http://www.narip.com

http://www.delvianrecords.com