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