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Thread: Brad Sundberg seminars: Making Music With Michael Jackson

   
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    Default Re: Brad Sundberg seminars: Making Music With Michael Jackson

    Quote Originally Posted by CodaBroda View Post
    O_O ... AWESOME!!!

    I couldn't believe reading this to be honest... I had resigned to ever being able to go to one of the seminars. I can't believe I'm going to be a 1-hour drive away from one of these events, thank you a ton for sharing, myosotis.

    If you guys have any questions you'd like me to ask at the event, please let me know.
    I love his Texas stereotypes. Lol. You need to show up in a cowboy hat.
    Can't wait to hear about it. Hope they get a good turnout.

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    Default Re: Brad Sundberg seminars: Making Music With Michael Jackson

    Brad ITS in Austin Texas: Sat 22nd April 2017

    (Student discount tickets included in the selection available)

    https://ticketbud.com/events/8a7f81b...0-e3ad652fac11


    ITS Mexico City, Friday 5th May 2017: Tecnologico de Monterrey, Campus Santa Fe

    https://ticketbud.com/events/52db9b3...form=hootsuite
    Last edited by myosotis; 27-03-2017 at 10:08 PM.
    'We may not change the world in one day but we still can change some things today, in our small way.'[/SIZE][/SIZE]

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    Default Re: Brad Sundberg seminars: Making Music With Michael Jackson

    Brad is awesome and a really nice guy too

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  5. #679
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    Default Re: Brad Sundberg seminars: Making Music With Michael Jackson

    Latest from Brad:

    Behind The Scenes
    I was scrolling through my FB timeline this morning and someone posted the behind the scenes footage of the "In The Closet" Herb Ritts short film with Naomi and Michael. Like many of those projects I was there for much of it, but behind the scenes.

    By the time the Dangerous project was winding down I was juggling a lot of things. We had projects rolling full speed at Neverland (I seem to remember the Sea Dragon and Zipper were installed around that time), plus I was working with Bruce, Bill and Teddy in the studio wrapping up the album. That of course meant short films and tour prep were either beginning or just around the corner.
    Michael loved a large, portable music playback system I built for him to use on the short films (I have written about it before), but essentially it was an estimated 20,000 watt monster that would and could "hurt you" if you weren't careful. Michael wasn't careful. At all.

    Hurt me!! Hurt me!!" he would yell as we set the system up for shooting "Ghosts", "2Bad", "Closet", etc. The volume this thing produced could send even the most jaded, know-it-all production person into the craft services ("Crafty") snack tent to roll up some napkins and stuff them in their ears. I loved it.
    I didn't spend a lot of time on the "Closet" shoot for two reasons.
    First, I wasn't in the union, so I couldn't actually operate my own system - it had to be handled by a union guy. I just set it up, tuned it, made sure Michael was happy and handed over the keys to the union guy.

    Second, and you might find this odd, but Michael had put my family and I up in a really nice resort in Palm Springs, and we loved the idea of a few days of down-time, so I spent much of that time poolside, knowing that I might have to drive to the set if my system needed attention. It didn't, so I relaxed much of the time.
    Production shoots were always much more intense than working on the albums. There were people everywhere, with lots of radios and clipboards (this was before iPads) and laminates and stopwatches. Security guys guard every entrance with their official windbreakers and Security baseball caps.
    Rows production trailers, dressing rooms, star trailers, honeywagons (bonus points if you know what they are), generators, catering trucks, lighting trucks, lighting guys, sound guys, set guys, safety people, production assistants (PA's), craft services, etc. Shooting a Michael Jackson film in Southern California is like moving, organizing and paying for an army - and they can do almost anything once they are assembled.

    So again, it was interesting, but the layers and hierarchy of people and who could stand where and when and why and made my pool and a bottle of Corona really inviting on most days.
    In flipping through some photos, watching the behind-the-scenes footage of Closet, etc., I stumbled on the photo of Michael with his flashlight in the studio. This photo always makes me smile.

    The comparison of an MJ short-film production, as I just described, to a typical day in the recording studio is pretty funny. On most days in the studio there might just be a handful of people. If we weren't recording any musicians or strings that day, it might have just been six or eight people in the whole building during the Dangerous project. That number would mysteriously double at dinner time.

    Wayne and Marcus (Michael's security guys) might come and go through the day, and we might have a guest now and then, but most of the time it was just a handful of us, and the mood was typically very focused, yet light and low-pressure. We knew we had a lot of work to do, but it wasn't frantic in any way.
    In the summer in Southern California it was not uncommon for huge parts of the city to experience what became known as rolling "brown-outs". This meant your power might dip for a few seconds as so many air conditioners were kicking on, and it was some way for the power company to manage the flow of power. Sometimes the power went out completely, which of course is a "black-out."

    A black-out in a studio is particularly fun because there are no windows. Studios very rarely have windows to help with soundproofing and to help exhausted team members not get too depressed over missing beautiful day after beautiful day while working on an endless album project.
    This particular black-out lasted quite a while, and we dug out some flashlights for people to use, including Michael. He bundled up in his parka (it was not cold inside!), and thumbed through some of his art books in the dark, basically amused by the whole thing.

    The funny thing is that it would be very rare for a black-out to occur on a production set because all the power is provided by huge generators. But if a delay does hit a big shoot, radios are lit up with production assistants wanting updates, accountants on the verge of tears watching their costs, mount, union guys taking naps, etc.
    In the studio, we simply removed the tapes from the machines via flashlight (you don't want a Michael Jackson master tape snapped when the power returns), and found places to relax for a bit. It was just simple down time - not a bad thing.

    Michael never complained - he knew there was nothing anyone could do, so we just sat it out. The album would get done when it got done.
    In less than two weeks we'll be in Austin, Texas sharing stories and music about my 18 years of working with Michael. In four weeks we'll be in Mexico City, and in six weeks New York. There won't be any stressed out production assistants, nor is it likely that you will need a flashlight or a rolled up napkin in your ears to endure the volume, but you are invited to spend a day with behind the scenes, In The Studio With MJ.

    Orlando and LA are slated for June, and we are looking at Brazil for July.

    Hear things you have never heard.
    See things you have never seen.
    Learn things you never knew.

    In The Studio With MJ. Will You Be There?
    www.inthestudiowithmj.com/events
    'We may not change the world in one day but we still can change some things today, in our small way.'[/SIZE][/SIZE]

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  7. #680
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    Default Re: Brad Sundberg seminars: Making Music With Michael Jackson

    Latest from Brad:

    I've been to and through Texas many times, but for reasons unknown to me I've never made it to Austin. This weekend I'll change that when I set up at the Recording Conservatory of Austin. I have heard all about Austin's food, music and culture, so I am very excited to visit!

    I don't talk about this very often on my "Studio" page, but one of the things I love doing on my seminar weekends is teach recording and music students a class I call "Studio Etiquette On A Michael Jackson Session". This is not an MJ seminar, rather it is targeted specifically at students, and I am honored to be teaching this Friday to a group of students at the Conservatory.

    One of the challenges of working with Michael was making sure he was comfortable. I know Michael loved trying new things, new sounds, new production techniques, but he also wanted some things to be consistent and predictable. Familiar.

    When we moved into a new studio, we would never bring Michael there on the first day - or even the first week! We had to get the studio up to his (our) standards in terms of technical quality, security and comfort. There were many techniques that we learned and practiced on those projects, and I enjoy sharing them with students to help prepare them for sessions large and small. I will be offering this same course at the University of Technology in Mexico City in just three weeks. These teaching opportunities have become one of my favorite "tangents" of In The Studio With MJ.

    Speaking of ITSWMJ, we have spent hours - scores of hours - rebuilding both the seminar and the Remix. The hardest part of rebuilding isn't adding new things, it's taking things out. In a tiny, tiny way it reminds me of when Michael and Bruce and the production team would have to cut songs from an album for space. Back when CDs were the primary method of delivering music to the public, we were limited to just over 77 minutes per album, so songs like "Streetwalker" and "For All Time" didn't quite fit onto the record. The same goes for my seminar - not every segment will fit, so we have to choose what stays and what goes.

    The seminar has changed and evolved drastically since my first "event" nearly five years ago in Paris. I want it to keep changing and growing, and we push to make that happen, but we also want it to be honest and fun for our guests - whether it is their first time or their tenth.

    The 2017 itinerary is 95% established:
    April 22 - Austin
    May 7 - Mexico City
    May 20 - New York City
    June 24 - Orlando
    June 26/27/28 - Southern California
    July 22 - San Paulo
    August 26 - Minneapolis/St. Paul
    October 12 - 24 - Madrid/Milan/Oslo
    November 4 - Edmonton
    January 19 - 29 - Tokyo/Osaka

    Some dates may shift slightly, but that is the plan-de-jour.

    I am working on a very special event in Southern CA on June 26-28th. One full day will be devoted to Neverland on a level like never before. Another day will focus on the HIStory album with many of the original team members. More details to come very soon.

    Have a great week and thanks for your interest and support! See you this weekend in Austin!

    In The Studio With MJ.
    www.inthestudiowithmj.com/events
    'We may not change the world in one day but we still can change some things today, in our small way.'[/SIZE][/SIZE]

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