Jockie Music Premium

[Josette Werst]

Whatdoes that mean?

It means that you can have multiple Jockie Music bots (up to 4 for free and up to 2 extra with premium) on your server at once all playing music in different channels, cool right?

Why would I want to have multiple music bots in my server?

A lot of big servers struggle with the problem of having mulitple different music bots all with different prefixes and commands, Jockie Music solves this problem by having multiple bots all with the same prefixes, configuration and commands to make it easier for you, your server and your members.

It was a pleasure to be on the Field & Foley podcast; we discussed field recording, game audio, experimental music, and my philosophies about not believing that there are any solid boundaries between any of it. Listen here!

The video below contains the cleaned-up, lightly-mastered impacts, recorded with a Sennheiser MKH50 (a CO-100K was also used, but the ultrasonic content was neither extensive nor useful). Details on its extremely low-budget, DIY construction are below.

The 25 cues we created for the game (21 were released on the official soundtrack) itself became a game of what effects layer was doing what job in the cue, so the mix was more about arranging the effects like they were parts of an orchestra. Some cues only had six tracks total; others had maybe only two or three instruments, but up to six layers of delay, in addition to other effects, per instrument.

For this project, my signal chain started with digital EQ and resonance control, and ended with all-analogue dynamics control. Tubes and transformers added a subtle mid-high sheen with no phase shift, which was a big help in a score with lots of low-end and low-mid frequencies. Mastering took about a week.

This project was fun, thrilling, and an absolute honor to be involved in. Huge thanks to Maclaine for having me on his team once again, and the whole team at Cyan for being so supportive of the composer and his vision for this interactive experience.

As a nonprofit organization, I was happy to throw some money at the Red Oak Victory in exchange for my time aboard. But how much? In my favor, the ship also acts as a performance venue and has a rate card for rentals, including for photography clubs and video production/filming.

But their director of marketing had said no one had ever just wanted to record audio there, and had no idea what was involved, so how would we price it? Rather than make a rate suggestion, I outlined how my footprint on the vessel would differ from that of a film or video crew. One person just moving multiple recording rigs around. They offered a rate that was a small percentage of the full video-crew rate, which that seemed fair to all parties.

We also discussed noise levels; I wanted a mix of quiet and ambient activity. Learning that the crew is tools-down from noon until 1pm for lunch, we picked a time that bridged both activity levels, and the results were great.

Another sub-lesson here was that I had not yet learned Lesson One, so I could have pushed harder than I did for more access and more involved requests, because they wanted to share their passion for the ship!

The results were deliciously unusual: The rain was close-miked, but it was still clearly an interior perspective. Its volume drowned out whatever neighborhood noises there might have been. The open-faced insulation batting in the crawlspace created a space with almost no reverb. The result took reverb in post very well, providing flexibly usable interior rain and wind tones.

This album started as a series of recording sessions for a crowdsourced magic sound effects sound library. I ordered a number of bells, chimes, shakers, and more, and specifically set about recording them at 192 kHz with ultrasonic-capable microphones to preserve their high-frequency content when subjected to extreme pitch shifting. I also used unusual recording techniques, like striking chimes and then dipping them into water, recording the result with a hydrophone (similar to this technique I posted about many years ago).

That instantly made me think of plate reverbs. I asked around to see if any local studios had any plate units that were functional, and much to my surprise, the Skywalker Sound Scoring Stage had not one, not two, but three functioning EMT 140 plate reverbs. After a few phone calls, I found myself in this world-class facility re-amping stems through six channels of luscious, real-steel reverbs.

This lobby installation started with abstract chirps, bloops, and blurps, but became quite musical after the client felt the sci-fi sounds were far too alienating. Many randomized variations of sounds were created to lessen listener fatigue. There was also one sound channel per screen, across five screens. [Quintiles corporate lobby, Raleigh NC]

Of course, sometimes an installation is meant to actually create music! This was the first interactive multi-user instrument for Microsoft Surface, a grid sequencer that let up to four people play music.

Jockie was born in Demak, Central Java on 14 September 1954.[1] After beginning his education in Demak, he went to Semarang near the end of his primary years to finish elementary school. His middle school education was in Balikpapan, East Kalimantan; while there he joined the local band Safira.[1] Most of his musical skills were self-taught, although he did study composition under Muchtar Embut and musical notation under Idris Sardi.[1]

After middle school, Jockie moved to Jakarta and joined with several acts there, before moving to Surabaya, East Java and joining Jaguar, led by Mickey Makelbach.[1] He eventually finished high school in Malang and moved back to Jakarta.[1] In 1973, he joined with Ahmad Albar, Donny Fattah and Ludwig Leeman to form God Bless; their first concert was in Taman Ismail Marzuki in May 1973.[1] He split from the band for a brief time to found the bands Giant Step in Bandung and Double Zero in Malang, but returned in early 1975.[1] During this period he was heavily into drugs, once stealing and selling a ring belonging to songwriter Harry Roesli to fuel his habit.[2]

In 1976 Jockie joined the committee for Prambors FM's Teenage Song Writing Competition.[1] Along with Prambors head Imran Amir, he unsuccessfully approached Chrisye to ask him to sing the song "Lilin-Lilin Kecil" ("Small Candles");[3] when Chrisye was convinced to record the single by Sys NS, Jockie handled the arrangement.[1] The following year, Jockie collaborated with Chrisye for a new album, Jurang Pemisah (Dividing Canyon); Chrisye provided vocals for seven songs while Jockie provided the vocals for two and wrote several more.[4]

Jockie again worked with Chrisye for the 1979 album Percik Pesona, for which he wrote several songs.[9] The album was a critical and commercial failure, with critics writing that it was too much like Badai Pasti Berlalu.[9] Beginning in 1983, Jockie joined with Chrisye and Djarot to produce a trilogy of albums, Resesi (Recession; 1983), Metropolitan (1983), and Nona (Miss; 1984); the albums all went platinum.[10][11] During the early 1990s, Jockie joined with Iwan Fals' band Swami to record Kantata Takwa (Cantata of Taqwa).[1] He and the band would often clash over creative differences, but reportedly were willing to compromise.[1]

In 1993 he released another solo album, Suket (Grass); he also arranged the music for the album.[1] In it he tried to give social commentary from his observations, a technique previously used by Iwan Fals.[1] In 2003 he left God Bless again after creative differences; in an October 2011 Facebook post, he wrote that he had been forced to leave the group and that he was outraged that the band continued to play his songs without his permission.[8] In a later interview with Kompas, he stated that lead singer Ahmad Albar had pulled a gun on him when debating the latter's drug use.[2] Guitarist Ian Antono confirmed that a pistol was involved, but he thought it could be a toy; he stated that the argument flared up when Jockie insulted Albar's family.[12]

Jockie collaborated with numerous artists in October 2009 to put on a tribute concert to Chrisye.[2] Together with Garin Nugroho, in 2010 Jockie helped produce the musical Diana for the Kompas's 45th anniversary.[13] For the production, a tribute to Koes Plus, Jockie remastered 20 of their songs.[13]

In December 2009, Rolling Stone Indonesia selected two of Jockie's songs as being among the 150 best Indonesian songs of all time.[14] His composition "Kehidupan" ("Life"), from God Bless' album Semut Hitam was ranked 8th, while "Kesaksian" ("Witness"), from Iwan Fals' album Kantata Takwa was ranked 82nd.[14]

Jockie was married first to Indah Soekotjo and had two children. Then they divorced and Jockie married Tiwi Puspitasari and also had two children.[2] He had four children in total.[1] One of his sons, Nara Putra, plays guitar in the band Jibriel alongside the children of several other God Bless members.[15]

After Jockie was hospitalised at Pondok Indah Hospital in South Jakarta for complications resulting from diabetes, cirrhosis, and a stroke, on 24 January 2018 a group of musicians (including Nicky Astria, Berlian Hutauruk, and Fariz RM) held a tribute/charity concert at Taman Ismail Marzuki. This concert, titled "Pagelaran Sang Bahaduri" (Hero's Performance), was reported to have raised Rp 514.04 million (US$38,600) to help pay for Jockie's treatment.[16] On 5 February 2018, Jockie died in the hospital. He was buried at Karet Bivak Cemetery in Jakarta.[17]

Introduction:Welcome to the Chupacabra Tutorials channel! In this tutorial, we will guide you on how to invite the Jockey Music bot to your server and start using it. Jockey Music is a feature-rich bot that allows you to play, search, loop, shuffle, and more with music on your Discord server. Best of all, it's completely free!

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