Messages

Oh iye, semoga di 2010 scene lokal Indonesia (DJ, VJ, dan semua elementnya) semakin bisa menjadi tuan rumah di skena dansa dalam negeri. It's time to move on. Jangan GGAN

2009 has given me lots of good things. Thank you

[SAW VI]

SAW VI:
Pengulangan yang sama pasca SAW IV. Tapi ga papa deh...trap-nya lumayan-lumayan disini

Paranormal Activity:
1 jam 15 menit yang membosankan. Gue kasih 7,5 bintang dari 10 untuk 15 menit terakhirnya aja

Taking Woodstock
It's all about xes, drugs, rock n roll....and rock n roll

[niang: Makanya gw sih mending sekalian aja maen gretongan/low budget buat temen2 sendiri yang eventnya gue dukung chyinnn]

niang: Makanya gw sih mending sekalian aja maen gretongan/low budget buat temen2 sendiri yang eventnya gue dukung chyinnn

nah kalimat kang niang inilah yang mengawali karir seorang VJ tak di hargai
karena akan di anggap loe temen gw...
lo kawan gw...cukup kasih gw botol gw main...

akhirnya....semua orang akan berpendapat sama...toh si A aja mau di bayar botol si B aja mau di bayar murah...ya toh???

Hmm..mau nambahin aja sih dari sisi perspektif label kecil kaya Microchip.
Kayanya ga fair sih kalo kita dari label selalu pengen yang gratis dan bagus terus dari performance teman-teman kolektif VJ, mengingat kerja mereka pun terkadang (ga terkadang sih...tapi sering chwyn!) jauh lebih berat dari DJ-nya sendiri. Ga perlu gue ngomong panjang lebar, pasti udah ngerti sendiri maksudnya "repot" disini apaan. Dateng paling awal, pulang paling akhir bla bla bla yada yada yada...

Ok, jujur kita akuin kita sering kepentok dana untuk bayar VJ. Dulu-dulu sih ok lah hire VJ gratis, paling banter dikasih minuman sama substansi. Tapi skr ga bisa kaya gitu lagi. Ini pendapat pribadi gua aja, kalo event yg gue bikin minus sponsor...gue iklas kok ngerogoh kocek sendiri buat bayar VJ walaupun ga bisa ngasih harga yang belakangnya "jut-jut"an, dan mungkin nominalnya ga akan seberapa. Tapi disini bukan masalah nominalnya sih, gue coba untuk respect dan menghargai kerja keras dari temen-temen VJ. Ada sponsor pasti gue bayar sesuai, ga ada sponsor pun gue usahain minimal dapet deh duit transport.

Kalo terus2an sistem,"ah lu kan temen gua...gratis ya jo? atau pake botol ya bayarnya?" itu sih kebangetan kalo kata gue. Skr balikin aja...lo ngedj dibayar terus2an pake botol atau proyek tenkyu tentu ga mau dong? Ya intinya sih dari yang pengen gue sampein: penghargaan
Respect your co-worker as a team, dan lu akan menuai respek balik yang sama.

Inflight revival

Remy Irwan + Sven Vath + Oliver Koletzki + Magda + Gaiser = Perfect match! Re: Europe Tour

Thanks buat Synan Rec & Front Media yang udah kasi kepercayaan buat kita untuk play alongside our biggest influence, Richie Hawtin.

Amen to that. Terima kasih Front Media & Synan Recs. Dan terima kasih juga buat temen2 yang udah dateng dari awal. Means a lot to us

Black: matur nuwun pakde hehehe

@CSB: hahaha..nuhun bray

Sampai nanti malam ya. Please do come early

Gangsta Paradise bukan judul film, Fi hehehe. Itu judul lagunya Coolio yang dimasukin di OST Dangerous Minds

@gober: ohhhh..i see i see, gua kira pas NYE persis hehehe

lu ga NYE-an di Jakarta aja Do?

Kumpul2 sekalian countdown, yon?

kayaknya mau dj pembuka, kedua, dst sampe penutup, semuanya berada di level yang sama. semuanya memerankan peranan masing2 yang gak kalah penting.

Sepakat.

ps: mungkin artikel ini ada sedikit relasinya, ga ada salahnya buat dibaca2 hehe http://www.ravelex.net/forum/index.php?topic=26901.0

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Coba buka halaman 6 mbak

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Bebas sob. Celana pendek + sendal jepit juga halal. Seriously

no one can ever beat The Blair Witch Project hehe

tp ujung2nya yg penting "amunisi"nya sih ya gak sih dra hehehehe 

I still think that the last dj has the toughest job coz at he has to keep the crowd interested and entertained especially when the job gets even harder as most ears at the club are worn out after a long night full of pumped up music

Agree. But if we talk about a "great party", we mention for the whole package right? opening  - main - closing supposed to be related in one amazing journey. And as for the rest, let the crowd be the judge.
cmiiw

"The warm-up's job is in fact the hardest and very important to how the whole night will turn out. If a warm-up does a good job, you can feel it in the air, and then usually 99% of the time, it's an amazing night." (Steve Lawler)

baru aja baca di link yg loe tweeted brad..keren banget nih article nya..hayoooo clubbers and ravers, godskitchen pada dateng dari awal yah..

Ga harus Godskitchen sih bray...tapi mostly di semua event sih kalo kata gue

"the biggest reward an opener receives is the opportunity to explore musical territory a headliner often cannot"

[There are many variables in producing a proper electronic music event. Some things are obvious: a proper space with quality sound and engaging visuals are part of the physics that create a comfortable environment for the crowd. If, for instance, the sound system isn't properly dialed in to the acoustics of the space, the performer, regardless of his or her talent, is going to sound like crap. The result is a lethargic dance floor and an angry performer who will not only expect to get paid but will never come back.But there are many subtle factors that can keep an event from being labeled "epic" and instead relegate it to just "another night out." Fast bartenders, adequate bathrooms and a security crew that behaves professionally all contribute to a clubgoers overall perception. When it's done right, these things aren't even noticed. But when you have to stand in line for half an hour to piss in a flooded bathroom, while in the main room, everyone's mind is being blown by the DJ you paid a lot of money to see, your night gets flushed down the toilet.The last crucial element in the event equation, though, is the opening DJ. At a live music event, if the opening band is terrible there is always a short break to switch out equipment. The headliner then takes the stage and the night moves on. But in a club environment the music rarely stops from the moment the first track begins. This continuous flow of sound is maintained until the lights are turned on at the end of the night. A good DJ taps into this flow and manipulates the energy of a room through careful programming and mixing choices. Mastery of this flow allows a DJ to take the crowd on the sonic journey which has come to define the all-night electronic music party.But the headliner almost never plays from the moment the doors open. One or more opening DJs are used to warm up the room, keeping the crowd entertained and the alcohol flowing until the headliner's designated time slot later in the evening. And many promoters seem to be unaware of how important this role can be. A DJ who isn't up to the task of opening can dissipate the energy on the dance floor before it has a chance to solidify. In a good scenario, the crowd will pack the bar and hug the walls until the headliner comes on. In a worst case scenario, the club will empty out before the DJ has time to mix in a new track.In many ways, the warm-up DJ faces more challenges than the headliner. Consider this: The opener must start with a fairly empty room that slowly fills with generally sober people who aren't there to see them.The DJ must create an atmosphere out of thin air and at the same time set the stage for the musical narrative of the headliner's set. Steve Lawler, head of Viva Music who has headlined top venues the world over, agrees, "The warm-up's job is in fact the hardest and very important to how the whole night will turn out. If a warm-up does a good job, you can feel it in the air, and then usually 99% of the time, it's an amazing night."The opening DJs biggest challenge is to program a set that will seamlessly sync with the DJ who will go on next. "The opening DJ has a huge responsibility; they can dictate the entire mood of the party," says Magda, of Minus Records. "You have to think about who you are opening for and how they play in order to avoid overpowering their sound." Each headliner has a definitive musical style that presents a unique programming challenge to the opener. "If I open for Theo Parrish I definitely will not be playing the same records as opening for Richie Hawtin. That's the fun of it though," she explains. "It's a challenge to get the different crowds worked up while complementing the main act at the same time."A good opener must have two things: an attenuated awareness for the musical progression of the night, and an extremely large and eclectic record collection. Craig Richards would concur. With a ten year residency at Fabric, London's most respected club, Richards is highly regarded as one of the best opening DJs in the world. Warming up a room is a position Richards fully embraces, "Over the years I have often opted for the warm-up slot. I find it a wonderful challenge which if played properly can result in maximum musical fulfillment."Great opening DJs know their music and the subtle effects each record transition will have on a dance floor. DJ Yousef, the DJ and promoter behind Liverpool's legendary party, Circus, says for a DJ to successfully warm up a crowd "they need to be aware that the tempo, the groove, the energy and even the texture of every record must be seriously considered." This sensitivity to the way music influences the crowd allows the opener to begin the patient task of drawing people to the dance floor.Dirtybird's Christian Martin describes it as such: "Your job is to peel people away from the bar, and keep building upon that small nucleus of early dancers that will eventually become a packed dance floor. It's important to pay attention to the mood of the floor and adjust the direction of your set accordingly, without going overboard too early." Martin's last point brings up another extremely important trait of great openers: restraint."I know a lot of my fellow DJs feel the pain on so many nights from an inappropriate, overly energetic and mostly far too big warm-up set," Lee Burridge laments. With over 25 years of experience, Burridge is universally recognized as one of the world's most talented DJs. He says great warm-up DJs "understand where the guest DJ starts from—not where they are two hours into their set. The energy needs to be left at a point where the guest DJ can comfortably continue from." Burridge told me that in many cases the opener plays records of such high intensity "I've [sometimes] had to kill the music altogether to reset the energy.""I've warmed up for many big names over the years and I realized a long time ago that the night wasn't about me alone," Burridge continues, "This seems hard to accept for a lot of upcoming DJs as they want the attention of the people. This attitude totally disturbs the gradual build of the night as a whole." Many young DJs see the opening set as their chance to show what they've got, but the result of this enthusiasm is exactly the opposite. Yousef states when an opening DJs set is "hitting them over the head with an iron fist" of uptempo, peak hour tracks, it "will always result in not getting another gig."But there is more to opening a room than just keeping the tempo under 124 bpm and playing deep music. The signature of a great opener is defined by a devotion to the music he or she is playing. As Lawler explains, "you can tell when an opener is someone that has just gone onto Beatport's Top 100 [to buy their] Deep House [tracks] and is trying to do it, as opposed to someone who loves and collects the music they are playing. You can always hear passion in a DJ's set."Craig Richards takes it one step further: "I'm absolutely certain that the music lovers, not the DJs, are fit for the job—the people who can forget themselves for a moment and deliver a groove, a beginning and a sense of belief." The best openers are in many ways the people who are true music lovers, the ones who obsessively collect obscure and eclectic music for the simple joy of it. These DJs know their music so well they intuitively know there is a right track to play in each moment for any audience.Opening a room requires the ability to step outside what you want to play and, instead, to be conscientious of what the crowd is willing to accept. "As a DJ you have to find the middle ground of being yourself and being mindful of what you think will work on the dance floors of the world's clubs," Yousef explains, "I always play the music I love but I'm experienced enough to enjoy a broad selection of electronic music." Each DJ I spoke with emphasized the need for an opener to have an extensive range in musical tastes and, most importantly, the patience to hold back, and to slowly build the tension in preparation for the headliner.For both Lawler and Burridge, each sees the role of the opener as important as his own role as the headliner. Lawler tries and takes an opener with him to gigs, "so I know the energy and vibe will be right when I go on." But they each tell me it is often the promoter who chooses a DJ not fit for the role, or sometimes, Burridge says, "The promoter has been known to come into the booth and tell the warm-up to pick it up." In either case, it reveals a lack of understanding in how a night develops. Whereas a nervous promoter wants to see the dance floor packed with people pumping their fists in the air from the start, all the DJs I spoke with saw this as detrimental to the night as a whole. As Richards put it, "There can be nothing worse than an over-enthusiastic start—a soup that burns the mouth or curtains ripped open to let the light in."But this ultimately leads to one question for the promoter: If you are going to spend the money to fly in and accommodate a world-class DJ, why not spend the extra time and money to get your guest a proper opener? With the high risk inherent in throwing an event coupled with a lack of understanding about the role of the opener, DJs who are picked to warm up a night are often inexperienced and more often than not, underpaid. A promoter can spend thousands of dollars on a headliner, and to rein in costs, will often only spend a couple of hundred on an opener.So obviously, great opening DJs aren't in it for the money. Instead, these DJs are perhaps the purest music fan in every sense of the word. Since the opener's artistry is built upon subtlety, they rarely receive any accolades. The media often overlooks good warm-ups, instead focusing on the headliners, and only knowledgeable crowds will recognize the skill that goes into the nuance and restraint of slowly building the tension in a room. This often leaves only the headliner's gratitude as any sign of appreciation.In fact, the biggest reward an opener receives is the opportunity to explore musical territory a headliner often cannot. Playing opening sets "gives justification for buying records that you know will only sound right at certain times," says Craig Richards. "The chance to hear these records loud was and still is my driving force. Playing deep, quirky, delicate tunes at a time when they make sense is an utter pleasure to the man who seeks the truth for the music not the limelight." Successful venues and events have always recognized what a proper opener provides: The atmosphere that is the foundation of any event.]

Artikel bagus nih tentang bagaimana seharusnya kita menghargai DJ-DJ yang maen opening. Gue ambil dari wordpressnya temen gue:

http://jakartaunderdub.wordpress.com/2009/11/08/this-one-is-for-everyone-nice-article/

Agak panjang sih memang, dan bahasa Inggris pula. Tapi worth to read kok

There are many variables in producing a proper electronic music event. Some things are obvious: a proper space with quality sound and engaging visuals are part of the physics that create a comfortable environment for the crowd. If, for instance, the sound system isn't properly dialed in to the acoustics of the space, the performer, regardless of his or her talent, is going to sound like crap. The result is a lethargic dance floor and an angry performer who will not only expect to get paid but will never come back.

But there are many subtle factors that can keep an event from being labeled "epic" and instead relegate it to just "another night out." Fast bartenders, adequate bathrooms and a security crew that behaves professionally all contribute to a clubgoers overall perception. When it's done right, these things aren't even noticed. But when you have to stand in line for half an hour to piss in a flooded bathroom, while in the main room, everyone's mind is being blown by the DJ you paid a lot of money to see, your night gets flushed down the toilet.

The last crucial element in the event equation, though, is the opening DJ. At a live music event, if the opening band is terrible there is always a short break to switch out equipment. The headliner then takes the stage and the night moves on. But in a club environment the music rarely stops from the moment the first track begins. This continuous flow of sound is maintained until the lights are turned on at the end of the night. A good DJ taps into this flow and manipulates the energy of a room through careful programming and mixing choices. Mastery of this flow allows a DJ to take the crowd on the sonic journey which has come to define the all-night electronic music party.

But the headliner almost never plays from the moment the doors open. One or more opening DJs are used to warm up the room, keeping the crowd entertained and the alcohol flowing until the headliner's designated time slot later in the evening. And many promoters seem to be unaware of how important this role can be. A DJ who isn't up to the task of opening can dissipate the energy on the dance floor before it has a chance to solidify. In a good scenario, the crowd will pack the bar and hug the walls until the headliner comes on. In a worst case scenario, the club will empty out before the DJ has time to mix in a new track.

In many ways, the warm-up DJ faces more challenges than the headliner. Consider this: The opener must start with a fairly empty room that slowly fills with generally sober people who aren't there to see them.

The DJ must create an atmosphere out of thin air and at the same time set the stage for the musical narrative of the headliner's set. Steve Lawler, head of Viva Music who has headlined top venues the world over, agrees, "The warm-up's job is in fact the hardest and very important to how the whole night will turn out. If a warm-up does a good job, you can feel it in the air, and then usually 99% of the time, it's an amazing night."

The opening DJs biggest challenge is to program a set that will seamlessly sync with the DJ who will go on next. "The opening DJ has a huge responsibility; they can dictate the entire mood of the party," says Magda, of Minus Records. "You have to think about who you are opening for and how they play in order to avoid overpowering their sound." Each headliner has a definitive musical style that presents a unique programming challenge to the opener. "If I open for Theo Parrish I definitely will not be playing the same records as opening for Richie Hawtin. That's the fun of it though," she explains. "It's a challenge to get the different crowds worked up while complementing the main act at the same time."

A good opener must have two things: an attenuated awareness for the musical progression of the night, and an extremely large and eclectic record collection. Craig Richards would concur. With a ten year residency at Fabric, London's most respected club, Richards is highly regarded as one of the best opening DJs in the world. Warming up a room is a position Richards fully embraces, "Over the years I have often opted for the warm-up slot. I find it a wonderful challenge which if played properly can result in maximum musical fulfillment."

Great opening DJs know their music and the subtle effects each record transition will have on a dance floor. DJ Yousef, the DJ and promoter behind Liverpool's legendary party, Circus, says for a DJ to successfully warm up a crowd "they need to be aware that the tempo, the groove, the energy and even the texture of every record must be seriously considered." This sensitivity to the way music influences the crowd allows the opener to begin the patient task of drawing people to the dance floor.

Dirtybird's Christian Martin describes it as such: "Your job is to peel people away from the bar, and keep building upon that small nucleus of early dancers that will eventually become a packed dance floor. It's important to pay attention to the mood of the floor and adjust the direction of your set accordingly, without going overboard too early." Martin's last point brings up another extremely important trait of great openers: restraint.

"I know a lot of my fellow DJs feel the pain on so many nights from an inappropriate, overly energetic and mostly far too big warm-up set," Lee Burridge laments. With over 25 years of experience, Burridge is universally recognized as one of the world's most talented DJs. He says great warm-up DJs "understand where the guest DJ starts from—not where they are two hours into their set. The energy needs to be left at a point where the guest DJ can comfortably continue from." Burridge told me that in many cases the opener plays records of such high intensity "I've [sometimes] had to kill the music altogether to reset the energy."

"I've warmed up for many big names over the years and I realized a long time ago that the night wasn't about me alone," Burridge continues, "This seems hard to accept for a lot of upcoming DJs as they want the attention of the people. This attitude totally disturbs the gradual build of the night as a whole." Many young DJs see the opening set as their chance to show what they've got, but the result of this enthusiasm is exactly the opposite. Yousef states when an opening DJs set is "hitting them over the head with an iron fist" of uptempo, peak hour tracks, it "will always result in not getting another gig."

But there is more to opening a room than just keeping the tempo under 124 bpm and playing deep music. The signature of a great opener is defined by a devotion to the music he or she is playing. As Lawler explains, "you can tell when an opener is someone that has just gone onto Beatport's Top 100 [to buy their] Deep House [tracks] and is trying to do it, as opposed to someone who loves and collects the music they are playing. You can always hear passion in a DJ's set."

Craig Richards takes it one step further: "I'm absolutely certain that the music lovers, not the DJs, are fit for the job—the people who can forget themselves for a moment and deliver a groove, a beginning and a sense of belief." The best openers are in many ways the people who are true music lovers, the ones who obsessively collect obscure and eclectic music for the simple joy of it. These DJs know their music so well they intuitively know there is a right track to play in each moment for any audience.

Opening a room requires the ability to step outside what you want to play and, instead, to be conscientious of what the crowd is willing to accept. "As a DJ you have to find the middle ground of being yourself and being mindful of what you think will work on the dance floors of the world's clubs," Yousef explains, "I always play the music I love but I'm experienced enough to enjoy a broad selection of electronic music." Each DJ I spoke with emphasized the need for an opener to have an extensive range in musical tastes and, most importantly, the patience to hold back, and to slowly build the tension in preparation for the headliner.

For both Lawler and Burridge, each sees the role of the opener as important as his own role as the headliner. Lawler tries and takes an opener with him to gigs, "so I know the energy and vibe will be right when I go on." But they each tell me it is often the promoter who chooses a DJ not fit for the role, or sometimes, Burridge says, "The promoter has been known to come into the booth and tell the warm-up to pick it up." In either case, it reveals a lack of understanding in how a night develops. Whereas a nervous promoter wants to see the dance floor packed with people pumping their fists in the air from the start, all the DJs I spoke with saw this as detrimental to the night as a whole. As Richards put it, "There can be nothing worse than an over-enthusiastic start—a soup that burns the mouth or curtains ripped open to let the light in."

But this ultimately leads to one question for the promoter: If you are going to spend the money to fly in and accommodate a world-class DJ, why not spend the extra time and money to get your guest a proper opener? With the high risk inherent in throwing an event coupled with a lack of understanding about the role of the opener, DJs who are picked to warm up a night are often inexperienced and more often than not, underpaid. A promoter can spend thousands of dollars on a headliner, and to rein in costs, will often only spend a couple of hundred on an opener.

So obviously, great opening DJs aren't in it for the money. Instead, these DJs are perhaps the purest music fan in every sense of the word. Since the opener's artistry is built upon subtlety, they rarely receive any accolades. The media often overlooks good warm-ups, instead focusing on the headliners, and only knowledgeable crowds will recognize the skill that goes into the nuance and restraint of slowly building the tension in a room. This often leaves only the headliner's gratitude as any sign of appreciation.

In fact, the biggest reward an opener receives is the opportunity to explore musical territory a headliner often cannot. Playing opening sets "gives justification for buying records that you know will only sound right at certain times," says Craig Richards. "The chance to hear these records loud was and still is my driving force. Playing deep, quirky, delicate tunes at a time when they make sense is an utter pleasure to the man who seeks the truth for the music not the limelight." Successful venues and events have always recognized what a proper opener provides: The atmosphere that is the foundation of any event.

Dj-nya maen dari jam 8?

Padahal orang indonesia dateng ke party pasti jam 11 malem, mau di club ataupun rave.. sangat disayangkan nih..

Makanya Kes...perilaku yang kaya gitu yang harus diubah sama crowd disini. Jangan pada dateng pas tengah2, trus giliran harus bubar...pada complain karena masih "kentang" etc
Opening set DJs deserve equal or even more credit than the headliner..Imho ya
Sori oot nih...lanjut gan

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Gue ga mungkin skip kantor sih do...bos besar gue mau dateng juga soalnya liat Hawtin

You won't miss the great journey from the two massive area. Please do come early