TRISUM (Tohpati, Balawan, Budjana). indonesia dalam dawai gitar

on Rabu, 27 Juli 2011


Penikmat musik instrumental memang sedikit atau boleh dibilang terbatas pada kalangan tertentu (segmented), Tetapi, musik jenis ini harus tetap ada. Demikian pendapat musisi I Dewa Gede Budjana, yang bersama rekannya sesama gitaris, Tohpati, membentuk kelompok Trisum.
Budjana, begitu panggilan akrabnya, mengungkapkan bahwa dirinya bersama Tohpati memang membentuk Trisum sebagai wadah penampung kreasi idealis mereka sebagai guitar player, yang tidak bisa dimasukkan ke dalam pasar musik pop.
"Kan ada karya-karya yang tidak bisa masuk di pasar pop. Untuk itu saya dan Tohpati membentuk Trisum," kata Budjana, yang juga dikenal sebagai gitaris GIGI Band, saat peluncuran album 1st edition Trisum Feat. Balawan di Jakarta, Kamis (10/5).
Hal senada diungkapkan Tohpati, tatkala ia mengatakan, "Ini proyek idealis".
Meskipun diprakarsai oleh mereka berdua, konsep kelompok musik instrumen Trisum dirasakan lebih pas jika menampilkan tiga gitaris utama.
"Kalau main gitar berdua terkadang teraas ada yang kurang," kata Budjana. .
Pakai pendukung
Trisum terbentuk pada 2004, ketika Budjana, Tohpati dan Balawan tampil sepanggung dalam sebuah acara peluncuran produk.
Setahun kemudian mereka bertiga kembali tampil di pergelaran Java Jazz Festival di JHCC Senayan dan dalam konser bertajuk 'Dialog Tiga Gitar', di Graha Bhakti Budaya, TIM pada akhir 2005.
Sejak membentuknya dalam bentuk band, ketiga gitaris tersebut dalam setiap penampilannya selalu didukung oleh sejumlah musisi, termasuk Indro Hardjodikoro (bas), Sandy Winata (dram), Eugen Bounty (klarinet), Bang Sat (seruling) dan Jalu Pratidina (kendang).
Mereka pula yang membantu penggarapan album debut 1st Edition Trisum, yang dilakukan secara live agar mendapatkan roh dan suasana seperti tatkala kelompok ini menggelar konser.
Dirilis SonyBMG dalam format CD regular dan deluxe sebanyak 20.000 keping, album ini berisi sembilan komposisi, termasuk Cublak Cublak Suweng, Jali-Jali, Keroncong Kemayoran (Ismail Marzuki), Kromatiklagi (Budjana), Mahabarata (Tohpati), Guitar in the Midnigt (Budjana, Tohpati), dan Mainz In My Mind (Balawan).
Menjawab pertanyaan wartawan, Budjana mengatakan, "Konsep awalnya memang saya dan Tohpati, tapi kemudian kami melihat ada satu gitaris dengan skill luar biasa, Balawan, dan selama ini kami selalu bertiga".
Ia juga mengatakan, konsep musikal yang diusung bebas, tidak terpatri pada satu jenis jazz-fussion seperti sekarang.
"Kalau nanti bintang tamunya gitaris rock, ya kita main rock. Kalau kita bisa," katanya sambil tertawa.
 
 

from. kapanlagi.com

dewa budjana gear setup

http://www.dewabudjana.com/v2/gear.jpg

Parker Fly Mojo - Natural Mahogany Finish with Deluxe Parker Hardshell Case



Product Features

  • Solid mahogany body with Mahogany neck
  • Seymour Duncan Jazz and JB pickups
  • Carbon glass fretboard
  • Fishman 6-element piezo system
  • Includes hardshell case

Product Details

Shipping Weight: 28 pounds
ASIN: B00113L9BE
Amazon Bestsellers Rank: #100,640 in Musical Instruments

Product Description

A solid mahogany body and neck provide warm resonance to the thick, bold tone generated by genuine Seymour Duncan Jazz and JB pickups. It's light in weight but far from a lightweight, churning out creamy, luscious sounds with enhanced lower mids. Famous Fly playability and comfort is combined with simpler knobs and a more ergonomic control layout, easier-to-use vibrato, improved electronics, carbon glass fretboard, Fishman 6-element piezo system, and Sperzel locking tuners.Includes hardshell case.
 My guitar is the Parker Fly Mojo model in clear coat Honduran Mahogany and with the metal flake brown-bronze back. My comments do not apply to any of Parker's bolt-on neck or foreign made guitars - I have only played two and both were in a different league from a set neck, domestically made Fly.

After the odyssey through Fenders, Gibsons, a Rick, and a Hofner, I have been finding myself using this guitar most of all. You should know that I have not gigged in years, I rarely take a guitar out of the house, and I play daily for my own enjoyment and occasionally with a friend, so my preferences and needs may not be the same as yours.

Some real plusses for me:

1. Truly great craftsmanship. The guitars made since Parker sold out are at least as well made as those before. Fit and finish are second to none.

2. Very versatile array of sounds. The Seymour Duncan humbuckers can replicate so many guitars, and the proprietary piezo-tremolo unit works better than any I have used. The piezo sounds a lot like an acoustic guitar that is equipped with a piezo bridge and it would come in handy for those who only want to schlep one guitar to a gig. Using the stereo cord that comes with the fly, and doing what they suggest, playing the humbuckers through your guitar amp and the piezo through the PA, you get a really nice differentiation of electric and acoustic.

3. The way the carbon fiber fretboard reinforces the neck is great. This guitar stays in tune, even with the tremolo unlocked. The fret board is always smooth when doing extreme bends (I just played my Tele with a one-piece cocobolo neck and noticed the difference right away.) Stainless steel frets are a plus for longer wear and are easy to keep shiny, particularly since they came from the factory without needing any dressing.

4. I like Sperzel tuners a lot and have put them on most of my Fenders. This also contributes to staying in tune.

5. The guitar is light at no more than 5 pounds. With many of the most popular guitars weighing in at twice that weight or more, the difference is very noticeable when grabbing it off the stand by the heck from the coach, for example (I do that a lot), or when standing up with it on for a while. I had though that sustain was greatly influenced by the weight of the guitar as physics suggests it should, but I have come to think that rigidity is a much more significant factor in sustain based on my experience with this Fly.

6. The neck is very thin. I like this for `living-room playing' and it can help my speed in reaching for a fret or jumping around the positions on the neck. When people try the Fly they always remark on the thinness of the neck and how `playable' it is compared to their favorite guitars.

7. Balance is tremendous. That long top bout puts the strap button just where is should be to let you take your hand off the neck without fear of the neck nose-diving towards the floor.

8. Visual appeal. Beauty is in the eye of the beholder, but even those who do not relish the design have to admit that it is a great piece of sculpture.

On the not-so-plus side:

1. The case. Although this is a guitar review, since the case comes with it I feel that is is fair game. The case is poor quality, poor design, and flimsy. There are two Parker hard shell cases and I am panning the one with the big "Parker" embossed on the front. There is another Parker HSC with a small "Parker" embossed in the lower left corner of the front and I am thinking that I will get one of those. Parker sells the big logo version on their website; the one I am looking for is available from the big music stores for a little over a hundred.

2. The thin neck. Okay, you're right, I listed this as a plus, too, but I find that my hand can get a little cramped-up when playing long and hard. Otherwise, no problem. I take breaks, and besides, my hand cramps-up sometimes when I'm not playing the Parker.

3. Battery. Although it is easy to get to and swap for a new one, and the piezo requires it, and it's expected to last for over a hundred hours, it seems that I am replacing it more frequently than I should have to; maybe I'm inaccurate on this. A second battery holder might be nice. For now, I just keep a spare in the case (yeah, the case I hate.) When considering new guitars for the collection, I tend to shy away from those requiring a battery; I also have become much fonder of hard-tails - I hardly ever use a tremolo anyway.

4. Slide. This is a poor choice to set-up as a slide guitar. For slide use, I favor the old and heavy solid bodies where the neck is thick and the frets aren't so great any more. Also, I don't like to get my slides (I use the big, thick, heavy brass slides) anywhere near a guitar with a finish I want to preserve. They eventually will take a toll.

I really like this guitar and if it disappeared, I would buy another. If you see one in a music shop, by all means, pick it up and try it. You won't pull any muscles in your arm when you lift it!




http://www.amazon.com/Parker-Fly-Mojo-Mahogany-Hardshell/dp/B00113L9BE

ARMAND MAULANA

on Minggu, 24 Juli 2011
Armand Maulana yang memiliki nama lengkap Tubagus Armand Maulana adalah vokalis band GIGI. Bungsu dari enam bersaudara pasangan (alm) Tubagus Ahmad Drajat dan (almh) Enden Khadijah ini adalah adik penyanyi dan pembawa acara, (almh) Nita Tilana.
Pria yang lahir di Bandung, 4 April 1971 ini menyukai musik sejak kecil. Saat duduk di bangku SD, Armand pernah tercatat sebagai anggota Genesis Fans Club, sebuah kelompok penggemar kelompok musik rock Genesis. Armand juga pernah menjadi anggota kelompok teater musikal saat SD.
Armand memulai karier di dunia hiburan tanah air sebagai finalis Cover Boy majalah Mode di tahun 1985. Saat itu, Armand masih duduk di kelas 2 SMP 13 Bandung.
Saat SMU, Armand bergabung dengan kelompok vokal di sekolahnya dan selalu menjadi vokalis utama. Armand yang mulai menyadari kemampuan vokalnya berinisiatif membentuk band yang beranggotakan personel band pengiring kelompok vokalnya itu.
Karier menyanyi mulai dijalani Armand secara profesional sejak dia bergabung dengan Next Band pada tahun 1990, dan sempat bergabung dengan Trio Libels pada tahun 1991. Di tahun 1992, Armand merilis album solonya bertajuk KAU TETAP MILIKKU.

Akhirnya pada tanggal 22 Maret 1994, Armand bersama-sama dengan Aria Baron, Thomas Ramdhan, Ronald Fristianto, dan Dewa Budjana mendirikan sebuah kelompok band dengan nama GIGI yang masih bertahan sampai saat ini.
Armand menikah dengan penyanyi Dewi Gita dan telah dikaruniai seorang anak, Naja Dewi Maulana (lahir Oktober 2001).  Kesibukan Dewi Gita sekarang sering kita lihat di layar televisi sebagai sinden di acara OVJ.

ciri khas suara armand yang sangat "ngerock" adalah ciri yang sudah sangat dikenal penikmat musik indonesia. akan tetapi armand mampu membuktikan bahwa suaranya juga terdengar manis. contohnya pada lagu 11 januari, nirwana, damainya cinta, dll.

geliat musik aliran keras indonesia

on Minggu, 17 Juli 2011
Embrio kelahiran scene musik rock underground di Indonesia sulit dilepaskan dari evolusi rocker-rocker pionir era 70-an sebagai pendahulunya. Sebut saja misalnya God Bless, Gang Pegangsaan, Gypsy (Jakarta), Giant Step, Super Kid (Bandung), Terncem (Solo), AKA/SAS (Surabaya), Bentoel (Malang) hingga Rawe Rontek dari Banten. Mereka inilah generasi pertama rocker Indonesia. Istilah underground sendiri sebenarnya sudah digunakan Majalah Aktuil sejak awal era 70- an. Istilah tersebut digunakan majalah musik dan gaya hidup pionir asal Bandung itu untuk mengidentifikasi band-band yang memainkan musik keras dengan gaya yang lebih `liar’ dan `ekstrem’ untuk ukuran jamannya. Padahal kalau mau jujur, lagu-lagu yang dimainkan band- band tersebut di atas bukanlah lagu karya mereka sendiri, melainkan milik band-band luar negeri macam Deep Purple, Jefferson Airplane, Black Sabbath, Genesis, Led Zeppelin, Kansas, Rolling Stones hingga ELP. Tradisi yang kontraproduktif ini kemudian mencatat sejarah namanya sempat mengharum di pentas nasional. Sebut saja misalnya El Pamas, Grass Rock (Malang), Power Metal (Surabaya), Adi Metal Rock (Solo), Val Halla (Medan) hingga Roxx (Jakarta). Selain itu Log jugalah yang membidani lahirnya label rekaman rock yang pertama di Indonesia, Logiss Records. Produk pertama label ini adalah album ketiga God Bless, “Semut Hitam” yang dirilis tahun 1988 dan ludes hingga 400.000 kaset di seluruh Indonesia.

Menjelang akhir era 80-an, di seluruh dunia waktu itu anak-anak muda sedang mengalami demam musik thrash metal. Sebuah perkembangan style musik metal yang lebih ekstrem lagi dibandingkan heavy metal. Band- band yang menjadi gods-nya antara lain Slayer, Metallica, Exodus, Megadeth, Kreator, Sodom, Anthrax hingga Sepultura. Kebanyakan kota- kota besar di Indonesia seperti Jakarta, Bandung, Jogjakarta, Surabaya, Malang hingga Bali, scene undergroundnya pertama kali lahir dari genre musik ekstrem tersebut. Di Jakarta sendiri komunitas metal pertama kali tampil di depan publik pada awal tahun 1988. Komunitas anak metal (saat itu istilah underground belum populer) ini biasa hang out di Pid Pub, sebuah pub kecil di kawasan pertokoan Pondok Indah, Jakarta Selatan. Menurut Krisna J. Sadrach, frontman Sucker Head, selain nongkrong, anak-anak yang hang out di sana oleh Tante Esther, owner Pid Pub, diberi kesempatan untuk bisa manggung di sana. Setiap malam minggu biasanya selalu ada live show dari band-band baru di Pid Pub dan kebanyakan band-band tersebut mengusung musik rock atau metal.

Band-band yang sering hang out di scene Pid Pub ini antara lain Roxx (Metallica & Anthrax), Sucker Head (Kreator & Sepultura), Commotion Of Resources (Exodus), Painfull Death, Rotor (Kreator), Razzle (GN’R), Parau (DRI & MOD), Jenazah, Mortus hingga Alien Scream (Obituary). Beberapa band diatas pada perjalanan berikutnya banyak yang membelah diri menjadi band-band baru. Commotion Of Resources adalah cikal bakal band gothic metal Getah, sedangkan Parau adalah embrio band death metal lawas Alien Scream. Selain itu Oddie, vokalis Painfull Death selanjutnya membentuk grup industrial Sic Mynded di Amerika Serikat bersama Rudi Soedjarwo (sutradara Ada Apa Dengan Cinta?). Rotor sendiri dibentuk pada tahun 1992 setelah cabutnya gitaris Sucker Head, Irvan Sembiring yang merasa konsep musik Sucker Head saat itu masih kurang ekstrem baginya.

Semangat yang dibawa para pendahulu ini memang masih berkutat pola tradisi `sekolah lama’, bangga menjadi band cover version! Di antara mereka semua, hanya Roxx yang beruntung bisa rekaman untuk single pertama mereka, “Rock Bergema”. Ini terjadi karena mereka adalah salah satu finalis Festival Rock Se-Indonesia ke-V. Mendapat kontrak rekaman dari label adalah obsesi yang terlalu muluk saat itu. Jangankan rekaman, demo rekaman bisa diputar di radio saja mereka sudah bahagia. Saat itu stasiun radio yang rutin mengudarakan musik- musik rock/metal adalah Radio Bahama, Radio Metro Jaya dan Radio SK. Dari beberapa radio tersebut mungkin yang paling legendaris adalah Radio Mustang. Mereka punya program bernama Rock N’ Rhythm yang mengudara setiap Rabu malam dari pukul 19.00 – 21.00 WIB. Stasiun radio ini bahkan sempat disatroni langsung oleh dedengkot thrash metal Brasil, Sepultura, kala mereka datang ke Jakarta bulan Juni 1992. Selain medium radio, media massa yang kerap mengulas berita- berita rock/metal pada waktu itu hanya Majalah HAI, Tabloid Citra Musik dan Majalah Vista.

Selain hang out di Pid Pub tiap akhir pekan, anak-anak metal ini sehari-harinya nongkrong di pelataran Apotik Retna yang terletak di daerah Cilandak, Jakarta Selatan. Beberapa selebritis muda yang dulu sempat nongkrong bareng (groupies?) anak-anak metal ini antara lain Ayu Azhari, Cornelia Agatha, Sophia Latjuba, Karina Suwandi hingga Krisdayanti. Aktris Ayu Azhari sendiri bahkan sempat dipersunting sebagai istri oleh (alm) Jodhie Gondokusumo yang merupakan vokalis Getah dan juga
mantan vokalis Rotor.

Tak seberapa jauh dari Apotik Retna, lokasi lain yang sering dijadikan lokasi rehearsal adalah Studio One Feel yang merupakan studio latihan paling legendaris dan bisa dibilang hampir semua band- band rock/metal lawas ibukota pernah rutin berlatih di sini. Selain Pid Pub, venue alternatif tempat band-band rock underground manggung pada masa itu adalah Black Hole dan restoran Manari Open Air di Museum Satria Mandala (cikal bakal Poster Café). Di luar itu, pentas seni MA dan acara musik kampus sering kali pula di “infiltrasi” oleh band-band metal tersebut. Beberapa pensi yang historikal di antaranya adalah Pamsos (SMA 6 Bulungan), PL Fair (SMA Pangudi Luhur), Kresikars (SMA 82), acara musik kampus Universitas Nasional (Pejaten), Universitas Gunadarma, Universitas Indonesia (Depok), Unika Atmajaya Jakarta, Institut Teknologi Indonesia (Serpong) hingga Universitas Jayabaya (Pulomas).

Berkonsernya dua supergrup metal internasional di Indonesia, Sepultura (1992) dan Metallica (1993) memberi kontribusi cukup besar bagi perkembangan band-band metal sejenis di Indonesia. Tak berapa lama setelah Sepultura sukses “membakar” Jakarta dan Surabaya, band speed metal Roxx merilis album debut self-titled mereka di bawah label Blackboard. Album kaset ini kelak menjadi salah satu album speed metal klasik Indonesia era 90-an. Hal yang sama dialami pula oleh Rotor. Sukses membuka konser fenomenal Metallica selama dua hari berturut-turut di Stadion Lebak Bulus, Rotor lantas merilis album thrash metal major labelnya yang pertama di Indonesia, Behind The 8th Ball (AIRO). Bermodalkan rekomendasi dari manajer tur Metallica dan honor 30 juta rupiah hasil dua kali membuka konser Metallica, para personel Rotor (minus drummer Bakkar Bufthaim) lantas eksodus ke negeri Paman Sam untuk mengadu nasib. Sucker Head sendiri tercatat paling telat dalam merilis album debut dibanding band seangkatan mereka lainnya. Setelah dikontrak major label lokal, Aquarius Musikindo, baru di awal 1995 mereka merilis album `The Head Sucker’. Hingga kini Sucker Head tercatat sudah merilis empat buah album.

Dari sedemikian panjangnya perjalanan rock underground di tanah air, mungkin baru di paruh pertama dekade 90-anlah mulai banyak terbentuk scene-scene underground dalam arti sebenarnya di Indonesia. Di Jakarta sendiri konsolidasi scene metal secara masif berpusat di Blok M sekitar awal 1995. Kala itu sebagian anak-anak metal sering terlihat nongkrong di lantai 6 game center Blok M Plaza dan di sebuah resto waralaba terkenal di sana. Aktifitas mereka selain hang out adalah bertukar informasi tentang band-band lokal dan internasional, barter CD, jual-beli t-shirt metal hingga merencanakan pengorganisiran konser. Sebagian lagi yang lainnya memilih hang out di basement Blok Mall yang kebetulan letaknya berada di bawah tanah.

Pada era ini hype musik metal yang masif digandrungi adalah subgenre yang makin ekstrem yaitu death metal, brutal death metal, grindcore, black metal hingga gothic/doom metal. Beberapa band yang makin mengkilap namanya di era ini adalah Grausig, Trauma, Aaarghhh, Tengkorak, Delirium Tremens, Corporation of Bleeding, Adaptor, Betrayer, Sadistis, Godzilla dan sebagainya. Band grindcore Tengkorak pada tahun 1996 malah tercatat sebagai band yang pertama kali merilis mini album secara independen di Jakarta dengan judul `It’s A Proud To Vomit Him’. Album ini direkam secara profesional di Studio Triple M, Jakarta dengan sound engineer Harry Widodo (sebelumnya pernah menangani album Roxx, Rotor, Koil, Puppen dan PAS).

Tahun 1996 juga sempat mencatat kelahiran fanzine musik underground pertama di Jakarta, Brainwashed zine. Edisi pertama Brainwashed terbit 24 halaman dengan menampilkan cover Grausig dan profil band Trauma, Betrayer serta Delirium Tremens. Diketik di komputer berbasis system operasi Windows 3.1 dan lay-out cut n’ paste tradisional, Brainwashed kemudian diperbanyak 100 eksemplar dengan mesin foto kopi milik saudara penulis sendiri. Di edisi-edisi berikutnya Brainwashed mengulas pula band-band hardcore, punk bahkan ska. Setelah terbit fotokopian hingga empat edisi, di tahun 1997 Brainwashed sempat dicetak ala majalah profesional dengan cover penuh warna. Hingga tahun 1999 Brainwashed hanya kuat terbit hingga tujuh edisi, sebelum akhirnya di tahun 2000 penulis menggagas format e-zine di internet (www.bisik.com). Media-media serupa yang selanjutnya lebih konsisten terbit di Jakarta antara lain Morbid Noise zine, Gerilya zine, Rottrevore zine, Cosmic zine dan sebagainya.

29 September 1996 menandakan dimulainya sebuah era baru bagi perkembangan rock underground di Jakarta. Tepat pada hari itulah digelar acara musik indie untuk pertama kalinya di Poster Café. Acara bernama “Underground Session” ini digelar tiap dua minggu sekali pada malam hari kerja. Café legendaris yang dimiliki rocker gaek Ahmad Albar ini banyak melahirkan dan membesarkan scene musik indie baru yang memainkan genre musik berbeda dan lebih variatif. Lahirnya scene Brit/indie pop, ledakan musik ska yang fenomenal era 1997 – 2000 sampai tawuran massal bersejarah antara sebagian kecil massa Jakarta dengan Bandung terjadi juga di tempat ini. Getah, Brain The Machine, Stepforward, Dead Pits, Bloody Gore, Straight Answer, Frontside, RU Sucks, Fudge, Jun Fan Gung Foo, Be Quiet, Bandempo, Kindergarten, RGB, Burning Inside, Sixtols, Looserz, HIV, Planet Bumi, Rumahsakit, Fable, Jepit Rambut, Naif, Toilet Sounds, Agus Sasongko & FSOP adalah sebagian kecil band-band yang `kenyang’ manggung di sana.

10 Maret 1999 adalah hari kematian scene Poster Café untuk selama- lamanya. Pada hari itu untuk terakhir kalinya diadakan acara musik di sana (Subnormal Revolution) yang berujung kerusuhan besar antara massa punk dengan warga sekitar hingga berdampak hancurnya beberapa mobil dan unjuk giginya aparat kepolisian dalam membubarkan massa. Bubarnya Poster Café diluar dugaan malah banyak melahirkan venue- venue alternatif bagi masing-masing scene musik indie. Café Kupu- Kupu di Bulungan sering digunakan scene musik ska, Pondok Indah Waterpark, GM 2000 café dan Café Gueni di Cikini untuk scene Brit/indie pop, Parkit De Javu Club di Menteng untuk gigs punk/hardcore dan juga indie pop. Belakangan BB’s Bar yang super- sempit di Menteng sering disewa untuk acara garage rock-new wave-mellow punk juga rock yang kini sedang hot, seperti The Upstairs, Seringai, The Brandals, C’mon Lennon, Killed By Butterfly, Sajama Cut, Devotion dan banyak lagi. Di antara semuanya, mungkin yang paling `netral’ dan digunakan lintas-scene cuma Nirvana Café yang terletak di basement Hotel Maharadja, Jakarta Selatan. Di tempat ini pulalah, 13 Januari 2002 silam, Puppen `menghabisi riwayat’ mereka dalam sebuah konser bersejarah yang berjudul, “Puppen : Last Show Ever”, sebuah rentetan show akhir band Bandung ini sebelum membubarkan diri.


Scene Punk/Hardcore/Brit/Indie Pop

Invasi musik grunge/alternative dan dirilisnya album Kiss This dari Sex Pistols pada tahun 1992 ternyata cukup menjadi trigger yang ampuh dalam melahirkan band-band baru yang tidak memainkan musik metal. Misalnya saja band Pestol Aer dari komunitas Young Offender yang diawal kiprahnya sering meng-cover lagu-lagu Sex Pistols lengkap dengan dress-up punk dan haircut mohawknya. Uniknya, pada perjalanan selanjutnya, sekitar tahun 1994, Pestol Aer kemudian mengubah arah musik mereka menjadi band yang mengusung genre british/indie pop ala The Stone Roses. Konon, peristiwa historik ini kemudian menjadi momen yang cukup signifikan bagi perkembangan scene british/indie pop di Jakarta. Sebelum bubar, di pertengahan 1997 mereka sempat merilis album debut bertitel `…Jang Doeloe’. Generasi awal dari scene brit pop ini antara lain adalah band Rumahsakit, Wondergel, Planet Bumi, Orange, Jellyfish, Jepit Rambut, Room-V, Parklife hingga Death Goes To The Disco.

Pestol Aer memang bukan band punk pertama, ibukota ini di tahun 1989 sempat melahirkan band punk/hardcore pionir Antiseptic yang kerap memainkan nomor-nomor milik Black Flag, The Misfits, DRI sampai Sex Pistols. Lukman (Waiting Room/The Superglad) dan Robin (Sucker Head/Noxa) adalah alumnus band ini juga. Selain sering manggung di Jakarta, Antiseptic juga sempat manggung di rockfest legendaris Bandung, Hullabaloo II pada akhir 1994. Album debut Antiseptic sendiri yang bertitel `Finally’ baru rilis delapan tahun kemudian (1997) secara D.I.Y. Ada juga band alternatif seperti Ocean yang memainkan musik ala Jane’s Addiction dan lainnya, sayangnya mereka tidak sempat merilis rekaman.

Selain itu, di awal 1990, Jakarta juga mencetak band punk rock The Idiots yang awalnya sering manggung meng-cover lagu-lagu The Exploited. Nggak jauh berbeda dengan Antiseptic, baru sembilan tahun kemudian The Idiots merilis album debut mereka yang bertitel `Living Comfort In Anarchy’ via label indie Movement Records. Komunitas-komunitas punk/hardcore juga menjamur di Jakarta pada era 90-an tersebut. Selain komunitas Young Offender tadi, ada pula komunitas South Sex (SS) di kawasan Radio Dalam, Subnormal di Kelapa Gading, Semi-People di Duren Sawit, Brotherhood di Slipi, Locos di Blok M hingga SID Gank di Rawamangun.

Sementara rilisan klasik dari scene punk/hardcore Jakarta adalah album kompilasi Walk Together, Rock Together (Locos Enterprise) yang rilis awal 1997 dan memuat singel antara lain dari band Youth Against Fascism, Anti Septic, Straight Answer, Dirty Edge dan sebagainya. Album kompilasi punk/hardcore klasik lainnya adalah Still One, Still Proud (Movement Records) yang berisikan singel dari Sexy Pig, The Idiots, Cryptical Death hingga Out Of Control.

Bandung scene

Di Bandung sekitar awal 1994 terdapat studio musik legendaris yang menjadi cikal bakal scene rock underground di sana. Namanya Studio Reverse yang terletak di daerah Sukasenang. Pembentukan studio ini digagas oleh Richard Mutter (saat itu drummer PAS) dan Helvi. Ketika semakin berkembang Reverse lantas melebarkan sayap bisnisnya dengan membuka distro (akronim dari distribution) yang menjual CD, kaset, poster, t-shirt, serta berbagai aksesoris import lainnya. Selain distro, Richard juga sempat membentuk label independen 40.1.24 yang rilisan pertamanya di tahun 1997 adalah kompilasi CD yang bertitel “Masaindahbangetsekalipisan.” Band-band indie yang ikut serta di kompilasi ini antara lain adalah Burger Kill, Puppen, Papi, Rotten To The Core, Full of Hate dan Waiting Room, sebagai satu- satunya band asal Jakarta.

Band-band yang sempat dibesarkan oleh komunitas Reverse ini antara lain PAS dan Puppen. PAS sendiri di tahun 1993 menorehkan sejarah sebagai band Indonesia yang pertama kali merilis album secara independen. Mini album mereka yang bertitel “Four Through The S.A.P” ludes terjual 5000 kaset dalam waktu yang cukup singkat. Mastermind yang melahirkan ide merilis album PAS secara independen tersebut adalah (alm) Samuel Marudut. Ia adalah Music Director Radio GMR, sebuah stasiun radio rock pertama di Indonesia yang kerap memutar demo-demo rekaman band-band rock amatir asal Bandung, Jakarta dan sekitarnya. Tragisnya, di awal 1995 Marudut ditemukan tewas tak bernyawa di kediaman Krisna Sucker Head di Jakarta. Yang mengejutkan, kematiannya ini, menurut Krisna, diiringi lagu The End dari album Best of The Doors yang diputarnya pada tape di kamar Krisna. Sementara itu Puppen yang dibentuk pada tahun 1992 adalah salah satu pionir hardcore lokal yang hingga akhir hayatnya di tahun 2002 sempat merilis tiga album yaitu, Not A Pup E.P. (1995), MK II (1998) dan Puppen s/t (2000). Kemudian menyusul Pure Saturday dengan albumnya yang self-titled. Album ini kemudian dibantu promosinya oleh Majalah Hai. Kubik juga mengalami hal yang sama, dengan cara bonus kaset 3 lagu sebelum rilis albumnya.

Agak ke timur, masih di Bandung juga, kita akan menemukan sebuah komunitas yang menjadi episentrum underground metal di sana, komunitas Ujung Berung. Dulunya di daerah ini sempat berdiri Studio Palapa yang banyak berjasa membesarkan band-band underground cadas macam Jasad, Forgotten, Sacrilegious, Sonic Torment, Morbus Corpse, Tympanic Membrane, Infamy, Burger Kill dan sebagainya. Di sinilah kemudian pada awal 1995 terbit fanzine musik pertama di Indonesia yang bernama Revograms Zine. Editornya Dinan, adalah vokalis band Sonic Torment yang memiliki single unik berjudul “Golok Berbicara”. Revograms Zine tercatat sempat tiga kali terbit dan kesemua materi isinya membahas band-band metal/hardcore lokal maupun internasional.

Kemudian taklama kemudian fanzine indie seperti Swirl, Tigabelas, Membakar Batas dan yang lainnya ikut meramaikan media indie. Ripple dan Trolley muncul sebagai majalah yang membahas kecenderungan subkultur Bandung dan jug lifestylenya. Trolley bangkrut tahun 2002, sementara Ripple berubah dari pocket magazine ke format majalah standar. Sementara fanzine yang umumnya fotokopian hingga kini masih terus eksis. Serunya di Bandung tak hanya musik ekstrim yang maju tapi juga scene indie popnya. Sejak Pure Saturday muncul, berbagai band indie pop atau alternatif, seperti Cherry Bombshell, Sieve, Nasi Putih hingga yang terkini seperti The Milo, Mocca, Homogenic. Begitu pula scene ska yang sebenarnya sudah ada jauh sebelum trend ska besar. Band seperti Noin Bullet dan Agent Skins sudah lama mengusung genre musik ini.

Siapapun yang pernah menyaksikan konser rock underground di Bandung pasti takkan melupakan GOR Saparua yang terkenal hingga ke berbagai pelosok tanah air. Bagi band-band indie, venue ini laksana gedung keramat yang penuh daya magis. Band luar Bandung manapun kalau belum di `baptis’ di sini belum afdhal rasanya. Artefak subkultur bawah tanah Bandung paling legendaris ini adalah saksi bisu digelarnya beberapa rock show fenomenal seperti Hullabaloo, Bandung Berisik hingga Bandung Underground. Jumlah penonton setiap acara-acara di atas tergolong spektakuler, antara 5000 – 7000 penonton! Tiket masuknya saja sampai diperjualbelikan dengan harga fantastis segala oleh para calo. Mungkin ini merupakan rekor tersendiri yang belum terpecahkan hingga saat ini di Indonesia untuk ukuran rock show underground.

Sempat dijuluki sebagai barometer rock underground di Indonesia, Bandung memang merupakan kota yang menawarkan sejuta gagasan-gagasan cerdas bagi kemajuan scene nasional. Booming distro yang melanda seluruh Indonesia saat ini juga dipelopori oleh kota ini. Keberhasilan menjual album indie hingga puluhan ribu keping yang dialami band Mocca juga berawal dari kota ini. Bahkan Burger Kill, band hardcore Indonesia yang pertama kali teken kontrak dengan major label, Sony Music Indonesia, juga dibesarkan di kota ini. Belum lagi majalah Trolley (RIP) dan Ripple yang seakan menjadi reinkarnasi Aktuil di jaman sekarang, tetap loyal memberikan porsi terbesar liputannya bagi band-band indie lokal keren macam Koil, Kubik, Balcony, The Bahamas, Blind To See, Rocket Rockers, The Milo, Teenage Death Star, Komunal hingga The S.I.G.I.T. Coba cek webzine Bandung, Death Rock Star (www.deathrockstar.tk) untuk membuktikannya. Asli, kota yang satu ini memang nggak ada matinya!

Deluxe Lone Star Stratocaster

There have been about a million variations on the classic Stratocaster theme since its 1954 introduction. Some of them have been less than obvious to the casual glance, like changes in neck construction methods and the move to 3 ply pickguards back in the early days. Others have been pretty over the top, like the old Ritchie Sambora signature model with a Floyd Rose bridge and star shaped inlays. The Deluxe Lone Star Stratocaster doesn’t try to be too drastically different from the classic Strat blueprint, so what is it that sets this one apart, and why has Fender decided to reissue the guitar only a few years after discontinuing it?
The chief difference with the Lone Star Strat is its choice of pickups, all of which have a distinctive Texas pedigree. The neck and middle pickups are Fender’s own Texas Special single coils. These pickups first surfaced on the original Stevie Ray Vaughan signature model in the early 90s. They’re wound hotter than the average single coil for thicker, fatter tone with a higher output for that down and dirty blues sound. They’re especially happy when kicking a cranked valve amp right where it counts. The bridge pickup is a Seymour Duncan Pearly Gates Plus model, which Seymour himself designed when Billy Gibbons of ZZ Top wanted a pickup to make any guitar sound like his beloved 1959 Gibson Les Paul, a guitar which Gibbons named …Pearly Gates. Electronics include tone controls for the bridge and neck pickups, and a 5-way pickup selector switch. Position 2 on the switch combines the full humbucker with the middle single coil. Some companies might split the humbucker into a single too for this setting, but the extra toughness of the full humbucker is in keeping with the Lone Star vibe.
Besides the pickups, appointments on this model include a brown shell pickguard, a vintage-tinted C-shaped maple neck with rosewood fretboard and 21 medium jumbo frets. The fretboard radius is a roundish 9.5”. With this type of radius, a very low string height can sometimes result in choked out notes when bending, but careful maintenance of a good setup can avoid this. The factory setup has the strings at a nice medium height, great for digging in hard for gutsy, tough blues, and for really grabbing the strings for big soulful bends.
The Lone Star Strat has a vintage style synchronized tremolo bridge, and although this is in no way a Stevie Ray Vaughan signature model, it does make me reflect on how SRV never made the switch to guitars with a two-point knife edge tremolo, so it in the spirit of Texas blues it makes sense to see the old six-screw version represented here. The body is alder, a common wood for Stratocasters, with a nice balance of frequencies.
The Pearly Gates humbucker sounds killer on a Strat. The upper midrange response makes this a great axe for those who want a Satriani style tone but don’t want to play a high tech Ibanez to get it, and when driving a dirty, overdriven amp the sound opens up beautifully. The pickup responds especially well to Jeff Beck-style finger picking, and it tracks very well for fast playing.
The Texas Specials have that up-front, punchy sound associated with SRV: tight bass, immediate impact, and open treble. There is a wide range of tonal flexibility available by adjusting the guitar’s volume control, and without too much work you should be able to find a sweet spot with the volume at about 2/3 of the way up where the single coils sound more bell-like, before cranking it back to 10 for more fatness and grunt.
The Lone Star Stratocaster is for those who want a traditional Strat but need a bit more power and flexibility. It’s a Stratocaster for those who like their steak rare or, to partially quote Homer Simpson, people who like their beer cold and their TV loud.
SPECS:
Body: Alder
Neck: Tinted maple
Fretboard: Rosewood, 21 medium jumbo frets, 9.5” radius.
Pickups: Seymour Duncan Pearly Gates Plus (bridge), Fender Texas Special (neck, middle).
Extras: Deluxe padded gig bag.

DigiTech Whammy WH4 Pedal review


The DigiTech Whammy Pedal first arrived on the scene in the early 1990s (I remember first seeing it in an ad in the British magazine Guitar way back then), and was quickly adopted by the big wigs of the shred movement, such as Steve Vai and Joe Satriani, for high pitched sonic freakout squeals and other tricks. The pedal was originally designed and marketed as a way of copying whammy bar effects on fixed bridge guitars such as Les Pauls and Telecasters, right around the time that dive bombs and racing car effects started to go out of fashion. However, players soon realised that the ‘pitch up’ settings were of more musical use than ‘pitch down,’ and a sonic revolution ensued.
The more textural side of the Whammy Pedal effect was explored by Jimmy Page on the Coverdale-Page album, where it was used to simulate slide guitar in the song “Over Now.” Tom Morello of Rage Against The Machine continues to use the Whammy to good effect as a pitch shifter and to simulate DJ scratching, and Living Colour bass player Doug Wimbish is rarely seen without a Whammy underfoot.
I got my first Whammy Pedal in about 2004 or so, and while I later traded it in when I was lured by a multi effects pedal, I’m planning to buy another soon (A WH4 was provided on loan for the purposes of review). I’m such a Whammy Pedal geek that I even had an ad for the WH-4 reissue stuck up on my wall for a while. My name is Peter, and I am a Whammy Pedal Addict.
Back to the WH4. The Whammy effect is turned on and off by a switch at the bottom right corner of the unit, while a wah-style expression pedal provides for realtime control of the effect itself. An effect matrix with LEDs and a control knob allow you to select the basic setting from three effect groups: Harmony, Whammy, and Detune. Options in Harmony mode, with the pedal down and up respectively: Octave down/Octave up; 5th down/4th down; 4th down/3rd down; 5th up/7th up; 5th up/6th up; 4th up/5th up; 3rd up/4th up; flat 3rd up/3rd up; and 2nd up/3rd up. Detune modes include Shallow and Deep, for doubling or chorus effects. Whammy settings include 2 octaves up; 1 octave up; 1 octave down; 2 octaves down; Dive Bomb; and Drop Tune. The WH4 updates the original WH1 with MIDI control (as well as the Dive Bomb setting, which gives the effect of a whammy bar pushed all the way to the body of the guitar). So now you can program patch changes via your MIDI controller, very handy indeed if you wish to switch from pure, straight octave-up mode for one part of a song, and a harmony setting for another.
The Whammy has wet and dry outputs, for sending an unaffected signal to one amp and the effected one to another for extra wide harmony or chorus effects. Just imagine stomping on the pedal and having your original note coming out of one amp, while the other is blasting out the same riff a 5th below (hint: try this with the groovy main section of Steve Vai’s ‘The Animal’). When only the wet output is used, it combines a dry signal with the effected one.
By the way, I like to place the Whammy Pedal first in my signal chain, so my rig responds to it just like it would if I actually bent the note that far with my fingers. This also helps to drastically reduce the digital artefacts you hear if you run the unit through your effects loop, and also allows it to track more cleanly than if it had to distinguish your notes through a sea of effects and distortion. However, if you plan to use it for harmonizer effects it will sound better in the effect loop.
The most logical (and fun) thing to do with the Whammy pedal is set it to 1 or 2 octaves up and step on that sucker for wild “Weeeeeeee!” sounds. Chances are that this is the very first thing pretty much everyone does when they first get their feet on one. But there’s so much more to it than just making monkey noises and playing Satch’s “Cool #9.” The Detune settings can be operated by the rocker pedal to precisely time chorus effects to the tempo of the song; can be left static in Shallow for that Eddie Van Halen wide stereo sound (from the 5150 album onwards); or can be set to Deep for a similar effect to the automatic double tracking used on the second guitar solo of Pink Floyd’s “Money.” The 5th up/6th up setting is great for faking pedal steel lines with a clean tone – just hold a note and rock the pedal for authentic B-Bender-type licks.
The 4th up/5th up setting is home to some unique sounds used by Vai on “The Blood And The Tears” and “The Ultra Zone,” and while different players prefer to place the pedal in different points in the signal chain, this particular setting seems to work especially well as the first pedal your guitar plugs into. At one rehearsal I used this setting with a fuzz pedal, and the shifting harmonic overtones and feedback were beyond cool.
The octave down Harmony settings add a lot of girth and muscle to low riffs: try the Octave Down pedal position while using the Octave Down/Octave Up setting to add a lower octave to chunky single-note riffs, then emphasise specific notes by pressing the pedal down to raise the doubled note by an octave for a cool fake pinch harmonic sound.
The DigiTech Whammy is a gateway to creativity, and while it’s easy to get caught up in some of the more classic tricks and settings, its’ worth delving that little bit deeper to see what unique sounds you can come up with. The sound of this pedal can vary wildly depending on where you place it in the signal chain, and luckily DigiTech seem to be very aware of what kind of punishment players could put the unit through in the heat of passion, as it’s very solidly built – able to withstand a hefty stomping and keep going.
Specs:
Sample Rate: 46.875 kHz
Frequency Response Dry: 20 Hz to 20kHz
Frequency Response Wet: 20 Hz to 12kHz
Signal to Noise Ratio: Greater than -95dB (A weighted); ref = max level, 22 kHz bandwidth
THD: 0.006% (1kHz); ref = 1dBu w/ unity gain
A/D Conversion: 24-bit
D/A Conversion: 24-bit
Max Input: +8.8 dBu
Max Output: +8.8 dBu
Pitch Bend: +2/-3 Octaves
Detune: -4 to -30 cents
Dimensions (L x W x H): 8 x 6.3 x 2.5 in.
Weight: 1.6 kg

ular raksasa 17 meter

ular raksasa
Foto diatas adalah foto satu dari dua ular raksasa yang ditemukan oleh para pekerja Cina yang sedang mengerjakan proyek pembukaan jalan baru diluar kota Guping, provinsi Jiangxi.
Mereka awalnya sedang menggali tanah menggunakan bulldozer.
“Pada proses penggalian yang ketiga, si operator melihat ada darah pada tanah yang sedang digali. Dan pada proses penggalian berikutnya ular tersebut muncul dengan kondisi sekarat.”, kata sebuah sumber.
“Pada waktu yang hampir bersamaan, ular boa raksasa yang kedua muncul dengan mulut yang terbuka. Si operator bulldozer langsung ketakutan saat itu, dan bersamaan dengan pekerja lain mereka segera melarikan diri.”
“Ketika pekerja-pekerja tersebut kembali ke lokasi, ular boa yang terluka telah mati, sementara ular yang satunya lagi menghilang.”
Sumber tadi kemudian mengatakan, si operator bulldozer tersebut begitu trauma sehingga ia terkena serangan jantung dan dalam perjalanan ke rumah sakit ia meninggal.
Ular boa yang mati tersebut memiliki panjang 16.7m dengan bobot 300kg, dan diperkirakan berumur 140 tahun.
Namun, pemerintah Cina setempat menyangkal berita tersebut dengan mengatakan bahwa cerita dan foto yang tersebar di internet terlalu dibuat-buat.

tips membeli symbal

buat temen-temen yang merintis karir jadi drumer ato sekedar pengin jadi penjual alat musik, posting ini wajib dibaca.


Setiap Cymbal berbeda! dan seorang Drummer perlu mencari suara apa yang paling pas untuk drum set mereka.
Berikut adalah beberapa hal yang perlu anda pertimbangkan sebelum pergi ke toko musik saat membeli cymbal untuk drum set Anda.

Bawalah Stick Anda Sendiri!


Ketika Anda pergi ke toko yang menjual drum set. Anda perlu membawa stick Anda sendiri untuk digunakan ketika Anda sampai di sana. Anda akan lebih nyaman dengan stick Anda sendiri dan bisa merasa suara cymbal akan sangat berbeda menggunakan stik yang berbeda dan Anda akan mendapatkan rasa keliru atau tidak seperti yang Anda inginkan. Alasan lain untuk membawa sendiri stick sendiri sebenarnya sederhana, suara cymbal tidak sama bunyinya dengan stick yang berbeda! Terutama Cymbal Ride / Hi-Hats, di mana Anda memukul cymbal tersebut terutama dengan Heat dari stick itu. Tergantung pada stick Anda terbuat bahan apa dan apa jenis bahan dari head (kayu / nilon / karet / dll) cymbal akan memiliki karakteristik yang berbeda. Perlu diingat bahwa setiap Cymbal berbeda! dan seorang Drummer perlu mencari suara apa yang paling pas untuk drum set mereka.

Ajaklah Teman, Jangan Pergi Sendiri!

Sama seperti berenang di danau sendirian, itu bukan ide yang bagus untuk pergi membeli cymbal sendiri. Ajaklah seorang teman. Anda harus mampu mendengar bagaimana cymbal Anda terdengar dari kejauhan. Anda mungkin merasa suara cymbal bagus ketika anda memukulnya, tetapi dari jarak 20-30 kaki mungkin akan terdengar mengerikan. Ketika Anda selesai memukul cymbal berdiri kembali dan suruh teman Anda memukulnya, dan dengarkan suara cymbal tersebut dari kejauhan.

Cari Apa Yang Anda Sukai!

Saat Anda pergi untuk membeli cymbal pastikan untuk mengabaikan cymbal yang “direkomendasikan” oleh seorang sales, dan tentukan sendiri yang Anda suka. Bahkan jika Anda Menemukan sebuah Cymbal ataupun drum set yang lebih murah daripada apa yang sedang “direlomendasikan”, oleh orang-orang di belakang kasir.

Mainkan Semua Merek!


Setiap nama besar produsen Cymbal (Zildjian, Sabian, Paiste dll) membuat jenis cymbal yang sama. Ketika Anda sudah sampai di toko yang menjual drum set, coba habiskan beberapa waktu bermain-main dengan masing-masing merek. Misalnya, jika Anda akan membeli sebuah Cymbal crash 18 inchi, periksa masing-masing merek dan dengarkan yang bagaimana suara yang Anda sukai. Anda tidak hanya akan menemukan suara yang normal dari crash 18 inchi tetapi Anda akan menemukan varian di atasnya. Sebagai contoh, Cymbal bisa jadi " finishing yang sempurna " (A Zildjian) atau mungkin dari seri yang membuat suara crash lebih dry (Zildjian K).
Sesuaikan dengan drum set yang Anda miliki.

Bawalah Brass Anda Sendiri!

Jika Anda sudah memiliki cymbal, bawa ke toko musik untuk membandingkannya dengan bagaimana yang ingin Anda beli. Ini adalah hal yang besar untuk dilakukan terutama ketika upgrade, telinga Anda akan mulai mendengar tonalitas lebih baik dari cymbal baru dibandingkan dengan bagaimana suara cymbal yang sudah Anda miliki!

Jadilah Diri Anda Sendiri!

Sekali lagi, belilah apa yang Anda Suka. Kembangkan gaya dan suara Anda sendiri. Jangan membeli cymbal hanya karena “rekomendasi” dari teman Anda atau yang dipaksakan oleh yang sales ingin mendapat komisi besar.

Bersenang-senanglah!

Anda baru membeli beberapa cymbal baru anda inginkan selama ini, bersenang-senanglah!
Pukullah mereka dengan nyaring, mainkan drum set anda dengan gaya Anda, Have fun! Dan cobalah untuk tidak terlalu banyak menghabiskan uang Anda! Semua A Custom yang mengkilap dapat menambahkan “kepercayaan diri anda”. ^_^

Anda harus selalu ingat bahwa setiap Cymbal berbeda! dan seorang Drummer perlu mencari suara apa yang paling pas untuk drum set mereka.

YAMAHA C390 Classic guitar

http://www.galerimusikindonesia.com/components/com_virtuemart/shop_image/product/076bbbe3bad81b0a5005d5840ca71093.jpg
 ini gitar yang saya pake buat ikut perkuliahan di kampus saya untuk mata kuliah gitar klasik dasar.
saya cuma pengin share kualifikasi gitar ini.

Price: Rp.900.000  (gak tau kalo naik apa turun) saya dapat di crescendo yogyakarta aja 990.

The craftsmen at Yamaha specially redesigned the guitars in their C series with slightly thinner sides and back as well as a thinner finish to deliver better sound response. These instruments also have thinner necks to increase playability, and are slightly lighter in weight, offering greater volume as well as extended comfort. The overall results are instruments that deliver a mature, balanced tone throughout their entire range with exceptional quality, durability and cost performance.
Yamaha C390 Classical Guitar Features:
  • Top: Solid Sitka Spruce
  • Back & Sides: Rosewood
  • Neck: Nato
  • Fingerboard: Ebony
  • Bridge: Rosewood
  • Strings length: 650mm (25.6")
  • Tuning Machine: Gold (YTM-06)
  • Finish: Gloss 
tips beli gitar ini. belilah dengan orang yang paham betul karakter gitar klasik yang bagus. pilih yang suaranya open dan pegangannya enak. pilih yang bersih tanpa cacat. oke oke

How do I set up my John Petrucci guitar?

When restringing, turn the tuner's holes toward the corresponding nut slots. This will keep the strings as short as possible for more stable tuning. The next step is to check the relief in the neck by holding the lowest string down on the second fret with your fretting hand; then hold it down on the 12th fret with your right thumb and tap on the string on the middle of these two points to show how straight the neck is. It should be no more than the thickness of a thick business card, no more than that, though it can be less. If there is no relief a little pressure in the middle of the neck should take care of it. If it does not, feel free to contact us.
With the guitar tuned to pitch in the playing position and looking down the body, the top of the body, the top of the bridge should be parallel (both front to back, bass to treble side) to or slightly higher than the body with the bottom still recessed. The saddles should not come in contact with the cover and the intonation screws. If this occurs, lower the saddles and raise the bridge. After every adjustment, it is necessary to re-tune the guitar.
Factory string setting for standard tuning starts at the bass side 2/32" (1.59 mm) to 5/64" (1.98 mm) and the treble side is 3/64" (1.19 mm) to 2/32" (1.59 mm) measured from the 12th fret to the bottom of the strings. The top of the strings should have the radius of the fretboard when you are looking at the strings in the playing position and by rotating the instrument while at the same time bringing strings into view one at a time. Remember, string height is ultimately determined by your preference and playing style, as well as the string gauge and tuning (if you you use an alternate tuning). Again, after every adjustment it is necessary to re-tune the guitar, to give you a starting reference.
Now, you are ready to play your guitar. If a string buzzes on an open string to the 5th fret and no higher, more relief is needed. If there is more buzz from the 5th to the 12th fret, the neck needs to be straighter. You should check the string height after every adjustment. If the buzzing happens throughout the neck, the string height needs to be increased.
When setting up, always consider all of the other changes that will occur with every adjustment, starting with step one, tuning up after each step you take.
For intonation, check the harmonics to the fretted note on the twelfth fret If the fretted note is sharp, you need to make the string longer by turning the intonation screw for that string (located on the tail end of the bridge) clockwise, counter-clockwise if the fretted note is flat.If you turn the screw counter-clockwise, always turn the screw clockwise afterwards. (If you don't play much above that fret, you can skip the next step). Also check the harmonics at the 19th fret after the twelfth fret is set, repeating the procedure above. Make sure that the string is coming off of the saddle straight and not at an arch.

http://www.music-man.com/faq/music-man-guitars/how-do-i-set-up-my-john-petrucci-guitar.html

tips simpel belajar drum buat pemula

ada beberapa tips simpel yang saya kumpulin dari teman2 blogger dan teman2 musisi di kampus saya.
1. Gunakan ear plug (penutup telinga) guna melindungi telinga dari kerusakan dan selalu gunakan pada saat latihan dan tampil. (nggak juga gak papa)
2. Biasakan untuk menggunakan metronome setiap kali akan berlatih drum sehingga tempo loe senantiasa stabil. PENTING!!
3. Rileks, bermain drum jangan tegang dan jangan membuang-buang tenaga, tidak ada gunanya. kadang ada orang yang lebih ngutamain gaya ketimbang mainnya, ini yang namanya drumer payah
4. Selalu menyiapkan stick sendiri lebih dari satu pasang jika ingin tampil. bayangin kalo pas lagi maen jatoh trus ga ada cadangan
5. Jangan cepat puas dengan ilmu yang telah loe dapat, teruslah menambah ilmu.
6. Jangan fanatik pada satu atau dua aliran lagu saja, hal inilah yang dapat menghambat kreatifitas pemain dan membuat permainan loe menjadi monoton dan membosankan. Cobalah berbagai macam aliran musik dan usahakan loe dapat memainkan seluruh aliran musik yang ada.
7. Dalam bermainan drum harus melibatkan feel atau harus benar2 dirasakan, jangan asal pukul dan jangan pernah berpikiran bahwa semakin keras pukulan loe akan semakin bagus. Dan jangan juga loe berpikir bahwa semakin cepat loe bermain maka loe semakin hebat. Tidak juga, kekerasan dan kecepatan tidak ada sangkut pautnya dengan musikalitas.
8. Berlatih dari tempo yang lambat dan jika sudah sangat terbiasa, tingkatkan temponya perlahan-lahan. Bukankah loe harus belajar berjalan dulu baru bisa lari.
9. Dengarkan musisi lainnya, jangan hanya terfokus pada diri sendiri, dengarkan yang lain.
10. Jadilah pemain drum yang kreatif, beri variasi pada setiap permainan drum yang loe dapat. Karena drum masih merupakan sesuatu yang ‘baru’, masih banyak variasi baru yang bisa loe dapatkan.[klinikdrum]
11. cobalah untuk ngejam dengan berbagai macam aliran musik dan berbagai jenis musisi.
12. dalam format band, chemistry dengan bassist adalah hal wajib. usahakan groove yang dihasilkan bisa bikin beat yang enak.
Note: Untuk ear plug loe dapat membelinya di apotik yang besar atau di toko yang menjual perlengakapan militer. Untuk metronome disetiap toko musik pasti ada, dan carilah yang digital.
ear plug
metronome

#pick one. Eno netral or Ikmal TRIAD?


Anda semua Sudah tau kan siapa ENO (NETRAL)..??? Ya.. ” TRAVIS Barker “nya Indonesia.. Gak tau kenapa kok Drumer Indonesia yang satu ini mirip banget ama TRAVIS BARKER..  Mulai dari : Style, Setup Drum ampe Cara Mukulnya… engga kalah menariknya Drumer The Rock (Indonesia) Ikmal Tobing, Anaknya Jelly Tobing (drummer legendaris).
Waktu ngeliat ulang Video “Pertempuran Hati” nya NETRAL, langsung saya bandingin Eno ama Travis yang ada di video ” When your heart stop beating ” nya +44..   Keren Gila.. Tapi apakah ENO terkenal karena Permainan “Nge-Drum” nya apa “TRAVIS look a like”.. yang jelas sih sepengetahuan anedisini, Band Netral jadi idup kaya sekarang karena didominasi sama Eno Netral and personil barunya.. Gak kaya dulu..
Walaupun gaya fashion dan style permainannya plagiat travis barker, enggak dipungkiri lagi kalo dia emang jago.. ada beberapa hal yang kurang klo di bandingin sama travis dari Eno,
  1. Tato na kurang (ya iya lah)heheh.. kidding
  2. Drum Kit’nya. . klo travis kan Orange County
Tapi kenapa Eno pake Sabian ya??
Buat lebih lengkapnya, simak ulasan berikut..!!
Eno ‘Netral’ Gitara Ryanto
Nama Lengkap : Eno Gitara Ryanto
Lahir di Jakarta, 11 Oktober 1979
Eno Gitara Ryanto dan Travis Landon Barker, kedua drummer ini serupa tapi tak sama. Sudah tentu Eno lah yg “sedikit” meniru sang master drummer Travis. Tapi gapapa, Eno pun pernah mengaku permainan Drumnya terinspirasi dari Travis barker, menurut Eno Travis mempunyai permainan drum yang khas, dan memang banyak terbukti bahwa tidak sedikit orang yg bisa sukses dengan meniru.
Memang jika kita cermati musik-musiknya Netral memang ketukan drumnya Eno dengan permainan drum Travis sangat mirip.
Tidak hanya permainan Eno saja yang mirip dengan Travis, tapi juga dandanannya. Mulai dari model rambut mohawk, kaos sleeveless, celana, sampai-sampai Eno pun memakai Clothing linenya Travis bernama “Famous Stars & Straps
Discography :
1. 9 Juni 1999 Album Keempat “Paten”
2. 30 Juli 2000 Album “netral is the best“
3. 28 Agustus 2001 Album “Oke Dech“
Karier Bermusik :
1. Thn.1998 : Djakarta Band
2. Thn.1999 : Di netral Album ke-4 “PATEN”
3. Thn.2000 : netral is The Best
4. Thn 2001 : netral Album “Oke Dech“
Ke’cathcy-an’ nya :
Rambut Mohawk & Kaos Sleeveless [lengan putung ato ketek sampe pinggul nampak jelas terpancar] ala Travis Baker Drumer Blink 182.
Ikmal ‘The Rock’ Tobing
Ikmal Tobing, Lahir di Jakarta 31 maret 1989
Anak dari penabuh drum hebat Jelly Tobing ini memang mewarisi kehebatan apa yang dimiliki oleh ayahnya. Jelly memang menaruh harapan besar supremasinya sebagai drummer menitis pada Ikmal yang kini berdandan ala punk dengan rambut mohikan.
Beberpa tahun silam Ikmal meniti karir sebagai drummer di band Portal & Flip.
Sekarang Ikmal yang sudah masuk formasi The Rock.”Waktu Ikmal berniat jadi drummer. Saya cuma berpesan pada dia. Kamu harus menguasai 3 lagu rock yaitu “Rock and Roll” nya Led Zeppelin, “Highway Star” nya Deep Purple dan “Tom Sawyer” nya Rush. Alhamdulillah setelah itu Ikmal banyak dilirik orang sebagai drummer” tandas Jelly Tobing tentang anaknya itu.
Ke’cathcy-an’ nya :
Rambut Mohawk & Kaos Sleeveless ala Eno Netral & juga pukulan snare’nya yang memang ciri dari Ikmal.

 

Marilyn Manson

Marilyn Manson (born Brian Hugh Warner on January 5, 1969) is an American musician, artist and former music journalist known for his controversial stage persona and image as the lead singer of the eponymous band, Marilyn Manson. His stage name was formed from juxtaposing the names of two 1960s American cultural icons, namely actress Marilyn Monroe and convicted multiple murder mastermind Charles Manson as a critical and, simultaneously, laudatory appraisal of America and its peculiar culture. He has a long legacy of being depicted in the media as a detrimental influence on young people. The seemingly outrageous styles for which he models and the controversy surrounding his lyrics have led to his very pronounced public appeal.

Early life

Manson was born in Canton, Ohio. He is the only child of Barb (née Wyer) and Hugh Warner.[7] Manson is of German descent on his father's side, and is a fourth cousin twice removed of Conservative commentator Pat Buchanan.[7][8] In his autobiography The Long Hard Road Out of Hell, he detailed his grandfather's sexual fetishes (including bestiality and sadomasochism) influence to the forming of Marilyn Manson and the Spooky Kids. The environment in his childhood made him vulnerable to further abuse and he was molested several times by a neighbor. The trauma put him on a path of rebellion.
As a child, he attended his mother's Episcopalian church, though his father was Catholic.[9][10] Warner attended Heritage Christian School from first grade to tenth grade. He later transferred to Cardinal Gibbons High School in Fort Lauderdale, Florida. Manson graduated from high school in 1987, and became a student at Broward Community College in 1990. He was working towards a degree in journalism and gaining experience in the field by writing music articles for a South Florida lifestyle magazine, 25th Parallel. He would soon meet several of the musicians to whom his own band would later be compared, including My Life With the Thrill Kill Kult and Trent Reznor of Nine Inch Nails.

Career

Music

Manson formed Marilyn Manson & the Spooky Kids in Florida in 1989 (the name was shortened to Marilyn Manson in 1992). While with The Spooky Kids, he was involved with Jeordie White (also known as Twiggy Ramirez) and Stephen Gregory Bier Jr. (also known as Madonna Wayne Gacy) in two side-projects: Satan on Fire, a faux-Christian metal ensemble where he played bass guitar, and drums in Mrs. Scabtree, a collaborative band formed with White and then girlfriend Jessicka (vocalist with the band Jack Off Jill) as a way to combat contractual agreements that prohibited Marilyn Manson from playing in certain clubs. In the summer of 1993, the band drew the attention of Trent Reznor. Reznor produced their 1994 debut album, Portrait of an American Family and released it on his Nothing Records label. The band began to develop a cult following, which grew larger with the release of Smells Like Children in 1995. That EP yielded the band's first big MTV hit with "Sweet Dreams (Are Made Of This)," a cover of the 1983 Eurythmics hit. Antichrist Superstar (co-produced by Trent Reznor) was an even greater success.[11]
In the US alone, three of the band's albums have been awarded platinum certification, three more gold, and the band has had five releases debut in the top ten, including two number-one albums. Manson first worked as a producer with the band Jack Off Jill. He helped name the band and produce most of the band's early recordings, and also played guitar on the song "My Cat" and had the band open most of his South Florida shows.[12] Manson later wrote the liner notes to the band's album Humid Teenage Mediocrity 1992-1995, a collection of early Jack Off Jill recordings. Manson has appeared as a guest performer on DMX's album Flesh of My Flesh, Blood of My Blood[13] and on Godhead's 2000 Years of Human Error album — the only album released on his vanity label Posthuman.[14][15]

Film and television

Manson made his film debut in 1997, as an actor in David Lynch's Lost Highway. Since then he has appeared in a variety of minor roles and cameos, including Party Monster; then-girlfriend Rose McGowan's 1998 film Jawbreaker; Asia Argento's 2004 film The Heart Is Deceitful Above All Things; Rise; and The Hire: Beat The Devil, the sixth installment in the BMW Films series. He was interviewed in Michael Moore's political documentary Bowling for Columbine discussing possible motivations for the Columbine massacre and allegations that his music was somehow a factor. He has appeared in animated form in Clone High and participated in several episodes of the MTV series Celebrity Deathmatch, becoming the show's unofficial champion and mascot; he often performed the voice for his claymated puppet, and contributed the song "Astonishing Panorama of the Endtimes" to the soundtrack album. In July 2005, Manson told Rolling Stone that he was shifting his focus from music to filmmaking - "I just don't think the world is worth putting music into right now. I no longer want to make art that other people — particularly record companies — are turning into a product. I just want to make art."
Johnny Depp reportedly used Manson as his inspiration for his performance as Willy Wonka in the film Charlie and the Chocolate Factory. Manson himself expressed interest in playing the role of Willy Wonka in the film.[16][unreliable source?]
He had been working on his directorial debut, Phantasmagoria: The Visions of Lewis Carroll, since 2004, with Manson also set to portray the role of Lewis Carroll, author of Alice's Adventures in Wonderland. Initially announced as a web-only release, it was later decided to give the estimated $4.2 million budget film a conventional cinema release, with a slated release date of mid-2007. The film was to have an original music soundtrack with previously unreleased songs.[17] Production of the film had been postponed indefinitely until after the Eat Me, Drink Me tour.[18] In 2010, studio bosses shut down production on the project, reportedly due to viewers responses over the violent content of clips released on the internet. The film was later officially put on "indefinite production hold".[19] However, Manson will portray metalband frontman Lars in the upcoming slasher Splatter Sisters, for which he will also contribute an original soundtrack.[20]

Art

Manson claimed in a 2004 interview with i-D magazine to have begun his career as a watercolor painter in 1999 when he made five-minute concept pieces and sold them to drug dealers. On September 13–14, 2002, his first show, The Golden Age of Grotesque, was held at the Los Angeles Contemporary Exhibitions Centre. Art in America's Max Henry likened them to the works of a "psychiatric patient given materials to use as therapy" and said his work would never be taken seriously in a fine-art context, writing that the value was "in their celebrity, not the work".[21] On September 14–15, 2004, Manson held a second exhibition on the first night in Paris and the second in Berlin. The show was named ‘Trismegistus’ which was also the title of the center piece of the exhibit – a large, three-headed Christ painted onto an antique wood panel from a portable embalmers table.
Manson named his self-proclaimed art movement Celebritarian Corporation. He has coined a slogan for the movement: “We will sell our shadow to those who stand within it.” In 2005 he said that the Celebritarian Corporation has been "incubating for seven years" which if correct would indicate that Celebritarian Corporation, in some form, started in 1998.[22]
Celebritarian Corporation is also the namesake of an art gallery owned by Manson, called the Celebritarian Corporation Gallery of Fine Art in Los Angeles for which his third exhibition was the inaugural show. From April 2–17, 2007, his recent works were on show at the Space 39 Modern & Contemporary in Florida. 40 pieces from this show traveled to Germany's Gallery Brigitte Schenk in Cologne to be publicly exhibited from June 28 - July 28, 2007. Manson was refused admittance to Kölner Dom (Cologne Cathedral), when he was in the city to attend the opening night. This was, according to Manson, due to his makeup.
Manson revealed a series of twenty paintings in 2010 entitled Genealogies of Pain, an exhibition the artist collaborated on with David Lynch. The series is being showcased in Vienna's Kunsthalle gallery.[23]

Personal life

Manson made an appearance in the video game Area 51 as Edgar, a Grey Alien. His song "Cruci-Fiction In Space" is featured in a commercial for a video game, The Darkness. His likeness is also featured on the Celebrity Deathmatch video game for which he recorded a song for the soundtrack (2003). The song "Use your fist and not your mouth" was the credits score of the game Cold Fear as well as Spawn: Armageddon. Manson launched "Mansinthe," his own brand of Swiss made absinthe, which has received mixed reviews ranging from critics who compared the drink's odor to sewage water and described the taste as being "as bad as piss"[24] to coming second to Versinthe in an Absinthe top 5[25] and winning a Gold medal at the 2008 San Francisco World Spirits Competition.[26] Prior to his relationship with Dita Von Teese, he was in a relationship with Michele Greenberg.[27] He then was engaged to actress Rose McGowan from February 1999 to January 19, 2001.[28] In 2007, attention was brought to Manson's love life again when a relationship with actress Evan Rachel Wood was made public.[29] Manson and Wood reportedly maintained an on-again off-again relationship for several years. Manson proposed to Wood during a Paris stage performance in January 2010, but the couple broke off the engagement later that year.[30] After media comments from Manson that he wears his signature black leather pants 24/7,[31] animal rights group PETA added Manson to PETA’s ‘Worst-Dressed Celebrities of 2008’.[32]

Marriage to Dita Von Teese

Manson and Dita Von Teese first met when he asked her to dance in one of his music videos. Though she was unable to, the two kept in contact. On his 32nd birthday they became a couple. He proposed on March 22, 2004 and gave her a 1930s-era, 7 carats (1,400 mg), European round-cut diamond engagement ring. On November 28, 2005, Manson and von Teese were married in a private, non-denominational ceremony in their home. A larger ceremony was held on December 3, at Gurteen Castle, in Kilsheelan, County Tipperary, Ireland, the home of their friend, Gottfried Helnwein. The wedding was officiated by surrealist film director and comic book writer Alejandro Jodorowsky.[33]
On December 30, 2006 Von Teese filed for divorce due to "irreconcilable differences."[34] ET.com and People claimed that Manson was having an extramarital affair with then 19-year-old actress Evan Rachel Wood, who is to co-star in his horror film Phantasmagoria: The Visions of Lewis Carroll, and features in the video for his 2007 single, "Heart-Shaped Glasses."[35][36] The relationship was confirmed by Von Teese in an interview with the Sunday Telegraph, "I get the impression he thinks I was unsupportive, but the truth is I wasn't supportive of his lifestyle, and someone else came along who was."[37] Manson's alcohol abuse and distant behavior were also cited as cause for the split.[38] A judgement of divorce was entered in Los Angeles Superior Court on December 27, 2007.[39]

Lawsuits

  • In September 1996, former bassist Gidget Gein negotiated a settlement with Manson where he would receive $17,500 in cash, 20 percent of any royalties paid for recordings and for any songs he had a hand in writing and his share of any other royalties or fees the group earned while he was a member. Furthermore, the settlement allowed him to market himself as a former member of Marilyn Manson. This settlement was not honored, however.[40]
  • Former guitarist and founding member Scott Putesky (aka Daisy Berkowitz) filed a $15 million lawsuit in a Fort Lauderdale court against the singer, the band and the band's attorney, David Codikow in January 1998 after his forcible departure from the group in the Spring of 1996. Berkowitz claimed he was cheated by the band out of "thousands of dollars in royalties, publishing rights, and performance fees." He also filed an attorney malpractice suit against Codikow, alleging that "Codikow represented Warner's interests more than the band's and that he gave Warner disproportionate control over the band's name, recordings, merchandising, and touring proceeds."[41][42] By October of that year, the suit had been settled out of court for an undisclosed amount.[43]
  • In November 30, 1998, a few days after the band accumulated "[a] total [of] more than $25,000" in backstage and hotel room damages during the Poughkeepsie, New York stop of their Mechanical Animals Tour,[44] SPIN editor Craig Marks filed a $24 million lawsuit against Manson and his bodyguards for allegedly assaulting his person and threatening to kill his family. According to Mark's interview with the New York Post, the issue stemmed from Manson's displeasure with the magazine's decision to renege on a promised cover story of the band for their January 1998 cover. According to Marks, the last-minute change was made because Manson's record wasn't "performing." The Post described the editor as "bruised and battered." Manson for his part issued a statement saying, "I had a conversation with Craig Marks expressing I was tired of Spin's immature business behavior and the series of deals they had broken with me. I told him that I didn't care what he prints or whether or not I'm on the cover. I simply no longer wanted to work with him or his magazine that obviously has a lack of respect for musicians and their fans." On February 19, 1999, Manson counter-sued Marks for libel, slander and defamation. The singer was seeking $40 million in reparation, claiming that Marks' statements were false and "were made ... with actual malice, hatred and personal ill will." According to the counter-suit, Marks' allegations have "greatly damaged and injured [Manson's] reputation and standing in the music profession, in the music and entertainment industries, in his community and in the general public, and has been subjected to great shame, humiliation and indignity."[45] As for the Poughkeepsie incident, Manson apologized and offered to make financial restitution.[46][47]
  • In a civil battery suit, David Diaz, a security officer from a concert in Minneapolis, Minnesota, on October 27, 2000, sued for $75,000 in a Minneapolis federal court.[48][49] The federal court jury found in Manson's favor.[50]
  • On April 3, 2002, Maria St. John filed a lawsuit in Los Angeles Superior Court accusing Manson of providing her adult daughter, Jennifer Syme, with cocaine and instructing her to drive while under the influence.[55] After attending a party at Manson's house, Syme was given a lift home;[56] Manson claims she was taken home by a designated driver.[55] After she got home she got behind the wheel of her own vehicle and was killed instantly when she crashed it into three parked cars. Manson is reported to have said there were no drugs or alcohol at the party. St. John's lawyer questioned "[if] there were no drinks, no drugs, why would she need a designated driver?"[55] The suit alleged Syme was returning to the party at Manson's request. The case, BC271111, was dismissed on May 29, 2003.[57]
  • On August 2, 2007, former band member Stephen "Pogo/Madonna Wayne Gacy" Bier filed a lawsuit against Manson for unpaid "partnership proceeds," seeking $20 million in back pay. Several details from the lawsuit leaked to the press.[58][59] In November 2007, additional papers were filed saying that Manson purchased a child's skeleton and masks made of human skin. He also allegedly bought stuffed animals, such as a grizzly bear and two baboons and a collection of Nazi memorabilia.[60] In December 2007, Manson countersued, claiming that Bier failed to fulfill his duties as a bandmember to play for recordings and to promote the band.[61] On December 28, 2009, the suit was settled with an agreement which saw Bier's attorneys being paid a total of $380,000, of which Manson's insurance company paid $175,000, while the remainder was paid by Bier's former business managers, according to Manson's lawyer Howard King.[62]

Discography

Filmography

Books

Appearances in other media

  • In an episode of Metalocalypse called Regionklok, Manson was featured as the priest of a Satanist church, telling the fellow satanists not to forget to pick their trash up and to not park by the neighbors house, due to towing.
  • Season 2, Episode 18 of South Park features Trey Parker doing a parody of Marilyn Manson singing "Stinky Britches"
  • Episode 2 of Clone High portrays Marilyn Manson singing a song about the Food Pyramid
  • Season 5, Episode 4 of Family Guy portrays Marilyn Manson informing Chris Griffin of nutrition
  • In the final episode of the fourth season of Mr. Show David Cross portrays the character "Marilyn Monster" in a sketch.
  • In The X-Files Season 8, Episode 17 the characters Detective Potter and Agent Reyes discuss Marilyn Manson after finding his cd at the desk of a suspect.
  • Andy Dick created the character "Marilyn Poppins" for The Andy Dick Show as a satirical homage to Marilyn Manson
  • Manson was characterized in the British TV Series Bo' Selecta! during Series 4, Bo! in the USA.
  • During Season 4 of Madtv Pat Kilbane portrayed Marilyn Manson in episodes 406 & 407 for a Kenny Rogers sketch and Lowered Expectations sketch respectively.
  • MTV's Cartoon Sushi featured a clip of Marilyn Manson and Charles Manson in a celebrity fight to the death. This later spawned the series Celebrity Deathmatch in which Marilyn Manson continued his appearances crashing the fight between Hanson vs. The Spice Girls in the "Deathbowl '98", as well as his deathmatch with Garth Brooks in Season 1, Episode 6. His final match against Ricky Martin occurred when Martin interrupted a performance by Manson's band. Celebrity Deathmatch was made into a video game in 2003 featuring Marilyn Manson as a playable character.
  • Marilyn Manson is mentioned in Method Man's song "Well All Rite Cha", Outkast's song "Y'all Scared", Shop Boyz' song "Party Like a Rockstar", Dead Celebrity Status' song "In My Backyard", Wyclef Jean's song "Where Fugees At?", D12's songs "These Drugs" & "Blow My Buzz", Xzibit's song "3 Card Molly", Bizzy Bone's song "Social Studios", Slaughterhouse's song "The One", Nicki Minaj's song "Higher Than a Kite", Big & Rich's song "Comin' to Your City", Lonestar's song "Don't Let's Talk About Lisa", Princess Superstar's song "I Love You (Or at Least I Like You)", The Ataris' song "The Radio Still Sucks", Bowling for Soup's song "Luckiest Loser", Thousand Foot Krutch's song "Unbelievable", Relient K's song "My Girlfriend", Eminem's songs "When the Music Stops," "Still Don't Give a Fuck" & "The Way I Am" as well as New Radicals' song "You Get What You Give". Both latter songs generated interest from Manson.
 taken from wikipedia without editing. hehe