Berza gramofonskih ploca u Nisu odrzace se u subotu 15.08.2015.u prostorijama Truba cafea od 10.00-14.00 h. Pozivamo
kolekcionare longplejki, singlica i originalnih CD izdanja, ljubitelje
pucketavog zvuka zaboravljenih vinila, radoznalce, istraživače,
pregovarače i razmenjivače na berzu ploča i diskova, koja ce se
tradicionalno održati u prostorijama Truba cafea.
Yugovinyl is specialized in selling rare vinyl records (LP, SINGLES,
12“, 10“), from ex Yugoslavia. Also we offer a large amount of original
and licence pressings from USA, Asia (India, Japan, Taiwan…), Europe and
from other parts of the world.
Thirty years ago this month, Dire Straits
released their fifth album, Brothers in Arms. En route to becoming one
of the best-selling albums of all time, it revolutionised the music
industry. For the first time, an album sold more on compact disc than on
vinyl and passed the 1m mark. Three years after the first silver discs
had appeared in record shops, Brothers in Arms was the symbolic
milestone that marked the true beginning of the CD era.
“Brothers in Arms was the first flag in the ground that made the
industry and the wider public aware of the CD’s potential,” says the
BPI’s Gennaro Castaldo, who began a long career in retail that year. “It
was clear this was a format whose time had come.”
As Greg Milner writes in his book Perfecting Sound Forever,
the compact disc became “the fastest-growing home entertainment product
in history”. CD sales overtook vinyl in 1988 and cassettes in 1991. The
12cm optical disc became the biggest money-spinner the music industry
had ever seen, or will ever be likely to see. “In the mid-90s, retailers
and labels felt indestructible,” says Rob Campkin, who worked for HMV
between 1988 and 2004. “It felt like this was going to last for ever.”
It didn’t, of course. After more than a decade of decline, worldwide
CD income was finally surpassed by digital music revenues last year.
With hindsight, it’s clear that technological changes had made that
inevitable, but almost nobody had foreseen it, because the CD was just
too successful. It was so popular and so profitable that the music
industry couldn’t imagine life without it. Until it had to.
In 1974, 28-year-old electronic engineer Kees Schouhamer Immink was
assigned to the Optics Group of Philips Research in Eindhoven, Holland.
His team’s task was to create a 30cm videodisc called Laservision, but
that flopped and the focus shifted to designing a smaller audio-only
disc. “There were 101 problems to be solved,” Immink says. Meanwhile, in
Japan, Sony engineers were working on a similar project. In 1979, Sony
and Philips made an unpredecented agreement to pool resources. For
example, Sony engineers perfected the error correction code, CIRC, while
Immink himself developed the channel code, EFM, which struck a workable
balance between reliability and playing time. “We never had people from
other companies in our experimental premises,” Immink says. “It was
unheard of. Usually you become foes, but in this case we really became
good friends, and we’re still friends after so many years. It was
remarkable, actually.”
In June 1980, after complicated negotiations in Tokyo and Eindhoven,
the so-called Red Book set standard specifications for the compact disc
digital audio format. The story goes that the size (12cm) and length (74
minutes, 33 seconds) were changed at the 11th hour when Sony’s
executive vice president Norio Ohga insisted that the disc should have
enough space for the longest recorded performance of Beethoven’s Ninth
Symphony, his wife’s favourite piece of music, but Immink suspects that
is a myth. There were so many technical and financial considerations
that it’s unlikely such a key decision came down to one woman’s love of
Beethoven.
The CD was introduced to the British public in a 1981 episode of the BBC’s Tomorrow’s World, in which Kieran Prendeville mauled a test disc of the Bee Gees’
Living Eyes to demonstrate the format’s alleged indestructibility. It
caught the public imagination, but Immink found the claim puzzling and
embarrassing because it was clearly untrue. “We should not put emphasis
on the fact it will last for ever because it will not last for ever,” he
says. “We should put emphasis on the quality of sound and ease of
handling.” (Paul McCartney recently recalled the first time George
Martin showed him a CD. “George said, ‘This will change the world.’ He
told us it was indestructible, you can’t smash it. Look! And – whack –
it broke in half.”)
The CD, demonstrated on BBC1’s Tomorrow’s World.
The engineers were evangelical about the CD’s superiority to vinyl
and cassette, but the industry and public still needed persuading. “I
was not convinced we would be a success at the time because I had seen
the failure of the videodisc, which was a nice product, technically
speaking,” Immink says.
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So,
in April 1982, representatives of Sony and Philips set off to
Billboard’s international music industry conference in Greece with a
spring in their step. The record industry was suffering a painful
recession (“Is Rock on the Rocks?” asked Newsweek) and this new digital
marvel was surely the solution. To the labels, however, it was an
invitation to gamble millions of dollars on a potential white elephant:
an alien format that was expensive to manufacture and expensive to buy.
Jerry Moss, chairman of A&M Records, claimed that the new format
would “confuse and confound the customer”. It was a rough conference.
“There were many black-disc lovers who didn’t want to change and said:
‘We don’t see why we have to go digital,’” Immink says.
At least Sony and Philips had their own record labels – CBS and
Polygram, respectively – so they pressed ahead. CBS released the world’s
first commercially available CD, a reissue of Billy Joel’s
52nd Street, in Japan in October 1982. Philips missed the production
deadline so the international release was put back to March 1983. It’s
hardly surprising that only 5.5m CDs and 350,000 players were sold that
year when so few titles were available.
Faced with low manufacturing capacity and high costs, labels trod
carefully. Jeff Rougvie, who later worked for the pioneering CD-only
label Rykodisc, was in retail at the time. He couldn’t even order
individual titles from Sony, only a predetermined box of six: “A couple
of classical titles, a couple of rock titles and Thriller. And of course
you’d sell Thriller and the other five would sit around. Labels thought
it was an audiophile-only product that was going to sell primarily to
classical music buyers. They did not see it as a mass-market format.”
Jon Webster, who worked at Virgin Records between 1981 and 1992,
remembers that the label’s first batch of CD releases included Mike
Oldfield’s Tubular Bells and Phil Collins’s
Face Value: albums likely to appeal to affluent early adopters with the
means to buy the discs and the expensive players. The first US CD
plant, in Terre Haute, Indiana, debuted in October 1984 with Bruce Springsteen’s blockbuster Born in the USA. Enter Dire Straits.
Aware that most consumers didn’t even know what digital audio was,
Sony and Philips had launched a promotional campaign on multiple fronts,
including advertisements, public demonstrations, product placement, and
special promotions for clubs, bars and radio stations. They also
courted studio engineers and artists. While analogue loyalists such as
Neil Young and Steve Albini railed against translating music into
soulless binary code, some high-profile audiophiles felt that this was
how music was meant to be heard. On first hearing a CD, the great
Austrian conductor Herbert von Karajan memorably declared: “Everything
else is gaslight.”
Dire Straits’ Mark Knopfler was an early convert (the second track on
Pure, Perfect Sound Forever, the motley 1982 compilation that came free
with early CD players, was Dire Straits’ Once Upon a Time in the West).
Knopfler insisted on recording Brothers in Arms on state-of-the-art
digital equipment, so a promotional partnership was a natural fit.
Philips sponsored Dire Straits’ world tour and featured the band in TV
commercials with the slogan, attributed to Knopfler: “I want the best.
How about you?”
“Brothers in Arms was an iconic release,” says Gennaro Castaldo. “The
CD came to symbolise the so-called yuppie generation, representing new
material success and aspiration. If you owned a CD player it showed you
were upwardly mobile. Its significance seemed to go beyond music to a
lifestyle statement.”
Mark Knopfler of Dire Straits, quick to see the potential of CD as a format. Photograph: Fin Costello/Redferns
Brothers in Arms coincided perfectly with an economic recovery, more
affordable CD players and the music industry’s post-Live Aid uptick.
Philips had predicted that annual worldwide sales would surpass 10m that
year while Sony anticipated twice that number. In fact, the figure was
61m, rising to 140m in 1986.
Yet the industry was still half-hearted when it came to back
catalogue. Rykodisc (“Ryko” is Japanese for “sound from a flash of
light”) realised there was big money to be made from consumers upgrading
their record collections to CD if enough care was devoted to
remastering, programming (ie, bonus tracks) and packaging. The newcomer
made big back-catalogue deals with Frank Zappa and David Bowie
because the majors weren’t interested. EMI, which had first dibs, told
Zappa: “No one will ever buy your stuff on CD.” “There wasn’t a real
good understanding on the majors’ side of what some of this stuff was
worth,” Rougvie says.
Eventually, even the slowest labels caught on. When Rob Campkin
started work at HMV’s flagship Oxford Circus, London, store in summer
1988, the entire CD inventory filled just five five-foot racks. By the
following summer, there were almost 40. “In those days, vinyl was very
flimsy,” he says. “Cassettes were completely disposable. When CD came
along and said this will last you a lifetime,customers really did lap it
up. It felt new, it felt shiny, it felt exciting.”
By the 1990s, the CD reigned supreme. As the economy boomed, annual
global sales surpassed 1bn in 1992 and 2bn in 1996, and the profit
margins were the stuff of dreams. The CD was cheaper than vinyl to
manufacture, transport and rack in stores, while selling for up to twice
as much. Even as costs fell, prices rose. “It was simple profiteering,”
says Stephen Witt, whose new book How Music Got Free
chronicles the industry’s vexed relationship with the MP3. “[Labels]
would cut backroom deals with retailers not to let the price drop. The
average price was $14 and the cost had gotten down almost to a dollar,
so the rest was pure profit.”
Jon Webster bristles at this claim. “What’s fair? The public says.
Supply-and-demand says. There were ignorant campaigns by the likes of
the Sun and the Independent on Sunday saying that these things cost a
pound to make. Well, that’s like saying a newspaper costs 3p to produce.
That doesn’t include the creativity and the marketing and the money it
costs to make the actual recordings.”
Whether or not the prices were justified, CDs sold in their billions
and flooded the industry with cash like never before. This enabled
labels to invest more heavily in new talent – Campkin suggests that
Britpop might not have happened without the CD windfall – but it also
funded misguided A&R frenzies, wasteful marketing and excessive pay
packets. “In the 90s we were awash with profitability and became fat, to
be honest,” says Webster.
Philips and Sony also reaped extraordinary sums from royalties on the
discs themselves, including billions of CD-Roms, although none of it
reached Immink and his colleagues. Under Japanese law, engineers were
entitled to a cut, but their Dutch counterparts had to settle for a
salary and a token one-dollar fee for each US patent they filed. “I’m
not saying it happened,” Immink says drily, “but what could have
happened is you work with a Japanese guy from Sony and he can buy a
yacht and the Dutch guy has to be happy with one dollar.”
Philips promotes its new compact disc.
As the decade wore on, there were tremors of unease. The industry was
running out of albums to reissue, battling over price with supermarkets
and big-box retailers, and disturbed by the introduction of CD burners.
“Arguably, it’s why they missed the MP3, because they were so concerned
about compact-disc burners,” says Witt. “If you read corporate
literature about forward-facing risks to the business in the late 90s,
this is one of the top things they’re talking about, if not the top. And
the impact was real. If bootleg discs flood the market they kill sales,
no question about it.”
Bootleg CDs were a danger the industry could get its head around –
you could hold one in your hand. What it couldn’t comprehend was the
threat of the MP3: the idea that music could transcend physical formats.
“That happened for two reasons,” says Witt. “One was they were enjoying
unbelievable profits. Two, the studio engineers hated the way the MP3
sounded and refused to engage with it. A lot of artists hated the way it
sounded, too.” What the audiophiles didn’t realise was that most
consumers couldn’t tell the difference. “What was the audio experience
before the compact disc?” says Witt. “It was cheap vinyl or an AM
transistor radio on the beach, and MP3 sounds better than either of
those.”
Rougvie suggests a third reason: fierce resistance from retailers
who, understandably, considered the MP3 an existential threat.
“Distributors and record stores were threatening to return every Ryko
title they had, just because we were selling 10 or 12 MP3s every week.
If that’s what we were feeling, I can only imagine what kind of pushback
EMI or Warners were getting.”
Just like their predecessors in Greece in 1982, 90s executives were
too busy worrying about the next quarter to consider the next decade.
The status quo was perfect, until it wasn’t. “My biggest bugbear about
this industry is that they all think short-term,” says Webster. “Nobody
ever thinks long-term. All these executives were sitting there being
paid huge bonuses on increased profits and they didn’t care. I don’t
think anyone saw it coming. I remember the production guy at Virgin
saying, ‘In a few years, you’re going to be able to carry all the music
you want around on something the size of a credit card.’ And we all
laughed. Don’t be ridiculous! How can you do that?”
The iPod, CD’s ultimate foe. Photograph: Sarah Lee
“The MP3 wasn’t just a new format, it was a whole new way of doing
things,” Castaldo says. “There was also the first dotcom boom and bust,
and I remember some people around me saying: ‘I told you it would never
take off. That’s not how people want to buy music.’ Obviously a
brand-new player like Apple could write the future as it saw it, but the
rest of us didn’t have such a blank sheet to start from.”
Only a handful of people predicted the CD’s downfall way back in
1982. German computer engineer Dieter Seitzer, the forefather of the
MP3, immediately considered the CD “a maximalist repository of
irrelevant information, most of which was ignored by the human ear,”
writes Witt. If music could become digital data, he thought, it wouldn’t
be bound by the Red Book. Webster remembers one industry Cassandra,
Maurice Oberstein – who ran CBS and then Polygram in the UK – making a
similar point. “He was the only one who went: ‘We’re making a huge
mistake. We’re putting studio-quality masters into the hands of people.’
And he was absolutely right in that respect. Once you made a CD with
ones and zeroes it was only a matter of time before that was converted
into something that was easily transferable.”
The fall of the CD, like its rise, began slowly. When file-sharing
first took off with Napster in 1999 and 2000, CD sales continued to
ascend, reaching an all-time peak of 2.455bn in 2000. Tech-savvy,
cash-poor teenagers stopped buying them but most consumers didn’t want
(or know how) to illegally download digital files on a slow dial-up
connection. So the market remained steady, artificially buoyed by
aggressive discounting.
It was the 2001 launch of the iPod, an aspirational premium product
which made MP3s portable, that turned the tide. “Before that the MP3 was
an inferior good,” Witt says. “Once you had the iPod, the CD was an
inferior good. It could get cracked or lost, whereas MP3 files lasted.”
Not pure, not perfect, but sound for ever.
The compact disc has proved surprisingly tenacious. It still
dominates markets such as Japan, Germany and South Africa; it makes for a
better Christmas present than an iTunes voucher; and it has some
hardcore enthusiasts. Jeff Rougvie is even planning to set up a boutique
CD label to reissue rare and out-of-print albums. “It defies
conventional wisdom but so did Ryko at the time. There’s an audience.”
But, insists Stephen Witt: “It’s dying. It will go obsolete like the
floppy disc did. It just always takes a little more time than you’d
think.”
Rob Campkin recently opened a record shop in Cambridge called Lost in Vinyl.
He only stocks a handful of the discs that were once the most lucrative
product in the history of music. “Margins are very slim,” he says. “I’d
have to sell three or four CDs for every one copy on vinyl. It wouldn’t
be worth my while.” How Music Got Free by Stephen Witt is published by Bodley Head on 18 June.
Nemački bendovi i
muzičari inspirisali su umetnike iz celog sveta i oblikovali mnoge
muzičke stilove, kao na primer elektro-pioniri Kraftverk, koji u Berlinu
upravo počinju niz koncerata, ali oni nisu jedini.
Izvor: Tanjug
Kraftwerk
Sedamdesetih godina svet pop muzike je bio čudnovato
raznolik. Na top-listama tih godina bili su disko i glem rok, pored
legendarnih rok bendova poput Dženezis i Pink flojd, prenosi Dojče vele.
Tu je i pank, ali i umetnici kao što su Aba, Elton Džon,
Flitwud Mek. Onda na scenu stupaju Nemci. U Zapadnom Berlinu sastaju se
umetnici koji su uglavnom posvećeni elektronskom zvuku, koji istražuju
mogućnosti svojih sintisajzera, a jedna od tih grupa zove se Tangerine
Dream.
Za bubnjevima sedi izvesni Klaus Šulce, koji je tokom
vremena otkrio svoje interesovanje za sintetički zvuk i ubrzo se
posvetio sopstvenim projektima. Godine 1972. izdaje prvi album
"Irrlicht" kojim postavlja naglavčake sve što se do tada moglo čuti.
Šulc svoje delo naziva "kvadrofonična simfonija za orkestar i
električne mašine". Ritam je u pozadini, odjednom su tu zvučni pejzaži i
psihodelični zvučni tepisi.
Sve više muzičara, širom sveta,
zainteresovalo se za ovog čudaka iz Nemačke. Tako je, na primer, došlo
do saradnje sa poznatim japanskom "elektroničarem" Stomuom Jamašitom.
Njegov album "Gonastao" je pod velikim uticajem Šulcea. Zvuk Klausa
Šulcea je početak nove ere u muzici i on će se razvijati dugi niz godina
i biti osnova za mnoge današnje stilove elektronske muzike - od
ambijenta do transa i tehna. Za mnoge je Šulce čak "Kum tehna".
I u Dizeldorfu su dva muzičara sa sintisajzerima u potrazi za novim
muzičkim horizontima: Ralf Hiter i Florijan Šnajder koji osnivaju duo
Kraftverk. Oni angažuju nekoliko muzičara, prave dva albuma koji odmah
privlače pažnju.
"Veliki prasak" se dešava izlaskom trećeg
albuma "Autoban" koji je proizvoden isključivo elektronski i smatra se
prvim elektro-pop albumom.
Rammstein
Elektronska muzika kakvu poznajemo danas nezamisliva je
bez Kraftverka, kažu i muzičari i stručnjaci. I lista onih koji kažu da
ih je Kraftverk inspirisao veoma je duga: Dejvid Bouvi, Dipeš mod,
Djuran Djuran, Mobi i Nju order.
Francuski elektronski duo Daft
pank doveo je do savršenstva ideju Kraftverka - da se na sceni
predstavljaju kao "ljudi-mašine".
Duo Kan je osnovan 1968. u
Kelnu, na basu jedan od učenika Štokhauzena, Holger Čukai, i na
bubnjevima džez muzičar Jaki Libecajt.
Od samog početka je bilo
jasno da neće svirati uobičajeni rokenrol, pošto napuštaju kalupe,
improvizuju, ugrađuju etno muziku, kasnije i razne zvuke i elektroniku.
U Nemačkoj ta muzika prolazi samo kod avangarde, a na tržištu se teško probija.
Tek 1975. napravljen je ugovor sa jednom velikom izdavačkom kućom i tek
posle mnogo godina, muzičari iz celog sveta otkrivaju Kan.
Indi i alternativni bendovi poput Portished, Radiohed, Sonik jut, navode
muzičare iz Kelna kao važan impuls za svoje stvaralštvo.
Trijumf
benda Skorpions počinje sredinom sedamdesetih. Prvo su osvojili
Englesku, nastupajući kao predgrupa velikih rok bendova kao što su Kis
ili Juraja hip.
Album "Virgin Killer" je 1976. u Japanu bio
zlatan, nakon čega je rasprodata i Nipon turneja. Tri godine kasnije,
bend je pokušao da se probije u Sjedinjenim Američkim Državama, nastupom
na festivalu pred 60.000 ljudi - pored AC/DC i Aerosmita.
Na prvoj svetskoj turneji Skorpionsa, 1982. kao predgrupa nastupa Ajron mejden.
Album "Love at first Sting" katapultirao je bend 1984. godine na nebo "metal scene".
Sven Vath
Ploče se prodaju u ogromnim tiražima, na koncerte dolazi i
do 400.000 posetilaca. Kao predgrupe sviraju Metalika i Motorhed - s
tim što im menadžeri poručuju da dobro obrate pažnju na nastup tog
nemačkog benda, kako bi znali kako moraju da se ponašaju na bini.
Najpoznatija balada "Wind of Change" je postala zvučni simbol pada Berlinskog zida i kraja Hladnog rata.
Širom sveta ima obožavalaca "nove nemačke tvrdoće". Ramštajn je samo u
SAD prodao više od dva miliona primeraka albuma "Čežnja" (Sehnsucht).
Dva puta su nominovani za Gremi.
Ramštajn je za mnoge konačno
nešto zaista nemačko. Sviđa im se teški zvuk, mada tekstove isprva ne
razumeju. A onda fanovi uče i na uvek rasprodatim koncertima gromko
pevaju: "Achtung! Verboten!" (Pažnja! Zabranjeno) ili "Heirate mi" (Udaj
se za mene).
Mnogi drugi muzičari iz Nemačke smatraju se
posebno uticajnim i inspirativnim. Dipeš mod se intenzivno bavio zvukom
benda Einsturzenden Neubauten - eksperimentalnim muzičkim projektom iz
Berlina.
Bend oko pevača Bliksa Bargelda koristi više otpad nego instrumente za stvaranje i oblikuje takozvani industrijski zvuk.
Sven Fet je jedan od prvih tehno di-džejeva. Tehno iz Nemačke pojavio
se u ranim devedesetim i brzo je osvojio ceo svet, međutim koncept ne
potiče iz Nemačke. U novom pravcu su spojeni različiti muzički stilovi
poput Chicago House, Electronic Body Music ili elektronska avangarda.
Sven Vet je sve to iskombinovao i još je jedan od najbolje plaćenih di-džejeva na svetu.
Frank Farijan je sedamdesetih godina svetu donosio disko zvuk. Prvo je
sa Boni M osvojio međunarodnu publiku, a potom pod ugovor uzima američku
pevačicu Donu Samer i proizvodi sa njom nekoliko disko klasika.
Krajem osamdesetih, on i njegov pop duo Mili Vanili postižu ogroman
međunarodni uspeh i čak su dobili i Gremi. Međutim, potom se ispostavilo
da je sve bilo laž i prevara: Mili Vanili su pevali na plejbek, a Gremi
im je oduzet.
The new label has dug out music from the Serbian electronic music pioneer's vast archive.
A new label called Offen Music will launch with In The Moon Cage, a record from Serbian artist Rex Ilusivii.
Offen Music is the project of Vladimir Ivkovic, a resident DJ at
Düsseldorf's Salon Des Amateurs. Ivkovic's first move with Offen is to
shine some light on Rex Ilusivii, real name Mitar Subotić, who died
after a fire in his studio in Brazil in 1999. (He also recorded music as
Suba.) Ivkovic has assembled an archive of Subotić's music made between
1980 and 1991, much of which has never been released. In The Moon Cage,
which dates back to 1988, will be presented as a double 12-inch with
six experimental electronic compositions. You can listen to clips over
at Rush Hour.
Tracklist
01. Moon Cage I
02. Moon Cage II
03. Moon Cage III
04. Moon Cage IV
05. Moon Cage - Annex 01
06. Moon Cage - Annex 02
Offen Music will release In The Moon Cage in June 2015.
Ploče
su ponovo u modi! Iako su ih mnogi sahranili pojavom digitalnog zvuka i
nosača zvuka na kompakt disku, ispostavilo se da su vinilne ploče
preživele, a cd umire pred najezdom naprednijih i jeftinijih mp3.
Digitalni zvuk je našao novi dom, ali ljudi su se zaželeli analognog
zvuka! Ovaj esej se bavi fenomenom aktivnog slušanja muzike na long play i singl pločama danas.
Pominjanje gramofonskih ploča kod starijih ljudi izaziva sentiment i
nostalgiju za starim vremenima, a kod mladih ignoranciju i podsmeh na
tehnološku zaostalost. Između ovih polova se nalazi ogroman prostor
savremenog tretmana vinila koji je afirmativan i okupira sve veći broj
ljudi.
Današnji ljubitelji muzike kombinuju razne formate slušanja, mp, cd,
longplejke, čak i kasete. Vinil zahteva vreme za slušanje muzike i
druženje sa omotom u rukama, praćenje teksta ili razgledanje dizajna.
Sve je svojevrsni ritual. Svaka ploča je jedan muzički projekat koji nam
obezbeđuje zvučni i vizuelni doživljaj. Muzički album je upakovan u
omot, čiji dizajn vizuelno prati karakter muzike, a mnoga grafička
rešenja omota ploča su antologijska. Razvoj omotnica od 50-ih do 80-ih
godina daje nam uvid kako su se razvijali umetnost i dizajn u drugoj
polovini 20. veka, a omote su potpisali Andy Warhol, Mapplethorpe,
Jugoslav Vlahović.
Kvalitetni gramofon, pojačalo i zvučne kutije pružaju savršen
analogni zvuk koji može da bude lepši i topliji za slušanje od
digitalnog zvuka, basovi su dublji, a bubnjevi puniji. I dolazimo do
suštine ovog eseja – kako doći do najboljeg zvuka. Muziku je najbolje
slušati sa nosača koji su distribuirani u vreme kada je ta muzika
nastala. To znači da rok, bluz i džez do recimo 1988. je najbolje
slušati sa ploča, jer su kanali podešavani za analognu tehnologiju. Sve
posle te godine je kvalitetnije slušati na digitalnim nosačima jer je to
tehnologija koja je pratila tehnologiju snimanja u studiju. U skladu s
tim, pitamo se kako slušati klasičnu umetničku muziku? Najbolji zvuk
dobićemo ako je slušamo uživo, bolje od najsavršenijeg digitalnog
nosača, jer je ta muzika pravljena za klasične instrumente. Rok muzika
se izvodi na analognim instrumentima koji su priključeni na struju i
najbolji zvuk prave kvalitetni analogni uređaji. U muzici današnjice sve
pršti od digitalnog, samo se pomeraju dugmići.
Slušanje long play vinilne ploče nam dočarava zvuk albuma
kao celine od prve do poslednje pesme. Ploču moramo da postavimo na
nosač zvuka – gramofon i da je pokrenemo što je proces koji traje neko
vreme, a od slušaoca se traži da se više koncentriše na sadržaj i poruke
muzike i tekstova. Album je forma koja zaokružuje stav, domet, muzički
izraz i kreativnu celinu izvođačа. Pesma za pesmom nam prenosi priču.
Kada slušamo album za albumom Beatlesa, pratimo njihovu
evoluciju. Naravno, autori su morali da se prilagode tehnološkom
ograničenju da na jednu stranu može da stane oko 23 minuta muzike,
odnosno najveći broj pop-rok abuma traje 45 minuta, ima oko 10 pesama.
Tu nema shuffla, cimanja muzike, preskakanja na sledeću pesmu. U download
kulturi, tehnologija je ubila muziku. Istina, ona obezbeđuje dostupnost
sve muzike na svetu, ali ta predoziranost muzičkog materijala je
izazvala da ljudi više nemaju omiljene izvođače, a rok trajanja
omiljenih pesama je kratak. Takav pristup slušanja muzike predstavlja
halapljivu potragu za što većim brojem mp3 pesama i kreiranje
navrat-nanos kompilacija. Ljudi su izgubili strpljenje za dublje
analitičko slušanje muzike i uopšte poimanje života i sveta. Zato svoj revival danas doživljavaju vinil, vintage, retro stilovi, tradicionalne kafane, urbane bašte i mnogo toga još.
Današnje gramofonske ploče se izrađuju od 180-gramskog vinila,
stabilnije su nego što su bile nekad i odolijevaju pucketanju, mada su
skupe jer su to zvanična izdanja. Di-džejevi svakako više vole vinil od
cd-a. Stare second-hand ploče iz predigitalne ere moguće je
nabaviti u prodavnicama ploča i na berzama koje se organizuju u svim
većim gradovima sveta. Berze i sajmovi su sjajni događaji jer
omogućavaju da se ljudi okupe, susretnu, razmene utiske i muzičke
preporuke. Znamo kako je bilo nekada – Dođi kod mene da slušamo ploče – bio
je sofisticiran poziv na seks. Glavni frajeri su bili oni koji
sudovlačili originale iz Londona. Ostali su se zadovoljavali licencnim
izdanjima Jugotona, Suzy, ili PGP RTB-a. Zato i danas postoje frikovi u
Beogradu, Zagrebu i drugim gradovima koji u svojim kolekcijama imaju po
10.000 naslova. Kultura vinila živi i manifestuje se na različite
načine. Društvo za istraživanje popularne kulture iz Zagreba je
2008. organizovalo seriju izložbi omota gramofonskih ploča u galerijama
u Zagrebu, Osijeku, Dubrovniku, Rijeci, Ljubljani, Splitu i Puli.
Muzički esejista i novinar Ivan Ivačković je nedavno objavio knjigu Priče iz Tajnog grada,
koje analizira vreme kada su ploče bile od životne važnosti, do vremena
kada su ploče i naši životi prodavani u bescenje. Konačno, u celom
svetu je ustanovljen Dan prodavnica ploča, svake treće subotu u
aprilu, kada se okupljaju ljubitelji ploča i muzičari, koji tada
specijalno objavljuju svoja ekskluzivna i veoma retka izdanja na vinilu. Aleksandar Stanojlović Ključne reči: gramofonske ploče, analogni zvuk, omoti ploča, kultura slušanja muzike, vinil, album http://mixer.hr/vijesti/ducan-iz-birminghama-prodaje-75-tisuca-ploca-svaka-po-funtu
Spisak prodavnica ploča, sajmova i berza ploča u gradovima na
jugoslovenskom prostoru u poslednjih nekoliko godina, koji neguju
kulturu vinila. Berze ploča su povremeni događaji koji se održavaju sa
više ili manje uspeha, sa dužim ili kraćim trajanjem, neki se održe
jednom, neki traju godinama. Da li je neki od sajmova i dalje aktivan,
najbolje je proveriti putem interneta. Beograd
“Leila”, Kralja Petra41, www.leila.rs
“Jugovinil”, Toplička 35, http://yugovinyl.blogspot.com
“Pinball Wizard records”, TC “Eurocentar”, Makedonska 30
www.pinballwizardrecords.com
“Mikser Audio Market”, audio berza i berza gramofonskih ploča, Mikser House, Karađorđeva 46
house.mikser.rs
Berza gramofonskih ploca i originalnih cd-ova, Kafe “Good Times”, Dalmatinska 74, nastavak dugogodišnje Berze ploča u SKC-u www.berzaploca.blogspot.com
Klub “Gun”, Berza ploča, ugao ulica Miloša Pocerca i Sarajevske Zagreb
Free Bird Music, Tratinska 50, www.freebird.hr
Roxy, Savska cesta 34, www.cdshop-roxy.com/
Karma, Podgorska 3, www.karmavinil.com
Dirty Old Shop, Tratinska 33, www.dirtyoldempire.com
Spirit Of Music, Tomašićeva 1, www.spiritofmusic.hr
Dobar zvuk, Preradovićeva 24
Kibela Music Shop, Vitezićeva 82, www.kibelavinylmusicshop.webs.com
Močvarin sajam ploča i stripova, Klub “Močvara”, Trnjanski nasip bb http://mochvara.hr/mochvarnih-sajam-ploca-i-stripova Ljubljana
Berza gramofonskih ploča, Biljardna hiša, Parmova 25
www.biljardna-hisa.com
Mednarodni sejem gramofonskih plošč in filmskih plakatov, Galerija KUD France Prešeren, Trnovo, Ljubljana. www.kud.si/index.php
Sejem rabljenih vinilnih plošč, Metelkova/Channel Zero
www.metelkovamesto.org Sarajevo
Kibela Vinyl Music Shop,Kazazi 4, Baščaršija Skoplje
“Maksimum rekords”, Naum Naumovski-Borče 48 Novi Sad
Berza vinila, Klub “Fabrika”, klub “Quarter”, Bul. Despota Stefana 5
Berza gramofonskih ploca i originalnih cd-ova, Cafe “Sonja”, Vladimira Perića Valtera 3
Berza ploča, Omladinski centar CK13 ili “Crna Kuća”, Vojvode Bojovića 13 Maribor
Berza ploča, Gramofonoteka, Koroška cesta 21
www.facebook.com/gramofonoteka
Mednarodni sejem gramofonskih plošč, Dvorana ŠTUK
Berza ploča, u sklopu festivala Re:Fresh
www.refreshmaribor.net Rijeka
Diskodrom sajam u Rijeci, udruga “Spirit”, Blaža Polića 2 www.spirit-ri.hr/
Sajam Vinila i CD-a, Klub Mladih (kod Teatro Fenice), Erazma Barčića 9a
www.klubmladihrijeka.hr Niš
Berza ploča “Truba caffe”, Svetozara markovića 8
facebook.com/truba.kafe
Berza ploča i diskova, Bašta hostela Niš
Berza ploča, Klub “Feedback”
Bašta Irish Pub-a Kruševac
Berza vinila, Fipina kafana (bivši Tailor’s pub), Zakićeva 21
Sajtovi za prodaju ploča, gramofona i opreme www.gramofoni.com www.magic-records-shop.com www.njuskalo.hr/gramofonske-ploce www.discogs.com
Povratak gramofonske ploče: Za album trubača iz Jajca kolekcionari daju i 1.000 eura
Pojavom CD-a početkom 90-ih
godina prošlog stoljeća učinilo se kako gramofonska ploča zauvijek
odlazi u prošlost. No, vrijeme je pokazalo kako punoću zvuka izbrazdanog
vinila po kojem 'grebe' gramofonska igla nije lako nadmašiti.
Foto: Anadolija
Osim zbog zvuka, ploča se cijeni i zbog omota. Malo je poznato da je
upravo pojava DJ-a i elektronske muzike vinilu podarila novi život.
Vinili sa ex-yu scene danas dostižu cijenu od hiljadu eura, a kupuju ih
kolekcionari od Japana do Meksika, javio je dopisnik Anadolije.
Najbolje mjesto za razgovor o pločama u Zagrebu bez sumnje je sajam
ploča, stripa i plakata u klubu Močvara koji se održava dvaput godišnje.
Ove zime predstavilo se dvadesetak domaćih izlagača i gost iz
Slovenije. Ugodno je vidjeti kako dio publike i prodavača čine mladi
ljudi, tinejdžeri upečatljivih frizura s gitarama preko leđa, hipiji,
punkeri, metalci… Na pitanje u koliko se boja proizvode vinili, odgovor
je jasan - u svim bojama, iako su crni uobičajeni.
Najskuplja ploča trubača iz Jajca
Prvo mjesto među najskupljim ex-yu pločama već neko vrijeme pripada
srpskom džez trubaču Dušku Gojkoviću, rođenom u Jajcu. Njegov album
"Snap Shot" iz 1983. godine među kolekcionarima postiže vrtoglavu cijenu
od hiljadu eura. Gojković je jedan od pionira fuzije džeza sa
elementima balkanskog folklora, ostvario je značajnu karijeru u
inozemstvu i objavio 15 samostalnih albuma. Ploče koje je izdao na
prostoru bivše Jugoslavije sad se cijene, jer kolekcionari traže upravo
originale.
Drugo vinilno iznenađenje, kojeg je neko možda zaboravio na prašnjavom
tavanu, elektronski je novosadski sastav iz '80-ih imena Rex Ilusivii
čiji album vrijedi, ako su ploča i omot očuvani, oko 300 eura.
Gramofonske ploče kao životni izbor
Darko Mikulec, ekonomist i zaljubljenik u muziku, napustio je
profesionalnu karijeru bankara prije skoro 20 godina i posvetio se
trgovini pločama, a danas mu u poslu već pomažu sinovi Ian i Martin.
Posao s pločama Darko je započeo preko interneta i na sajmu na
zagrebačkom trgu, pa njegov štand sada nosi ime 'Stari diler sa Cvjetnog
trga'. Stanje na tržištu, kaže, mijenja se iz dana u dan. Sajmovi su
nastali kad su se ploče početkom 90-ih prestale otiskivati, ali
potražnja za njima nije prestala, unatoč pojavi CD-a.
"Najveći sajam ploča odvija se dvaput godišnje u Utrechtu gdje redovno
odlazim 15 godina. To je jedini sajam na svijetu gdje dolaze prodavači
iz cijelog svijeta, tako da se prodaje roba od Meksika do Japana i
najjača europska roba - engleska“, priča Darko koji ima većinom engleske
i ex-yu ploče štampane u bivšem Jugotonu, RTB-u i Diskotonu, najjačim
izdavačkim kućama nekadašnje Jugoslavije.
Ploče su, kaže za AA, tražene jer kolekcionari žele drugačije omotnice, drugačije ploče ili jednostavno muziku s ovih prostora.
Od ulaska Hrvatske u Evropsku uniju Darko se više ne mora brinuti kad
prelazi preko granice s rabljenim pločama. Carinici propuste njegov
kombi pun vinila prema Milanu, Parizu, Beču ili Barceloni, što prije
nije bilo moguće. Darko ne odlazi na sajam kako bi samo prodavao, nego i
kupovao i mijenjao se s drugim kolekcionarima.
Vrijednost ovisi o omotu, godini i izdanju ploče
Cijene ploča stalno variraju ovisno o stanju na tržištu, a tržište je i
internet, odnosno eBay kao najveća aukcijska kuća u kojoj ljudi iz
cijeloga svijeta izlažu i prodaju ploče.
Darko ili "Stari diler sa Cvjetnog" kaže da je prije desetak godina bio
jako tražen rock 70-ih, grupe poput Drugog načina, Yu-grupe, Korni grupe
ili Igre staklenih perli, a sad se najviše traže ploče iz 80-ih godina;
punk, novi val ili ploče koje imaju neke specijalne dionice zanimljive
DJ-ima koji su oduševljeni pločama starim i po 30 godina.
Neki od domaćih vinila prije deset godina imali su cijenu od svega
nekoliko eura, dok danas vrijede i po više stotina eura. Vrijednost
ploče ovisi o očuvanosti omota i samog vinila, kao i o godini i izdanju.
DJ-i su vratili stari vinil na novu scenu
'Revival' ploča pojavio se kad su ih DJ-i počeli slušati i nabavljati
kako bi radili vlastite mikseve za partyje, čime su dali veliki obol
povratku vinila na sajmove i na internet tržište.
"Početkom 90-ih godina, kod nas je većina kolekcionara prodala svoje
gramofonske ploče i prešla na CD, dok se danas primjećuje suprotan
trend, a to je da CD kao nosač zvuka sve više slabi i prodaja u svijetu
mu pada, dok se gramofonska ploča vratila na mala vrata i prodaja joj
raste godišnje od 50 do 100 posto.
To još nisu nekadašnje naklade, ali se svaki novi album izdan u svijetu
štampa i na vinilu u nakladama od 5.000 do 10.000 primjeraka.
Najveća tvornica za štampanje gramofonskih ploča u Evropi je u
Holandiji, u Haarlemu. Tamo se mjesečno štampa preko 500.000 novih
vinila, a imaju i pogon za izradu omota, priča Darko.
Za dobar zvuk, osim dobre ploče, potreban je i dobar gramofon kojega se
može nabaviti u svim boljim dućanima, preko oglasa ili na sajmu
antikviteta. Vrijedne su podjednako singlice i longplejke, a prema
mišljenju audiofila, jedini nosač zvuka koji se kvalitetom može mjeriti s
vinilom je magnetofonska vrpca.
CoffeeSonja, VladimirPericWalter3.Subota14.july. Hundredsof collectorsfrom Serbiaandabroadhave visited theStock Exchangeof gramophone recordsin Novi Sad. Markettakes placeevery first Saturday, but this time hemovedfora weekand visitorstoEXITwasabletovisit. We invitecollectorsplaying records, CDsingles andthe originaleditions,fansof forgottenvinyl , to come and seewhat it is thatattractscollectorsfrom allover Serbiato come toNoviSad.
Yugovinyl record shop sale all of the kinds of records
from ex Yugoslavia.Abaut a dozen record companies(the major ones being
Jugoton from Zagreb and Belgrade's RTB plus many smaller
(RTVLJ,Suzy,Diskos,Diskoton,Helidon,Jugodisk,Beograd disk,Sarajevo disk)published tens of thousands of record during 50's-mid 90'.
It is our aim to make all these titles available to all the fans of
Yu music and collectors of Yu editions of foreign
performers(Beatles,Queen,Rollingstones,Elvis Presley...)
It is our aim to make all these titles available to all the fans of Yu music and collectors of Yu editions of foreign performers(Beatles,Queen,Rolli