Talk about synthesizer and his collections.
HIS PASSION ON SYNTHESIZER isn’t
merely for the reason of its significance in today’s music. When he was
listening Michael Jackson and Stevie Wonder (specifically in their early music
careers), Widi Puradiredja, now 33 years old, has been also capturing weird
unfamiliar sounds on their music. Now dozens of collections has filled his
studio and warehouse in Bintaro, Jakarta.
Why analog synthesizer?
I see these analog synthesizers like a piece of art, so I
tend to collect many analogs, not just as a pivotal requirement for my music,
but as a token of my love for stuffs that made with heart, from scratch.
When did you first experience them?
I saw the first analog synthesizer directly from Indra
Lesmana. It was part of the process of making the first album of Maliq &
D’essentials: “1st”.
Why analog in this digital era?
Analog is unpredictable! Hahaha! Sometimes you can hear some
false tunes, and from one day to another, their sounds are not always the same.
But that’s the very thing that attracted me. The components of analog are not
well organized, because it is not made in machine mass production. It’s
different with digital, where every sound is the same and organized just like
plug in.
Since when do you using analog synthesizer for your music?
Isn’t D’Masiv using it too now?
Hahaha, I’ve been using it since the first album, not
because it’s happening right now. Maliq’s first album utilized much Moog, but
we didn’t use it for producing electronic music.
Was it complicated to make albums using that kind of
instruments?
No doubt. People often say I’m crazy: when we’re in an era
where music technology is more sophisticated, they said I was being hard on
myself with analog. But I always feel that this tool is more alive. When you
turn it on, there are uncertain waves. I don’t see the final result from this
instrument. It’s more like enjoying the whole process of making music or
creating something in my studio by using it.
Did you often bring your collection to the stage?
No! Rarely! Hahaha! The electricity system in Indonesia is
not good. In most events, they often use external generators, which are likely
to cause damages to any fragile music instruments. Electricity is the biggest
issue for my collections. We have to stabilize it before plugging in any analog
synthesizer. Being snobby as I am, for me, these are sacred instruments,
not everyone can touch and play with it.
When you’re buying, they’re in secondhand condition, so
there must be some errors or something unusual. How did you do the rebuild?
There are some mechanism that i’ve alrealy familiar with
these. I’ve had my Moog to be ripped all apart with the kids, because when i
collect something, i have to understand everything on what i have. I keep
exploring its components step by step. Just like people who love automotive,
they will explore the machine, not only just using it.
So you fixed all of your analog synthesizer?
Of course not , hahaha. I didn’t have much time for that. If
i was too lazy to fix it, i went to Bandung, and gave it to Evan. He’s really
good at fixing synth. It’s so rare to find people who can fixing such
equipments.
Do you realize the adage ‘you are what you collect’?
Indeed! I love vintage stuff, but I’m not vintage maniac.
Maybe it’s obvious that I’m not that kind of guy who adores things that are one
hundred percent perfect, if any. I love something imperfect, just like human
being. To be precise: imperfection is very “human”. That’s the way I see all of
my collections. They aren’t perfect; they’re handmade, which is the reason that
their errors make sense more.
If only analog synthesizer has its own character that is so
strong and cool but still has to be rebuilded, do you think it’s necessary that
human need rebuild moment when they’ve already got their own character?
I think we need it, indeed. Because in my perspective, every
human needs a progress in life. Change will always be happened. Change is
something unchangeable. Sometimes it doesn’t have to be an extreme rebuild, but
the life itself has to be upgraded although we don’t have to completely change
it. I believe that we hardly change our own character. There is an idealism
standard when it comes to change. Only you and your closest circle who can
understand you. We have to comunicate our character clearly, adjusting what’s
happening today, especially when it comes to creating a piece of art. From that
side, maybe rebuild is needed to strengthen your character in every situation.
The most memorable collection?
Clavinet D6. Stevie Wonder’s perfomance in Jakarta used one
of my collections. Crazy, isn’t it? The model is only owned by me and Indra
Lesmana in Indonesia. — (P)
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