INTERVIEW: Matt Forger speaks out on everything from working with Michael Jackson to producing new artists like Mutant Radio.
G-Man: When people think of Matt Forger, they usually think of your work with Michael Jackson, Quincy …

COLUMN: With the “A&R Registry,” “Music Publisher Registry,” “Music Business Attorney Registry,” “Producer Registry,” and the “Film and Television Music Guide,” Ritch Esra and Stephen Trumbull provide vital connections in a rapidly-changing business. Scott G likes ‘em and uses ‘em.

COLUMN: Three personal managers of independent artists outline pathways for success in an increasingly competitive marketplace “An artist’s music must be something I love,” stated Jennifer Yeko of True Talent Management. “It has to be …

A Special Report by Scott G (The G-Man): Where music meets licensing, there’s money to be made. How much money? “I have synched quite a few thousand songs into productions over the years,” states Peter Jansson of CRC Jianian Co., “and have charged anywhere between US$1.00 and US$250,000 for each one.”

GEAR REVIEW: Gleaming, smooth, player-friendly and finely-crafted guitars are a labor of love for Pat Wilkins, but that’s not how he makes his living. Instead, he’s the master of something that is on every guitar: the finish.

COLUMN: From songwriting to band politics, from rehearsals to touring, and from recording to making money, the Michael W. Dean book $30 MUSIC SCHOOL is superb, succinct and often subversively funny. Scott G thinks it’s worth about a hundred times what you pay for it.

Making money from music online: NARIP and the Hype Council help the advertising, marketing, and recording industries face the facts and expose the fiction – a report by The G-Man.

COLUMN: Jay Flanzbaum wants to change the way every indie band handles touring, promotion, booking, and the management of their careers. His creation is called OnlineGigs and it has the potential to shift the balance in favor of artists who want to do things for themselves.

COLUMN: Audio mastering is widely misunderstood, often mangled, and sometimes mistaken for mixing. It’s the audio step that comes just before manufacturing a CD, and some people would even say it’s a crucial step.

COLUMN: WireonFire is not exactly a record label, but to Earth, Wind & Fire and more than a dozen other artists, it’s not only the next-best-thing, it may be even better. Why? Because WireonFire provides almost all of the same services as a record company, but without the 70-page contracts and the penny-rate royalties.

COLUMN: Sat Bisla, Jeff Blue, Ritch Esra and Perry Watts-Russell have worked with and/or signed artists such as Radiohead, Meredith Brooks, Secret Machines, The Thompson Twins, Linkin Park, Macy Gray, Korn, Dido, Damien Rice and …