MJJC Exclusive Q&A with Brad Sundberg - Read his Answers
http://www.mjjcommunity.com/fo…Sundberg-Read-his-Answers
Brad Sundberg war fast zwei Jahrzehnte lang technischer Direktor von Michael. Vor kurzem hat er eine Reihe von Seminaren - "In The Studio With Michael Jackson" - angekündigt, die im Juni in New York stattfinden.
Wir haben mit Brad Lundberg über Michaels Musik aber auch über seine "In The Studio With Michael Jackson"-Seminare gesprochen. Seine Antworten sind hier zu lesen.
Übersetzung wird nachgeliefert
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Brad Sundberg was technical director to Michael Jackson for nearly two decades. He recently announced a series of seminars to take place this June in New York called "In The Studio with Michael Jackson" ( thread here: http://www.mjjcommunity.com/forum/th...ichael-Jackson)
We reached out to Brad Sundberg to talk about Michael's music as well as talk about his ""In The Studio With Michael Jackson" seminars. You can read his answers below. Also check the end of Q&A for information about seminars and how to get tickets to them.
MJJC: What exactly is the job of a technical director and what did this position entail, as you worked in this role on some of the MJ albums?
Brad Sundberg: There is the short answer and the long answer. The short answer is “be ready for anything.” The long answer would go something like this: My responsibility was to have whatever recording studio we worked in, anywhere in the world, be up to Michael Jackson quality. I worked very closely with Bruce Swedien (not just on MJ albums, but also Quincy Jones, Barbra Streisand, among others), and his attention to detail is second-to-none. Every microphone, every patch-point, every machine and device in the studio had to tested and (if possible) calibrated to perfection. It was not uncommon for this process alone to take 1-2 weeks before the projecting would even start. The funny thing is that so few production teams do this, yet it is a vital part of the reason our projects sounded so good.
Additionally, I would be involved in day-to-day recording, setting up microphones, headphones, booking studios, keeping tapes organized, getting Michael’s hot water ready for his vocals, transcribing Michael’s lyrics for the liner notes, even making coffee! With various production teams working on the same project, it made for long yet very rewarding days. The hard work and dedication was also very rewarding in that I was privileged to see and be a part of so much musical history being created.
MJJC: Were you a fan of Michael's before you started working on his team back in the Captain EO days?
Brad Sundberg: As I kid growing up in Santa Cruz, CA in the 70s, I listened to a lot of music: Pink Floyd, Steely Dan, Led Zeppelin, Van Halen, etc., but I also loved dance music like Abba, The BeeGees, Gloria Gaynor, Blondie, Donna Summer and of course Michael Jackson. I found myself sort of “dissecting” songs as I listened to them, because I wanted to understand every sound, every reverb and effect. I played the “Thriller” album until it was scratched and worn out, so I bought another copy. The depth of sound blew me away, even before I understood recording. Yes, I was a fan.
MJJC: What are your top 3 favorite songs from Michael and why?
Brad Sundberg: That’s a tough one, but here goes:
1) Human nature. I have always loved that song, and my friend Steve Porcaro knows it. We recorded a follow-up to it called “Someone Put Your Hand Out,” but it didn’t quite make the “Dangerous” album.
2) Smooth Criminal. The bass line, the groove, David Williams insane rhythm guitar, Jerry Hey’s horn section, Quincy directing this who’s-who of musicians and Michael front and center… it’s an amazing piece of work! I wish you could have been there.
3) Lady In My Life. It was never a single, but what a record. Speaking from a technical standpoint, it is like a 5-minute recording class. Every sound is pure and simple. From a musical standpoint, I am a huge fan of Rod Temperton. I have worked with Rod for years, and he is pure genius. Beautiful song.
4) I know, you only asked for 3, but I’m feeling generous. Streetwalker. This is the little engine that could. That song blew me away every time I heard it, but Quincy didn't like it. I remember driving home from the studio one night after Michael recorded the lead vocal, and I was listening to it in my car, with the sunroof open at like 3 in the morning. I nearly blew the speakers out, singing along at the top of my lungs. It may not be the most well-crafted songwriting, but that groove grabs you and will not let you go.
It isn't fair to have a list than doesn't include Will You Be There, Who Is It, Earth Song, Stranger In Moscow, Billie Jean, Startin’ Something, She’s Out Of My Life, Jam, etc. I never was good at following the rules.
MJJC: You said Michael commissioned you to bring music to virtually every corner of Neverland. What kind of music was played on the grounds of Neverland? What types of music was on the playlists that Michael created for those particular areas of the ranch?
Brad Sundberg: I don’t want to give too much away, but there was one unbreakable rule at Neverland: Michael would not allow his music to be played, despite my protests. But he was the boss, so his vote was stronger than mine.
The grounds (around the lake, main house, guest houses, etc.) played a custom playlist of classical and Disney favorites. In the amusement park he selected songs by Janet, Yes and Joe Satriani. Seriously. Even some Van Halen and Led Zeppelin was selected on certain rides. In the horse area and petting zoo behind the amusement park we went with more traditional cowboy music. The trains also played primarily classical music.
MJJC: Of all the songs that you worked on with MJ in the studio, what was your favorite? Or what song had a creative process, from the demos to the finished song, that was impressive and just blew you away?
Brad Sundberg: Another tough one, because there are so many. I think I will go with Man in the mirror. I was still learning my way around the studio, and it was an honor to be asked to sit in and watch, learn and help on the Bad album.
Man in the mirror was such a big song, such a huge production we all knew it was unstoppable. I was able to see the initial track being recorded, the various musicians bringing their talents, the layers of vocal harmonies, the Andre Crouch choir, and finally the commanding lead vocals with Siedah and Michael. There was so much talent in Westlake Studio D during that time that it was mind-blowing. Bruce and Michael would play that song at full, and I mean full volume (118 db) to any guest that stopped by. People would be speechless, sometimes teary, when the final note rung out.