by admin | Mar 23, 2025 | art, celebrities, music, musicians, news
Lifehack My ID
,
Jakarta
– Musisi dan penyanyi,
Ariel NOAH
ikut angkat bicara perihal polemik hak cipta yang tengah ramai diperbincangkan. Melalui video berdurasi 7 menit 4 detik yang diunggah ke Instagram pribadinya pada Ahad, 23 Maret 2025, ia menjelaskan duduk perkara yang membuatnya, bersama 28 musisi lain, menggugat Undang-Undang Nomor 28 Tahun 2014 tentang Hak Cipta ke Mahkamah Konstitusi (MK).
Ariel dari NOAH Bicarakan Dua Aturan yang Kontradiktif
Dalam video tersebut, Ariel memaparkan masalah utama yang menjadi pemantik dalam polemik hak cipta, yaitu pertentangan antara Pasal 9 ayat (3) dan Pasal 23 ayat (5) dalam
UU Hak Cipta
Pasal pertama menggarisbawahi bahwa menggunakan karya secara komersial tanpa persetujuan dari pembuatnya merupakan pelanggaran. Di sisi lain, pasal kedua mengizinkan pemanfaatan karya untuk tujuan komersial tanpa perlu mendapatkan persetujuan terlebih dahulu selagi bersedia membayarkan royalti lewat Lembaga Manajemen Kolektif (LMK).
“Ambang batas tersebut tampaknya bertolak belakang,” kata Ariel. Meski demikian, dia menjelaskan bahwa para musisi telah menyadari bahwa kedua hal tersebut pada dasarnya saling mendukung agar hak keekonomian penulis lagu dan artis dapat diteruskan tanpa hambatan. Penyanyi ‘Separuh Aku’ itu pun mengamati bahwa sampai saat ini, penyanyi yang memainkan lagu-lagu karangan orang lain di konser cuma perlu membayarkan royalti kepada LMK.
Namun, muncul wacana
direct licensing
,
yaitu persetujuan langsung dari pembuatnya tanpa melalui LMK. Ariel menganggap bahwa ide tersebut muncul karena kekecewaan para penulis lagu atas performa LMK. “Menurut saya, hal ini berawal dari tidak puasnya para penyusun lirik lagu terhadap operasi LMK.” Ariel menyimpulkan.
direct licensing
Ini terjadi karena ketidakpuasan para penggarap lagu terhadap LMK yang bertanggung jawab untuk memperjuangkan hak ekonomi mereka,” katanya.
Menurut dia, laporan yang tidak jernih, prosedur yang sederhana, dan kebingungan dalam sistim menyebabkan penulis lagu berkeinginan untuk merebut kembali kontrol terhadap hak cipta mereka. Dia menambahkan bahwa hal tersebut bukan hanya dihadapi oleh penulis lagu tetapi juga pihak-pihak lain seperti produsen acara konser,” ungkap Ariel.
Perdebatan tentang
Direct Licensing
Ariel tak menampik bahwa
direct licensing
Adalah hak pemilik asli dari sebuah lagu. Akan tetapi, orang tersebut juga mengindikasikan adanya berbagai ketidaksesuaian dalam sistem ini. “Namun demikian, hal itu bukanlah sesuatu yang sering diterapkan oleh sebagian besar aktor di industri musik Indonesia,” ungkapnya. Sampai saat ini, detail operasional masih kabur: betapa efektifnya metode ini secara nyata, cara pembagiannya atas laba dan rugi, serta proses implementasi pajak royalty yang telah lama ditangani oleh lembaga manajemen lisensi.
Masalah lain timbul untuk para penyanyi asli—yang pertama kali membawa sebuah lagu ke panggung hiburan. Dalam pandangan Ariel, bila persetujuan hanya diajukan ketika lagu tersebut sudah terkenal, pembicaraan tentang tarif bisa tidak merata. “Lebih bagus lagi kalau.permohonan seizin dilakukan sejak awal,” katanya.
direct licensing
“Sudah ditentukan sejak awal kolaborasi antara penyanyi dan penulis lirik, tidak tiba-tiba muncul ketika lagu tersebut sudah terkenal,” katanya.
Dalam sistem yang sedang diterapkan, penyelenggara konser membayarkan royalti kepada para pencipta lagu melalui Lembaga Manajemen Kolektif (LMK). Akan tetapi, kompleksitas masalah bertambah setelah muncul usulan supaya penyanyi secara langsung membayar royalti kepada pencipta lagu dan bukannya pada pihak penyelenggara acara tersebut. “Hal ini sebetulnya telah ditentukan oleh UU Hak Cipta meskipun masih ada perdebatan tentang siapa yang harus menyelesaikan pembayaran,” ungkap Ariel.
Harapan dari Ariel: Negara Wajib Hadir
Ariel dari NOAH mengatakan bahwa para musisi tidak memiliki wewenang untuk menentukan aturan. Oleh karena itu, dia berharap pemerintah dapat segera menyediakan petunjuk jernih tentang hal ini, termasuk melalui partisipasi orang-orang di bidang hiburan. “Saya kira, mereka yang menciptakan regulasi adalah satu-satunya yang boleh menjelaskan apa cara kerjanya,” ungkap artis kelahiran tahun 1981 tersebut.
UUD yang ada akan segera mendapatkan revisi. Meski demikian, Ariel menganjurkan agar selama periode peralihan tersebut, pemerintah harus turun tangan untuk memberikan pengawalan sementara. “Harapannya jangan sampai membuat pemain di industri musik Tanah Air merasa kebingungan, khawatir, apalagi dirugikan hanya karena ingin membawakan lagu karya orang lain,” katanya.
Selanjutnya, Ariel pun mengakui bahwa dirinya belum merasa siap untuk menerapkannya.
direct licensing
Secara personal, “Masih diperlukan LMK bagi saya untuk memperoleh atau menjaga hak-hak saya, pastinya LMK yang terpercaya dan dapat diandalkan,” imbuhnya. Menurut Ariel, hak cipta tidak hanya berkaitan dengan aspek finansial, tetapi juga tentang kemudahan akses.
Di tengah kontroversi tersebut, dia berharap karyanya tetap dapat dinyanyikan banyak orang. “Saya sebagai penulis lagu ingin membuatnya mudah bagi orang lain untuk membawakannya. Ini sejalan dengan tujuan utama saya dalam menulis lagu, yakni untuk hiburan setiap individu yang merasakan kegembiraan melaluinya,” jelasnya.
Musisi-musisi Membawa Kasus ke Mahkamah Konstitusi
Ariel dari NOAH tidak sendirian dalam menyuarakan keprihatinannya ini. Dia merupakan salah satu di antara 29 artis yang mendobrak Undang-Undang HAKI di Mahkamah Konstitusi. Pengajuan judicial review tersebut diajukan tanggal 7 Maret 2025 dengan kode 33/PUU/PAN.MK/AP3/03/2025. Para seniman itu mencolokkan ketidaktentuan hukum seputar lisensi lagu, sistem royalti, serta sanksi pidana terhadap penyanyi yang mempersembahkan lagu-lagu hasil ciptaan pihak lain.
Daftar musisi yang turut mengajukan gugatan di antaranya adalah Armand Maulana, Vina Panduwinata, Titi DJ, Rossa, Raisa, Judika, sampai dengan Ruth Sahanaya. Sebagian besar musisi ini merupakan anggota Asosiasi Vibarsi Suara Indonesia (VISI). Mereka merasa beberapa pasal dalam Undang-Undang Hak Cipta menciptakan keraguan tentang proses pengambilan lisensi, sistem royalti, dan sanksi pidana. Musisi-musisi tersebut meminta penjelasan lebih lanjut tentang cara mendapatkan izin: apakah mereka harus berurusan secara langsung dengan pembuat lagu atau cukup melalui Layanan Managemen Kekayaan Intelektual (LMK). Selain itu, mereka juga khawatir akan adanya bentrokan kepentingan saat memberikan izin, hal ini dapat dipengaruhi oleh subyektifitas sang kreator.
INSTAGRAM | MAHKAMAH KONSTITUSI
by admin | Mar 23, 2025 | music, music industry, news, politics, politics and law
JAKARTA, Lifehack My ID
Kontroversi mengenai hak cipta lagu Dewa 19 muncul lagi setelah Ahmad Dhani menyatakan bahwa Judika telah mencuri lagu tersebut dan sekadar ingin mempersembahkannya tanpa imbalan finansial.
Merespons terhadap tuduhan itu, Judiki menyampaikan penjelasan yang jelas lewat akun Instagram miliknya pada hari Sabtu (22/3/2025).
“Sebenarnya dia (Ahmad Dhani) mengetahui bahwa saya tidak pernah mencuri atau menginginkan sesuatu secara cuma-cuma,” tulis Judika.
Judikan menyatakan bahwa dia tidak mau perselisihan ini berkepanjangan, karena Ahmad Dhani merupakan orang yang dia segani dalam industri musik.
“Menurutku Ahmad Dhani adalah teladan dalam bidang musik, karena kita pernah bermain bersama di grup Mahadewa Band. Jadi meskipun terkadang dia marah-marah, saya tidak keberatan dan tak perlu membalas,” jelasnya.
Walaupun memiliki pendapat yang berbeda tentang sistem royalti musik, Judika memutuskan untuk menuruti peraturan pemerintah. Dia menjelaskan bahwa dalam jangka waktu ini, dia tidak berniat membawakan lagu-lagu dari para komposer yang mendukung hal tersebut.
direct license
hingga ada kejelasan hukum.
Alih-alih menggunakan sistem
direct license
Judikan mengungkapkan keinginannya untuk menserahkan wewenang pengumpulan royalti kepada Lembaga Manajemen Kolektif Nasional (LMKN).
“Sekadar mengatakan bahwa saya berusaha dengan metode yang tak sama, menyerahkan hak suara kepada LMKN sebagai badan yang didirikan oleh pemerintah,” tegasnya.
Ke depan, pelantun
Aku yang Tersakiti
Ini diharapkan dapat menjadikan perdebatan tentang hak cipta sebagai peluang bagi LMKN untuk memperbaiki diri. Mereka menginginkan agar sistem royalti di Indonesia menjadi lebih jelas, terpercaya, dan dilengkapi dengan sarana pengelolaan data yang handal.
LMKN perlu dapat beroperasi dengan lebih efisien, terbuka, bertanggung jawab, dan mempunyai prosedur yang jelas dalam mengumpulkan data serta menyalurkan sumber daya.
performing rights
, tidak hanya dari
event off air
, namun juga berasal dari lokasi bisnis seperti karaoke, restoran, café, hotel, hingga mall,” tambahnya.
Melalui pernyataan tersebut, Judiki memperkuat janjinya untuk menghormati hak cipta artis tanpa perlu terjerumus ke dalam perselisihan yang tak semestinya.
by admin | Mar 23, 2025 | celebrities, music, music and lyrics, musicians, news
JAKARTA, Lifehack My ID
— Musisi Ahmad Dhani dan Nazril Irham yang lebih dikenal sebagai Ariel dari NOAH memiliki pandangan berbeda tentang cara pembayaran royalti musik.
Ariel sejauh ini telah mematuhi peraturan dalam Undang-Undang Nomor 28 Tahun 2014 tentang Hak Cipta, yakni dengan menggunakan Lembaga Manajemen Kolektif (LMK).
Sementara Dhani mengusulkan mekanisme
direct license
, yakni penyanyi membayarkan segera kepada pencipta dengan jumlah yang telah disetujui.
Ariel: Tidak apa-apa tanpa izin selama membayar royalti
Ariel dari NOAH tidak keberatan jika lagu-lagunya dinyanyikan di atas panggung tanpa pemberitahuan langsung selama sudah membayarkan royalti kepada Lembaga Manajemen Kolektif (LMK) yang sesuai.
Rekomendasi terbarunya adalah langsung kepada sang pencipta.
direct licensing
Namun, menurut pendapat saya sendiri cukup merepotkan, lebih baik melalui LMK,” ungkap Ariel saat berada di Jakarta pada hari Selasa, tanggal 18 Maret 2025.
Pernyataan Ariel mematuhi Pasal 23 UU Hak Cipta. Pasal tersebut membahas tentang Hak Ekonomi Penyaji Persembahan di mana seorang penyanyi merupakan bagian daripadanya.
Pada butir 5 Bab 23 tersebut tertulis: ”
Setiap orang diberi kebebasan untuk menggunakan karya tersebut secara komersial dalam sebuah pertunjukkan tanpa perlu mengonsultasikan hal itu terlebih dahulu pada penciptanya, asalkan mereka telah memberikan penghargaan finansial yang sesuai kepada pencipta lewat institusi manajemen kolektif.
.”
Ariel yang menjadi bagian dari Vibrasi Suara Indonesia (VISI) ini mengakui masih ada banyak hal yang harus diperbaiki terkait sistem pembayaran lewat LMK.
“Ariel menyatakan bahwa sistem operasional LMK juga memerlukan peningkatan karena adanya ketidakpuasan yang seharusnya ditangani dengan cepat,” ungkapnya saat konferensi pers VISI, pada hari Kamis tanggal 20 Maret 2025.
Pembayaran melalui LMK di masa lalu dianggap terlalu rendah dan kurang adil bagi pencipta lagu.
Dhani: Penyanyi perlu mendapatkan persetujuan melalui lisensi langsung.
Berbeda dengan Ariel, menurut Dhani, para penyanyi harus meminta izin kepada pencipta saat ingin membawakan lagunya.
Menurut Dhani yang tergabung di Asosiasi Komposer Seluruh Indonesia (AKSI) ini, penyanyi harus memiliki moral etika.
Dhani mendukung konsep
direct license,
Yaitu sistem di mana penulis lagu memberikan persetujuan secara langsung serta menerima bayaran hak cipta tanpa adanya pihak tengah seperti Lembaga Manajemen Kekayaan Intelektual (LMK).
Dhani mengatakan bahwa tidak perlu ada regulasi pemerintah terkait pembayaran royalti sebagaimana yang termaktub dalam Undang-Undang Hak Cipta.
“Pertanyaannya sekarang adalah saat NOAH melakukan transaksi bersama EO, adakah peraturan dari pemerintah terkait hal ini?” tanyakan Dhani di Jakarta, Jumat (21/3/2025), “Tidak ada dong. Yang dimaksud adalah kesepakatan antara kedua belah pihak,” imbuhnya.
Dhoni menambahkan, ‘Tidak perlu regulasi dari pemerintah terkait hak ekonomi kreator yang dimanfaatkan oleh artis, tidak perlu,’.
Dhani menganggap bahwa besaran bayar royalti dapat disesuaikan melalui perjanjian bersama antara artis penyanyi dengan penulis lagunya.
Rancangan perubahan Undang-Undang Hak Cipta versus peninjauan ulang di Mahkamah Konstitusi
Ahmad Dhani mengusulkan adanya revisi terhadap Undang-Undang Hak Cipta. Dhani menyebut pihaknya telah menyiapkan usulan tersebut.
“Dalam hal bahan-bahannya, diskusinya masih berjalan,” kata Dhani.
“Jadi Melly punya usulan, Once punya usulan, AKSI punya usulan. Tinggal nanti saya nunggu, Once, Pasha Ungu, lalu Melly Goeslaw berbicara di depan media semuanya,” tambahnya.
Saat yang sama, menurut Ariel, proses perubahan undang-undang tersebut akan membutuhkan waktu cukup lama. Bersama dengan VISI, Ariel mengajukan uji materi terhadap Undang-Undang Hak Cipta di Mahkamah Konstitusi (MK).
Walaupun memiliki pandangan yang berbeda, harapan kami adalah tindakan dari pihak Ahmad Dhani ataupun Ariel NOAH akan menciptakan dampak positif bagi industri musik di Indonesia dan memberikan hasil terbaik untuk ekosistemnya.
by admin | Sep 30, 2024 | music, music albums, music and lyrics, music industry, rock music
Back in the early ’70s, a remarkably gifted 19-year-old British musician successfully persuaded recording executives (including a then-struggling Richard Branson) to provide him with studio access. His vision was to create an elaborate extended musical composition which ultimately became known as “Tubular Bells.”
When a segment of the music was utilized for the score of “The Exorcist,” the investment yielded substantial returns, propelling the album onto global chart positions and exposing millions to progressive rock as an artistic category.
Oldfield proceeded to enjoy a fruitful yet understated professional journey, with Branson expressing gratitude for Oldfield’s contribution that brought the Virgin Group its initial significant financial triumph. “The term ‘tubular bells’ wasn’t something I ever imagined would become so pivotal in our story,” he remarked in 2013. “Without hiring this specific piece of music, the idea of Virgin venturing into space probably wouldn’t have come about.”
Many revised editions and updated versions of Tubular Bells have been released over the years, along with sporadic live concerts. The 50th
th
The anniversary tour initially began in 2023 and has since announced an extensive lineup of shows extending through 2025. Nonetheless, it seems unlikely that the elusive Oldfield will make personal appearances at these events.
There are numerous peculiar aspects of Tubular Bells that deserve mention:
The famous sleeve was created by Trevor Key, who supposedly received only £100 (approximately EUR 120 or USD 134), yet later contributed to the design of many other prominent albums.
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The preliminary title for the album was “Opus One.”
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The album has surpassed sales of 20 million copies.
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In 1985, Oldfield’s publisher requested a shared writing credit due to similarities with the Paul Hardcastle song “19.”
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The title of the fourth album, “Ommadawn”, is a phonetic spelling of the Gaelic “amadán”, idiot. The chant that can be heard, “Amadán ag ceól”, means “Idiot singiing”.
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A broad array of equipment was rented for the event; however, the tubular bells were sourced from an earlier John Cale recording session.
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Unsatisfied with the tone produced, Oldfield opted for a more robust mallet and ended up damaging one of the bells.
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In 1986, an interactive Commodore 64 edition of the album came out, featuring a sound chip that played a streamlined reinterpretation of the music, enhanced with basic two-dimensional graphics.
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The American vocalist Tori Amos has often employed the use of
Tubular Bells
theme of her live performance.
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Virgin Airlines named one of their planes “Tubular Belle.”
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In 2017, Mike created demo recordings for a fourth installment of the Tubular Bells series, which he was unable to complete.
The events scheduled for 2024 and 2025 will span locations throughout the UK and Europe. Additional information can be found here.
Mike Oldfield tour info
.
(Michael Leahy. Photo: UMG)
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by admin | Sep 30, 2024 | celebrity and music, music, music and lyrics, musicians, popular culture
Kris Kristofferson remained humble regarding his abilities.
He didn’t like being referred to as a poet and enjoyed it more when others would perform his songs instead.
He once confessed to record producer Fred Foster, ‘I croak like a bullfrog.’
Sure,” Foster responded, “but imagine a bullfrog that can communicate.
Kristofferson’s straightforward vocals might not have showcased extensive range, but they conveyed something far more significant: conviction.
Whenever he performed about heartbreak, romance, melancholy, boozy evenings, and remorseful dawns, you found yourself believing each syllable.
This was partially due to his refusal to coerce a song into being—“I would have to wait for inspiration to strike before I could write,” he remarked—and also because he possessed an ability to explore the fundamental essence of a feeling.
Although his songwriting wasn’t particularly intricate, the way he used simple chord progressions alongside clever turns of phrase sparked a revolution in country music.
“You can observe Nashville before Kris and after Kris, as he transformed everything,” Bob Dylan once stated.
These are among his most notable tracks.
1) Me and Bobby McGee
One of Kristofferson’s most lasting hits,
Me and Bobby McGee
It began as a songwriting challenge.
The founder of Monument Records, Foster, harbored feelings for his secretary, Barbara “Bobbie” McKee, and sought out a song he believed would win her over.
Kristofferson accepted the assignment – but finding inspiration took time.
He stated in 1973 that he stayed away from Foster for about three or four months due to the constant stream of thoughts occupying his mind.
I was driving back to New Orleans one evening when the windshield wipers were on, and everything began coming together.
He drew inspiration for the song from the final scene of the Fellini movie “La Strada,” where a disheartened, intoxicated man gazes despondently at the ocean, mourning the deterioration of his life and the love he has forfeited.
Kristofferson transformed this narrative into the story of two wanderers who encounter love during their travels but are ultimately parted by death.
It includes one of his most remarkable lyrics:
Freedom is merely a term for having nothing else to lose / What has no value isn’t worth anything — yet it’s free.
Initially performed by Roger Miller, the song achieved top billing as a number-one hit for Janis Joplin, who recorded it just prior to her demise in 1970.
2) Onward to Sunday Morning Coming Down
When I woke up on Sunday morning, every movement of my head brought pain.
“And the beer I had for breakfast wasn’t bad, so I had one more for dessert.”
The bleakness conveyed through Kristofferson’s somber performance indicates that this track encompasses far more than just a mere hangover.
As it advances, the main character gradually discloses more information regarding the reasons behind his alcohol-filled life.
The aroma of fried chicken brings back memories of “something I had lost.”
He halts near a Sunday school merely to listen to the children’s singing.
The intense feelings of isolation and self-hatred are portrayed powerfully — Kristofferson mentioned that he penned the lyrics during his days as a struggling musician residing in an apartment building after his parents rejected him, and when his spouse and child left for California without him.
He remarked that Sunday was the most difficult day of the week for those without a family.
As the story goes, Kristofferson piloted a helicopter into Johnny Cash’s yard, insisting he wouldn’t depart until Cash had heard his demo tape.
Impressed enough, Cash decided to feature the song on his American television show.
The Country Music Association awarded his recorded song of the year in 1970.
Kristofferson’s own version
emerged on his first studio album that very year.
3) Assist Me in Surviving the Night
Kristofferson, alongside fellow musicians like Willie Nelson and Waylon Jennings, was an integral part of the “outlaw country” movement that resisted Nashville’s commercial dominance and creative constraints.
In 1970, when discussing his position within the nation’s political landscape, he addressed his role.
He informed The New York Times
I am not anyone’s closest confidant.
Everyone insisted that I wouldn’t succeed in Nashville and advised me to move to California or New York instead.
He had offended the powers that be through tracks like “Blame It on the Stones” and “The Law Is for the Protection of the People,” both of which criticized American conservativism.
His most famous song
Additionally, it caused controversy due to its straightforward portrayal of sexual longing, particularly when performed (and reaching No. 1) by the female country artist Sammi Smith.
Kristofferson mentioned that the lyrics were influenced by an interview with Frank Sinatra.
When queried about his beliefs, Old Blue Eyes replied: “Alcohol, women, or a holy book… whichever gets me through the evening.”
Smith’s sensual performance marked a rebellious advancement for country music, yet Kristofferson’s rendition—marked by his raspy voice and palpable longing—is equally exhilarating.
4) Jody and the Child
“The initial great song I composed,” Kristofferson stated regarding
Jody and the Kid,
which he created during his time as a janitor at Columbia Records in the 1960s
Similar to “Me and Bobby McGee,” this piece is imbued with feelings of nostalgia and longing, as the artist recounts a girl he once frequented places with, noting how she would wear “her little blue jeans rolled up to her knees.”
As time passes, they develop feelings for each other, growing older together while always holding hands wherever they go.
When the music stops, the storyteller walks along familiar routes with his daughter—yet upon meeting neighbors who approach him, he mourns that his spouse can’t be part of this moment.
Kristofferson’s solemn, emotionally charged voice is captivating and heart-wrenching.
It’s equally worthwhile to listen to his 1999 re-recording of the song on the album “The Austin Sessions,” as his more mature, rugged vocals add an extra layer of emotion to it.
5) Why Me?
If the character from Sunday Mornin’ Comin’ Down was feeling down, this moment depicts them as being utterly devastated.
”
God, what have I possibly achieved / To be worthy of just one / Of the joys I’ve experienced?
”
After visiting a service at Jimmie Snow’s church in Nashville, Kristofferson felt inspired to pen the song.
Everyone was on their knees when Jimmy remarked, ‘For anyone who’s misplaced, please lift your hand.’
he said
.
I rarely attend church, and lifting my hand wasn’t something I would consider.
I was thinking, ‘I cannot fathom who might be behind this,’ when abruptly I noticed my hand raising itself.
Following his conversation with the preacher, Kristofferson mentioned, “I ended up crying in public” and experienced a sense of “forgiveness that I wasn’t aware I required.”
The track serves as a response to that instant — a somber, heart-wrenching acknowledgment of his previous actions, and an earnest plea for absolution.
Recorded alongside his future spouse, Rita Coolidge, the
gospel-infused ballad
resonated deeply with listeners in 1973, earning the lead performer their sole top position on the country music charts.
Additional Listening: Five More Essential Tracks
6) I Dislike Your Unattractive Appearance
– The initial song penned by Kristofferson when he was 11 years old. This cynical dismissal of common country music themes showcases the budding evolution of his narrative skills.
7) They Killed Him
– A tribute to Kristofferson’s icons—Jesus, Gandhi, and Martin Luther King Jr.—later revisited by Dylan. “When Dylan covers one of your songs, it feels akin to a playwright having Shakespeare perform in their play,” according to Kristofferson.
8) Loving Her Was Simpler (Than Any Other Thing I’ll Ever Experience Again)
– This song stands out as one of his most romantic tracks and was Kristofferson’s inaugural entry onto the charts in 1971. It was revisited years later when he recorded it again alongside The Highwaymen, an influential supergroup comprising outlaw country musicians including Cash, Jennings, and Nelson.
9) There Goes That Rainbow Once More
Inspired by a passage from John Steinbeck’s novel *The Grapes of Wrath*, this heartfelt ballad explores how minor gestures of compassion can be reciprocated. Cash reportedly referred to it as “possibly my favorite song written by any author.”
10) Please Don’t Reveal the Ending of the Story
– In what seems like their final evening spent together, two people hold tightly onto each other and cherish every memory they’ve shared, wishing desperately for an end to this impending separation. Composed during the early ’70s, Kristofferson first offered this piece to Billy Bare before revisiting it alongside Rita Coolidge when their own union began crumbling apart. The resulting collaboration between them conveys immense emotion.
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Kris Kristofferson, the singer and actor known for “Special,” has passed away.
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View the best moments from Kris Kristofferson’s performance at Glastonbury in 1997.
by admin | Sep 25, 2024 | audio, electronic devices, electronics, music, technology
What?
The Moog Synthesizer was among the earliest examples of a modular voltage-controlled oscillator and amplifier system, developed by Robert Moog.
In layman’s terms?
Robert Moog’s synthesizers were pioneering in enabling individuals to generate and modify electronic music comprehensively. His initial model featured dual voltage-controlled oscillators along with a voltage-controlled amplifier. This primary oscillator permitted users to adjust the pitch of generated sounds via varying voltages; these voltages could subsequently be processed using the secondary oscillator to achieve effects such as tremolo.
Why is it in the news and why is it significant?
On the occasion of the 60th anniversary of the first Moog synthesizer, it’s worth noting that electronic sound machines did exist prior to this innovation; however, they were massive, often occupying whole rooms. Inspired by the theremin—a touchless electronic instrument developed in the 1920s—Moog was driven to experiment with incorporating amplifiers into the synthesizers’ oscillators. This modification aimed to create a smaller, more transportable version of these groundbreaking devices.
Who had the means to purchase the initial Moog synthesizer?
In addition to being the first portable modular synthesizer, it was also the first relatively inexpensive one—well, somewhat. The initial Moog Synthesizer cost about $10,000 back in 1964. When adjusted for inflation, this amount equates to roughly $100,000 (or €90,000). While not exactly budget-friendly, it was considerably more affordable compared to the millions required in contemporary dollars for similar equipment from competitors at that time.
So who ended up purchasing it?
The initial client was British-American composer Eric Siday, who requested Moog to build one of these machines specifically for him and also asked for an additional keyboard component. Following this, various composers intrigued by the potential of experimental electronic music began commissioning more units from Moog and sought enhancements like filters, which led to innovative sound effects including what became known as the “wah-wah” effect.
Was the music of high quality?
As more
classical composers
Soon enough, people were drawn to Moog’s captivating synthesizers, leading to the creation of one of the earliest remarkable musical pieces. Among the initial trailblazers with the Moog Synthesizer was Paul Beaver, who collaborated with Mort Garson to produce the album ‘The Zodiac: Cosmic Sounds.’ This work became a source of inspiration for many upcoming experimental artists. Later, in 1968, Wendy Carlos released the groundbreaking album ‘Switched-On Bach,’ earning both commercial success and critical praise by rearranging Bach’s works. The album claimed three Grammy Awards and became the first classical record to achieve platinum certification.
Any pop music?
The earliest notable application of the Moog Synthesizer likely originated with the rock band.
The Doors
– Particularly noteworthy is “Strange Days,” the title track from The Doors’ sophomore album released in 1967. Beaver utilized his synthesizer skills alongside Jim Morrison’s distinctive vocals to craft an unsettling sonic backdrop for the song. Shortly thereafter, the Moog synthesizer gained popularity among various artists; most notably, The Beatles featured it on their album “Abbey Road.” Early enthusiasts also included bands such as The Monkees, The Grateful Dead, and The Rolling Stones, along with jazz performers like Herbie Hancock and Sun Ra.
Is Moog still the only type of synthesizer around?
Today, electronic music is everywhere, with synthesizers made by countless manufacturers and replicated via digital audio workstation software. However, this did not lead Moog to rest on his accomplishments.
What were Moog’s subsequent actions?
In 1970, Moog introduced the Minimoog, an even more compact iteration of their initial synthesizer model which quickly became popular. Despite expecting sales of about 100 units primarily among professional studio musicians, this innovative instrument saw massive success with tens of thousands being sold throughout multiple decades. It also set the stage for subsequent models like the Vocoder, Micromoog, Multimoog, and Polymoog, propelling Moog into widespread recognition within the musical community. The company gained significant prominence through appearances on numerous progressive rock records from bands such as Yes, Tangerine Dream, and Emerson, Lake & Palmer. Arguably one of its most notable achievements during that era came via Donna Summer’s track ‘I Feel Love,’ nearly wholly crafted using the Moog synthesizer.
What happened to Moog?
In the early ’80s, as increased competition emerged against Moog’s synthesizers, his business faced significant challenges. The digital synthesis technology offered by firms such as Yamaha proved overwhelming for Moog, leading to the company filing for bankruptcy in 1987. However, by 2002, there was a resurgence of appreciation for Moog’s iconic instruments, prompting him to reintroduce an updated lineup of synthesizers. Despite passing away in 2005 at the age of 71, the enterprise he founded has continued producing synths, including recent additions like the Spectravox, Labyrinth, and Muse models launched this year.
