{"id":236744,"date":"2022-01-23T00:00:35","date_gmt":"2022-01-23T05:00:35","guid":{"rendered":"https:\/\/25yearslatersite.com\/?p=236744"},"modified":"2022-01-23T00:00:35","modified_gmt":"2022-01-23T05:00:35","slug":"interview-erik-blicker-glenn-schloss-of-flavorlab","status":"publish","type":"post","link":"https:\/\/tvobsessive.com\/2022\/01\/23\/interview-erik-blicker-glenn-schloss-of-flavorlab\/","title":{"rendered":"Interview: Erik Blicker & Glenn Schloss of Flavorlab"},"content":{"rendered":"
Erik Blicker & Glenn Schloss are the founders of Flavorlab, an award-winning audio production company that composes, records, mixes and masters music and sound for the biggest brands in the world.<\/p>\n
Flavorlab\u2019s recent project, Turning the Tables with Robin Roberts <\/em>for Disney+, allows viewers to get personal with Robin Roberts and some of Hollywood\u2019s groundbreaking women as they bear witness to their incredible journeys on their path to purpose. Each episode is a profound conversation filled with emotion and inspiration, featuring never-before-heard stories of how these groundbreakers came face-to-face with their vulnerability, authenticity, and intuition. Flavorlab’s Score team (composers Erik Blicker and Glenn Schloss) contributed original music to the series and their Sound team (mixing engineers Eric Stern and Ryan Hobler) mixed four episodes.<\/p>\n Flavorlab\u2019s past projects include the original score, editing, and mix for the NBA Official 2020 Season Restart Announcement, the mix for documentary Do Not Split,<\/em> the original score for HBO\u2019s documentary Wildcard: Death of a Radio Loudmouth,<\/em> and the original score, music licensing, and mix for KSV\u2019s American Forest Foundation<\/em>. Flavorlab also composed the theme song for ABC\u2019s Emmy Award-winning iconic talk show The View<\/em>, Polo Ralph Lauren recruited them to mix their recent Olympics spot, and HBO\u2019s Emmy Award-winning series VICE<\/em>\u00a0utilizes their exclusive Producer\u2019s Toolbox and licensing services for their show music.<\/p>\n Jason:<\/strong> Would you like to start by telling us about the origins of your love for music and sound?<\/p>\n Erik Blicker:<\/strong> My father took me to the library when I was eight years old, and we picked out a Beatles record, where he showed me how to put it on and record it to cassette tape reel-to-reel. I could only pick four songs off the record, so I had to move the needle around, pick those four songs and record it. That set my passion ablaze for both music and recording. I just followed a career path of doing what I love to do, which is making and pursuing music, audio recording, and engineering.<\/p>\n Glenn Schloss:<\/strong> I grew up in a super musical family. My older brother introduced me to the music of Jimi Hendrix, Steely Dan, Earth, Wind and Fire. I was listening to all this great stuff. My dad was into Latin jazz, so music was always blasting in my house. I went to Boston University, but I spent a lot of time down the block at the Berklee School of Music. I learned my way around the studio, doing studio work as a drummer. Then I finally moved back to New York and met Erik, and we locked into a groove. A week after meeting him, I was asked to work on a show with VH1, so I brought him on board and here we are.<\/p>\n Jason:<\/strong> Tell us a more interesting story or most interesting story that happened to you since you began your career.<\/p>\n Erik Blicker:<\/strong> We started Flavorlab at a time when the internet was just getting going, in 1997, but we were always at the forefront of that technology. We had one of the first music company websites in New York; It wasn\u2019t an incredible website, but we were one of the few ones to have one. We were getting calls from all over the world to do different sorts of projects; we get calls from Nokia to create ringtones for their phones, and we get calls for doing post-production or scoring Discovery Channel shows. Furthermore, we\u2019re constantly working with new technology. Right now we\u2019re spending a lot of time with ATMOS and playing around with spatial audio with music and post-production. Since our company does all three of those things, we do original scoring and composition; we do music catalogue and licensing, and then we have an audio post-production business, which is Flavorlab Sound.<\/p>\n Glenn Schloss:<\/strong> As far as interesting gigs, we have had a lot of fun and a wonderful relationship with PBS and PBS Kids. We worked with an incredible creative director, Matthew Kennedy, and he allowed us to put together this amazing PBS Kids band. We wrote 10 to 15 interstitials using their pneumonic, and we got this killer band together. We had Ben Stivers on the keyboard, who\u2019s played with Lyle Lovett. Our idea was to play instruments that were not necessarily traditional. We had this great back and forth with Matthew and coming up with all these different styles, stylistically for PBS Kids. So that was one of the highlights for me, working on a fun project.<\/p>\n Jason:<\/strong> Can you tell us how the collaboration with Disney+ and specifically the Robin Roberts show came your way?<\/p>\n Glenn Schloss<\/strong>: Kadine Anckle, the lead producer, brought us on onboard for Turning the Tables.<\/em> She thought of us when they needed a music package. Kadena and I had a conversation initially about it, she was super excited, to bring this project to life and I quickly got Eric on board where we started talking about what her vision was for the project and for the theme song because the music was super important. They were figuring out shots for the opening, and they were going to film everything, and the music was going to be a part of that. We were giving birth to the music while they were shooting the opening out in LA, and Kadena had this wonderful vision of connectedness of iconic women of spirituality. We talked about possibly an ARIA for the open, and she wanted it to be in phases, so each show would be a continuation of the theme; it wasn\u2019t just going to be one branded theme. That was interesting because generally, a theme song is one hook, and you\u2019re in, and you\u2019re out. But she wanted this to continue to tell a story throughout each opening of each episode. So that was really cool to get to write this massive composition and then have moments of it from each piece as a continuation.<\/p>\n Erik Blicker:<\/strong> It was such an incredible project because it was creative and musical and connectedness. Kadine Anckle is a remarkable executive producer because she was super creative and positive and always pushed things forward positively, which made it fun. You could tell she brings that to her whole creative team\u200a\u2014\u200aopenness for everybody to bring in their own creative ideas. When she said that she wanted to have a spiritual connectedness, like an anthem, iconic theme song, that would be the theme for the show that would bring you into the conversations the women were having. When she brought us in, she was bringing it to what it was going to be, with her shots and everything, and we understood that. It was cool getting brought on like that. We had a lot of discussions about musical creativity, and it was super fun.<\/p>\n
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