Indonesian guitarist Dewa Budjana chatting with rig designer Bob Bradshaw.
Our columnist tells the story of his visit to a recording studio, interviews an Indonesian guitarist, and releases some of his prejudices about a rack-system-style rig.
Last month, I had the opportunity to do a recording session at a professional studio, or more precisely, the best recording studio in my city. As an amateur musician, I only brought my Marshall 6101 combo, Les Paul, and ’70s fuzz wah. The owner and engineer of the studio had said that I could use all the equipment in the studio, especially the rack system that was available there.
Of course, I wouldn’t waste that offer; my curiosity was clearly through the roof. However, using the rack system was not as easy as I thought. After tinkering with it for about an hour, I ended up deciding to stop, as it’s not my thing and I don’t like the way it looks. I tend to set up my rig scattered on the floor because I love to control it using my feet.
But that moment haunted me for weeks. As someone who started playing music as a teenager in the 2000s, for some reason, I was completely unfamiliar with the concept of the rack system. First, during that era, floor multi-effects were very popular, including the Korg AX series, Boss ME series, and of course, the Line 6 Helix. Second, the rack system was considered very expensive and bulky (and also seemed very serious), so typically only professional musicians could afford to use it. As a result, I had neither experience nor knowledge about it. I’m sure millions of amateur musicians like me on this planet also have curiosity and various questions about it.
That was until I met Dewa Budjana, a professional guitarist in Indonesia. Recently, he collaborated with John Frusciante, Jordan Rudess, and Mateus Asato. Budjana has been known as one of the users of the rack system since the ’90s. I was able to have a conversation with him, where I asked him about his knowledge and experience with the system.
Rack systems are out of my world. Can you explain why you use them?
Dewa Budjana: Growing up as a musician in the ’80s, the era of Mike Landau and Steve Lukather, of course I wanted a rack system. There was no direct system back then [such as Fractals, Kempers, etc.], and the only way to explore the equipment was by reading what was available in magazines.
I know it’s not easy to route a rack system. How do you do it?
DB: My first rack was routed by Dave Friedman [of Friedman Amplification], but I bought it from [guitar rig designer] Bob Bradshaw, whom I’ve been in touch with since 1996. At that time, Bob was on tour with Toto, so Dave did the routing. My friendship with Bob continues until today; [he helped me with] several of my albums that I recorded live in America. In 2013, I even made a smaller rack system, which I still use in the studio now.
Why do you think it’s so special, and how often have you used it?
DB: Using the rack system certainly has its own sound satisfaction, perhaps because I am really familiar with it. But since the early 2000s, I have rarely brought a rack [on tour with me] because of the difficulty of transporting it. Also since the mid 2000s, I have tried to explore using multi-effects with a direct system, especially on stage.From that conversation, I concluded that my prejudice about the sacredness of the rack system was not entirely correct. Over time and with technological advancements, a professional like Budjana eventually wasn’t confined to always using rack effects because as times change, so does the tendency of humans to always find new ways to do things, including creating music. Is the rack system merely a representation of a specific era? I don’t think so, because today, we can also find people using vintage stompboxes from the ’60s with all their limitations, such as no LED indicator or the ability to save presets.
In the end, any equipment we use can be considered a personal statement that represents our identity, just like John Mayer with a BluesBreaker, or Yngwie Malmsteen with his Strat and full-stack Marshall.
Budjana still uses the rack system today because in some contexts, it is indeed part of his sound, even though it’s so complicated. To use one, you need another person to operate it in order to make it just right, as well as proper accessories like the housing, power conditioner, and special patch cables. Even when faced with a variety of super advanced equipment, I still tend to crank tube amps and push them with fuzz—and that’s it! But Budjana taught me about the awareness of how “gray,” or not so black-and-white, equipment can be for creating.
You don't need to become a pro to develop a thoughtful and informed approach to playing music that will enrich your life.
Being a professional musician can be a difficult path, especially if you want to play your own music. We hear about the acts that are attracting the attention of the media or are forging a following on the internet, who seem to be enjoying success. Then, there are established megastars who continue to play their catalog to adoring fans who grew up listening to their recordings. But, as we all know, one day you're hot and the next day you're not. I can't count the times someone has mentioned a performer that has "fallen to the depths" of playing county fairs or small clubs after having once ruled the stadium circuit. "Imagine," they say, "having to play (insert decades-old hit song name here) every night." Very few performers sustain financial success in popular music, and even session players have a limited shelf life as styles change. It's a young person's game, especially if you play pop music.
A lot of instrument advertising leans on professional endorsements or associations. Features are often touted as being influenced by and created for "pro" players. I guess this assumes that everyone who plays the guitar aspires to be a pro. Even garage-rock scenarios are portrayed as a stepping-stone to stardom. But not everyone can be a pro, and not everyone needs to be one.
There's certainly a lot more options if you want to be a side musician or play in a wedding band. Maybe you can eventually get a well-paying gig backing up someone who has made the big time, and you can stand 20 feet from stardom. But I don't think there's anything wrong with admitting that music is your hobby. Hobbies are where we can pour our passion, and they give more meaning to life. If hearing a favorite song lifts your spirits, think of how playing that song for others can lift theirs. Music is the only art form that moves people (and animals) even though it is invisible.
We can't all be professional entertainers, but we can be better listeners, and understanding how music is made lets us enjoy our favorite music even more.
The benefits of playing music are well documented. Music stimulates all the senses and promotes good health. Studies have shown that music prolongs cognition in older folks and helps kids learn—even when it's just heard in the background. Not everyone can write the next great novel, but almost anyone can play a little tune that others can sing along to. Playing an instrument is a way to share good times and tell stories that are meaningful to you. If you have kids, there's nothing better than seeing them discover the joys of making musical sounds and then weaving music into their lives.
Music is also a great icebreaker. I picked up a guitar because it made a joyous noise and shielded me from being shy. It was also easier to carry around than my parents' piano. The mechanical and electrical facets of the electric guitar appealed to my young gearhead sensibilities, too. Guitar music is art, entertainment, and tech all wrapped up together. If you're handy with tools, building instruments, effects, and amplifiers from kits can satisfy a whole universe of interests—and then you can make music with your creations for and with friends.
As most of you know already, being an avid musician also gives you a better appreciation of the music created by others. We can't all be professional entertainers, but we can be better listeners, and understanding how music is made lets us enjoy our favorite music even more and realize the full worth of what we are hearing or seeing. I'd recommend taking basic music lessons to everyone just to improve their appreciation of the music around all of us. As far as hobbies go, music is certainly one of the best ways to enrich your life and the lives of those around you. It makes you smarter, it relieves stress, and it doesn't cost much—at least at first. It's like having a church wherever you go. I'm not saying that it can cure all our ills, but it comes pretty close.
Sure, we'd all like a shot at writing a song that everybody knows and sings along to. Which brings us back to those "has-been" acts playing their platinum hit song for a small crowd of people and farm animals at a county fair. They've had a run that many of us can't imagine. It probably just started out as a hobby for them before it got out of hand for a while. I don't know about you, but I'd be happy to play that song night after night even if it was for a handful of fans. In the end, we're all just enjoying music, which is what I call success. Just keep playing your own hits and the music you love with your friends, family, and pets. And don't hate the word hobby.