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