VOTES NOT LIMITED

yamaha psr s 750

2014-02-24T09:46:00.002-08:00

Specs

Size/Weight

Dimensions	Width	1,002 mm (39 7/16")
	Height	148 mm (5 13/16")
	Depth	437 mm (17 3/16")
Weight	Weight	11 kg (24 lbs., 4 oz.)

Control Interface

Keyboard	Number of Keys	61
	Type	Organ
	Touch Response	Hard 2, Hard 1, Medium, Soft 1, Soft 2
Other Controllers	Pitch Bend	Yes
	Modulation	Yes
	Multi Pads	126 banks x 4 Pads
Display	Type	B/W LCD
	Size	5.7 inch (320 x 240 dots STN QVGA )
	Contrast	Yes
	Language	English, German, French, Spanish, Italian
Panel	Language	English

Voices

Tone Generation	Tone Generating Technology	AWM Stereo Sampling
Polyphony	Number of Polyphony (Max.)	128
Preset	Number of Voices	678 Voices + 28 Drum/SFX Kits + 480 XG Voices + GM2 + GS (for song playback)
Preset	Featured Voices	38 Super Articulation Voices, 18 Mega Voices, 24 Sweet! Voices, 46 Cool! Voices, 29 Live! Voices, 10 Organ Flutes!
Expandability	Expansion Voice	Yes (approx. 64 MB max.)
Expandability	Editing	Voice Set
Part		Right 1, Right 2, Left
Compatibility		XG, XF, GS, GM, GM2

Effects

Types	Reverb	44 Presets + 3 User
	Chorus	71 Presets + 3 User
	DSP	DSP 1: 295 Presets + 3 User, DSP 2-4: 128 Presets + 10 User
	Master EQ	5 Presets + 2 User
	Part EQ	28 Parts (Right 1, Right 2, Left, Multi Pad, Style x 8, Song x 16)
Mic Effects		-
Vocal Harmony	Number of Presets	-
	Number of User Settings	-
	Vocal Effect	-

Accompaniment Styles

Preset	Number of Preset Styles	325
	Featured Styles	295 Pro, 30 Session
	Fingering	Single Finger, Fingered, Fingered On Bass, Multi Finger, AI Fingered, Full Keyboard, AI Full Keyboard
	Style Control	INTRO x 3, MAIN VARIATION x 4, FILL x 4, BREAK, ENDING x 3
Other Features	Music Finder	1,200 Records
Other Features	One Touch Setting (OTS)	4 for each Style
File Format		Style File Format, Style File Format GE
Expandability	Expansion Style	Yes
Expandability	Expansion Audio Style	-

Songs

Preset	Number of Preset Songs	5
Recording	Number of Songs	Unlimited (depending on USB flash memory capacity)
	Number of Tracks	16
	Data Capacity	approx. 300 KB/Song
	Recording Function	Quick Recording, Multi Recording, Step Recording
Compatible Data Format	Playback	SMF (Format 0 & 1), XF
Compatible Data Format	Recording	SMF (Format 0)

Functions

Registration	Number of Buttons	8 presets/bank (unlimited number of banks, depending on USB flash memory capacity)
Registration	Control	Registration Sequence, Freeze
Lesson/Guide	Lesson/Guide	Follow Lights, Any Key, Karao-Key, Your Tempo
Lesson/Guide	Performance Assistant Technology (PAT)	Yes
Demo/Help	Demonstration	Yes
USB Audio Recorder	Playback	.wav
USB Audio Recorder	Recording	.wav
Overall Controls	Metronome	Yes
	Tempo Range	5 – 500, Tap Tempo
	Transpose	-12 – 0 – +12
	Tuning	414.8 – 440 – 466.8 Hz
	Octave Button	Yes
	Scale Type	9 Presets
Miscellaneous	Direct Access	Yes
	Text Display Function	Yes
	Wallpaper Customization	-
Voices	Voice Creator	Yes
	Harmony/Echo	Yes
	Panel Sustain	Yes
	Mono/Poly	Yes
	Voice Information	Yes
Styles	Style Creator	Yes
	Style Recommender	Yes
	OTS Information	Yes
Songs	Song Creator	Yes
	Score Display Function	Yes
	Lyrics Display Function	Yes
Multi Pads	Multi Pad Creator	Yes
USB Audio	Time Stretch	-
	Pitch Shift	-
	Vocal Cancel	-

Storage and Connectivity

Storage	Internal Memory	approx. 1.9 MB
	External Drives	USB Flash Memory, etc. (via USB to DEVICE)
	Internal Memory (for Expansion Pack)	approx. 64 MB
Connectivity	DC IN	16V
	Headphones	Yes
	FOOT PEDAL	(optional) Switch or Volume x 2
	Microphone	-
	MIDI	In/Out
	AUX IN	Yes
	OUT PUT	(R, L/L+R)
	VIDEO OUT	-
	USB TO DEVICE	Yes
	USB TO HOST	Yes

Amplifiers and Speakers

Amplifiers		15 W x 2
Speakers		13 cm + 5 cm (x 2)

Power Supply

Power Supply		PA-300C or an equivalent recommended by Yamaha
Power Consumption		13 W
Auto Power Off Function		Yes

Accessories

Included Accessories	AC Adaptor	PA-300C

Multi Pads

Preset	Number of Multi Pad Banks	123 banks x 4 Pads
Audio	Audio Link	Yes

yamaha psr S 950

2014-02-24T09:45:00.001-08:00

Specs

Size/Weight

Dimensions	Width	1,002 mm (39 7/16")
	Height	148 mm (5 13/16")
	Depth	437 mm (17 3/16")
Weight	Weight	11.5 kg (25 lbs., 6 oz.)

Control Interface

Keyboard	Number of Keys	61
	Type	Organ
	Touch Response	Hard 2, Hard 1, Medium, Soft 1, Soft 2
Other Controllers	Pitch Bend	Yes
	Modulation	Yes
	Multi Pads	126 banks x 4 Pads
Display	Type	Color LCD
	Size	5.7 inch (320 x 240 dots TFT QVGA )
	Color	Color
	Contrast	-
	Language	English, German, French, Spanish, Italian
Panel	Language	English

Voices

Tone Generation	Tone Generating Technology	AWM Stereo Sampling
Polyphony	Number of Polyphony (Max.)	128
Preset	Number of Voices	786 Voices + 33 Drum/SFX Kits + 480 XG Voices + GM2 + GS (for song playback)
Preset	Featured Voices	62 Super Articulation Voices, 23 Mega Voices, 27 Sweet! Voices, 64 Cool! Voices, 39 Live! Voices, 20 Organ Flutes!
Expandability	Expansion Voice	Yes (approx. 64 MB max.)
Expandability	Editing	Voice Set
Part		Right 1, Right 2, Left
Compatibility		XG, XF, GS, GM, GM2

Effects

Types	Reverb	44 Presets + 3 User
	Chorus	106 Presets + 3 User
	DSP	DSP 1: 295 Presets + 3 User, DSP 2-4: 295 Presets + 10 User
	Master EQ	5 Presets + 2 User
	Part EQ	28 Parts (Right 1, Right 2, Left, Multi Pad, Style x 8, Song x 16)
Mic Effects		Noise Gate x 1, Compressor x 1, 3Band EQ x 1
Vocal Harmony	Number of Presets	44
	Number of User Settings	10
	Vocal Effect	23

Accompaniment Styles

Preset	Number of Preset Styles	408
	Featured Styles	25 +Audio, 1 FreePlay, 350 Pro, 32 Session
	Fingering	Single Finger, Fingered, Fingered On Bass, Multi Finger, AI Fingered, Full Keyboard, AI Full Keyboard
	Style Control	INTRO x 3, MAIN VARIATION x 4, FILL x 4, BREAK, ENDING x 3
Other Features	Music Finder	2,500 Records
Other Features	One Touch Setting (OTS)	4 for each Style
File Format		Style File Format, Style File Format GE
Expandability	Expansion Style	Yes
Expandability	Expansion Audio Style	Yes (approx. 64 MB max.)

Songs

Preset	Number of Preset Songs	5
Recording	Number of Songs	Unlimited (depending on USB flash memory capacity)
	Number of Tracks	16
	Data Capacity	approx. 300 KB/Song
	Recording Function	Quick Recording, Multi Recording, Step Recording
Compatible Data Format	Playback	SMF (Format 0 & 1), XF
Compatible Data Format	Recording	SMF (Format 0)

Functions

Registration	Number of Buttons	8 presets/bank (unlimited number of banks, depending on USB flash memory capacity)
Registration	Control	Registration Sequence, Freeze
Lesson/Guide	Lesson/Guide	Follow Lights, Any Key, Karao-Key, Your Tempo
Lesson/Guide	Performance Assistant Technology (PAT)	Yes
Demo/Help	Demonstration	Yes
USB Audio Recorder	Playback	.wav, .mp3
USB Audio Recorder	Recording	.wav
Overall Controls	Metronome	Yes
	Tempo Range	5 – 500, Tap Tempo
	Transpose	-12 – 0 – +12
	Tuning	414.8 – 440 – 466.8 Hz
	Octave Button	Yes
	Scale Type	9 Presets
Miscellaneous	Direct Access	Yes
	Text Display Function	Yes
	Wallpaper Customization	Main, Lyrics
Voices	Voice Creator	Yes
	Harmony/Echo	Yes
	Panel Sustain	Yes
	Mono/Poly	Yes
	Voice Information	Yes
Styles	Style Creator	Yes
	Style Recommender	Yes
	OTS Information	Yes
Songs	Song Creator	Yes
	Score Display Function	Yes
	Lyrics Display Function	Yes
Multi Pads	Multi Pad Creator	Yes
USB Audio	Time Stretch	Yes
	Pitch Shift	Yes
	Vocal Cancel	Yes

Storage and Connectivity

Storage	Internal Memory	approx. 6.7 MB
	External Drives	USB Flash Memory, etc. (via USB to DEVICE)
	Internal Memory (for Expansion Pack)	approx. 64 MB
Connectivity	DC IN	16V
	Headphones	Yes
	FOOT PEDAL	(optional) Switch or Volume x 2
	Microphone	Yes
	MIDI	In/Out
	AUX IN	Yes
	OUT PUT	(R, L/L+R)
	VIDEO OUT	Yes
	USB TO DEVICE	Yes
	USB TO HOST	Yes

Amplifiers and Speakers

Amplifiers		15 W x 2
Speakers		13 cm + 2.5 cm dome tweeter (x 2)

Power Supply

Power Supply		PA-300C or an equivalent recommended by Yamaha
Power Consumption		16 W
Auto Power Off Function		Yes

Accessories

Included Accessories	AC Adaptor	PA-300C

Multi Pads

Preset	Number of Multi Pad Banks	126 banks x 4 Pads
Audio	Audio Link	Yes

pa600

2014-02-24T09:43:00.000-08:00

Keyboard	61 keys with Velocity
Sounds	Factory: More than 950 (including Stereo Piano and GM 2 Sounds), 64 Drum Kits User: 256 Sounds, 128 Drum Kits Dynamic Nuance Control (DNC) Technology with Articulations Full editing of Sounds and Drum Kits Realtime sound control using assignable Switches
Tone Generator	128 voices - Filters with Resonance
PCM User Memory	96 MB
Effects & EQ	4 Stereo Master FX / 125 Effects types Three band EQ for each track Limiter - Master 4 band Parametric EQ
Controllers	Joystick – 2 Assignable Switches
Styles	Factory: More than 360 preloaded Styles, freely reconfigurable User: Up to 1,200 available Style locations including the Favorite/User banks
Structure	Eight Style tracks, 4 Single Touch Settings and one Style Performance per Style
Style controls	3 Intros, 4 Variations, Break, 3 Endings, Autofill (4 fills), Synchro Start/Stop, Tap Tempo/Reset, Manual Bass, Bass Inversion, Memory, Accompaniment Mute, Snare & Kick Designation, STS Mode, Chord Sequencer
Others	Guitar Mode 2, Parallel and Fixed NTT, Style Record with Step Record, Track and Event Edit functions
Performance/STS	320 Realtime Performance locations STS: Memorize Realtime tracks Up to 4 x Styles, up to 4 x SongBook entries My Setting special Performance
Realtime Tracks	Four Keyboard tracks (Upper 1, 2, 3, Lower)
Pads	4 Pad tracks + Stop button – Pad Record
Song Play	Single Player with Select, Start/Stop, Home, Rewind and Fast Forward controls Jukebox function - Compatible with SMF (formats 0 and 1) and MP3 with Vocal Remover - Lyrics (compatible with CDG), Score, Marker
Display	7” 800 x 480 TFT Graphical Color TouchView
Sequencer	Quick Record (Backing Sequence), Multitrack and Step Record functions Full featured sequencer - 16 tracks - Up to 100.000 events - SMF format
Song Book	Fully programmable music database, based on Styles, SMF, Karaoke, MP3 with automatic selection of Style Play and Song Play modes - User-definable custom lists - Filtering options
Search	Style, Song, Performance, SongBook, Sound and Lyrics TXT
Compatibility	“i-Series": Style “Pa series”: Style, Performance, Sound, PCM, Song, SongBook and Pad
General Controls	Master Volume, Real Time-Acc/Seq Balance Volume, Ensemble, Octave Transpose, Master Transpose, Fade In/Out, Tempo Lock, Style Change, Quarter Tone Arabic Scale (with dedicated buttons in Quarter Tone version), User Scale memorized inside Performance/STS, Search, Lyrics, Score, Marker, Dial, Tempo, Metronome, Split
Connections	Control Inputs: Damper Pedal, Assignable Pedal/Footswitch Line Out: 2 Unbalanced Jack Left/Mono and Right, Headphones Line In: 2 Unbalanced Line In Jacks MIDI: In, Out Midi connectors - USB to Midi using the USB Device port - 8 user definable MIDI Preset
USB	USB-MIDI Interface To Device: 1 (Rear) To Host: 1 (Rear) 2.0 Hi Speed connections
Mass Storage/Disk	USB
Amp/Speaker System	Amplification: 15W x 2 Speakers: 100 mm x 2 Double Cone Speakers in Bass Reflex Box
Power	Power Supply: AC 100-240 V Power Consumption: 20 Watt
Dimensions	1,030 x 378 x 127 (W x D x H) mm without music rest
Weight	10 kg
Accessories	Owner’s Manual, Music Stand, Accessory DVD (including Video Manual), AC Cable

korg pa 800

2014-02-24T09:41:00.002-08:00

Keyboard	61 keys with Velocity and Aftertouch
System	OPOS (Objective Portable Operating System) and RX (Real eXperience) Technology – Multitasking, Load while play feature – Upgradable Operative System - SSD Solid State Disk
Tone Generator	KORG EDS (Enhanced Definition Synthesis) sound generator: 120 Voices, 120 Oscillators – Filters with Resonance - Three band EQ for each track
Effects	4 Stereo Digital Multi-Effect systems – 124 Effects types plus VOCODER – Final semiparametric three band EQ - Voice Processor Technology by TC Helicon: Three-part Harmonizer, Reverb, Delay, Compressor, EQ
Sounds-Drum Kits	More than 950, including a Stereo Piano and GM Level 2 compatible Sounds, 64 Drum Kits - User area: 256 Sounds, 64 Drum Kits - Dynamic Nuance Control (DNC) Technology - Digital Drawbars: 9 Footages - Realtime control: Assignable Sliders - Full editing of Sounds and Drum Kits - Sampling: Record, Edit, Time Slice, Load/Import of Korg, Wav, Aiff and Akai files - Export of Wav and Aiff files - PCM RAM Memory: 64 MB standard
Styles	More than 400 preloaded Styles, SSD-resident, freely reconfigurable - Up to 960 available Style locations including the Favorite banks - Eight Style tracks, 4 Single Touch Settings and one Style Performance per Style - Guitar Track, Parallel and Fixed NTT - Compatible with old "i-Series" and Pa series Style format - Style Record with Step Record, Track and Event Edit functions - Style controls: 4 Variations, 3 Fills, 3 Intros, 3 Endings, Synchro Start/Stop, Tap Tempo/Reset, Fade In/Out, Bass Inversion, Manual Bass, Tempo Lock, Memory, Accompaniment/Real Time Track Balance Volume, Accompaniment Mute, Drum Mapping, Snare & Kick Designation, Single Touch
Performance/STS	320 Realtime Performance locations - STS: Memorize Realtime tracks and Voice Processor settings, up to 4 x 960 Styles, up to 4 x SongBook entries
Realtime Tracks	Four Keyboard tracks (Upper 1, 2, 3, Lower) - 4 Pad tracks
Song Play	Patented XDS Crossfade Dual Sequencer player - 2 Sequencers with separate Select, Start/Stop, Home, Rewind and Fast Forward controls - Balance control - Lyrics data can be displayed on-screen, or on an external video monitor (with VIF4 option installed) - Score - Markers - Jukebox function - Compatible with SMF (formats 0 and 1) and MP3 (with MP3 option installed)
Sequencer	Quick Record (Backing Sequence), Multitrack and Step Record functions - Full-featured sequencer - 16 tracks - Up to 200,000 events - SMF native format
SongBook	Fully programmable music database, based on Styles, SMF, Karaoke, MP3 (with MP3 option installed) with automatic selection of Style Play and Song Play modes - User-definable custom lists - Filtering options
Compatibility	"i-Series" models: Styles - Pa series: Style, Performance, Program/Sound, Song, SongBook, Pad
Multi Pad	4 Assignable Pads + Stop Button - Pad Record function
Help System	Hypertextual, Contextual, Multilingual
General Controls	Master Volume, Real Time-Acc/Seq Balance Volume, Ensemble, Octave Transpose, Master Transpose, Style Change, Quarter Tone and Arabic Scale memorized inside Performance/STS - Realtime controllers: Joystick (pitch + modulation), 2 Assignable Sliders, 2 Assignable Switches, Dial, Up/+, Down/- - Search Function
Control Inputs	Damper Pedal (support half-pedaling with optional DS-1H pedal), Assignable Pedal/Switch, EC-5 (Programmable Multi-Switches)
Analog Output	Unbalanced Jack Left/Mono, Right, Out 1, Out 2, Headphones
Analog Input	2 Unbalanced/Balanced (automatic switch) Jack Line In with separate Gain control
MIDI	In, Out, Thru standard Midi connectors- USB to Midi using the USB Device port - Individual track assignment - 8 user definable MIDI Setups
USB	2 Host Front/Rear (2.0 Hi Speed) and 1 Device Rear (1.1 Full Speed) connections
Hard Disk	Optional 2.5" ATA Hard Disk Drive - Require HDIK-1 installation kit
DVD-CD Player - Floppy Disk	Optional standard USB CD-Drives to be connected to USB Host port
Display	320 x 240 pixels, Color TouchView Graphic Touch Screen
Amplification	2 x 22 W - Loudness - Fixed EQ
Speakers	4 Speakers (10 cm Woofers + Tweeters) - 2 way in Bass Reflex Box
Consumption	40 Watt
Dimensions	1110 / 43.7" (W) x 388 / 15.3" (D) x 181 / 7.1" (H) mm / inch without music stand
Weight	13.3 kg / 29.3 lbs
Accessories	Manual, AC Power Cable, Music Stand, CD-Rom

korg pa3x

2014-02-24T09:38:00.003-08:00

Versions	International, Musikant (Germany and Austria only), Oriental (Lebanon and Syria only)
Keyboard	76 or 61 semi-weighted keys with Velocity and Aftertouch
System	OPOS (Objective Portable Operating System) – Multitasking, Load while play feature – Upgradable Operative System - Self-Refresh battery for PCM data
Tone Generator	KORG EDS (Enhanced Definition Synthesis) sound generator: 120 Voices, 120 Oscillators – RX (Real eXperience) Technology - DNC (Defined Nuance Control) - Natural Ambience Drums Sound - Filters with Resonance - Three band EQ for each track
Effects	Up to 8 Stereo Digital Multi-Effect block systems – 140 Effects types including VOCODER – Final Mastering Effects by WAVES (MaxxEQ™, MaxxBass™, MaxxTreble™, MaxxStereo™, MaxxVolume™) - New Voice Processor Technology by TC Helicon®: Four-part Harmonizer, Double, µMod, Reverb, Delay, Filter, HardTune, Pitch Correction plus Compressor, EQ, Gate (Adaptive Mic Setting on the Mic input)
Sounds-Drum Kits	More than 1100, including Stereo Piano and GM Level 1 & 2 compatible sounds; more than 90 Drum Kits - User area: 512 Sounds, 128 Drum Kits - Defined Nuance Control (DNC) Technology - Real Drum Ambience - Digital Drawbars: 9 Footages - Realtime controls: Assignable Sliders - Full editing of Sounds and Drum Kits - Sampling: Record, Edit, Time Slice, Compression Tool, Load/Import of Korg, Wav, AIFF and Akai files; Export of Wav and AIFF files - PCM RAM Memory: 128 MB standard (equivalent to 256 MB linear data), expandable up to 256 MB (equivalent to 512MB linear data) with the optional EXB-M256 memory expansion board
Styles	More than 400 preloaded Styles, freely reconfigurable - 1200 available Style locations including the Favorite banks - Eight Style tracks, 4 Single Touch Settings, 4 Pads and one Style Performance per Style Guitar Track 2 mode, Parallel and Fixed NTT - Compatible with old "i-Series" and Pa series Style format - Style Record with Step Record, Track and Event Edit functions - Style controls: 3 Intros, 4 Variations, 4 Fills, Break, 3 Endings, Synchro Start/Stop, Tap Tempo/Reset, Fade In/Out, Bass Inversion, Auto Fill, Manual Bass, Tempo Lock, Memory, Accompaniment/Real Time Track Balance Volume, Accompaniment Mute, Drum Mapping, Snare & Kick Designation, Single Touch
Chord Sequencer	Realtime Style Chord Sequencer Recorder
Performance/STS	512 Realtime Performance locations - STS: Memorize Realtime tracks and Voice Processor settings, up to 4 x 1200 Styles, up to 4 x SongBook entries
Realtime Tracks	Four Keyboard tracks (Upper 1, 2, 3, Lower) with dedicated on/off and sound select buttons - 4 Pad tracks
Song Play	Patented XDS Crossfade Dual Sequencer Player compatible with MID (formats 0 and 1), MID+G, KAR, MP3 + lyrics, MP3+G files - 2 Players with separate Select, Start/Stop, Home, Rewind and Fast Forward controls - X-Fader Balance control - Lyrics and Chord data can be displayed on-screen, or on an external video monitor (with VIF4 option installed) - Score - Markers - Jukebox function
MP3 Player/Recorder	Double MP3 Player and MP3 Recorder. Possibility to Play two MP3 files at the same time in Song Play Mode with Real Time Transpose (+6/-5 semitones) and Tempo change(±30%) - Record MP3 files including Styles, SMF, Real Time Tracks, Pads, Microphone and Effects - Advanced Vocal Remover Record MP3 files including Styles, SMF, Real Time Tracks, Pads, Microphone and Effects - Audio Chord detection for Vocal Harmony
Sequencer	Quick Record (Backing Sequence), Multitrack and Step Record functions - Full-featured sequencer - 16 tracks - Up to 200,000 events - SMF native format
SongBook	Fully programmable music database, based on Styles, SMF, Karaoke, MP3 with automatic selection of Style Play and Song Play modes - User-definable custom lists - Filtering and Ordering options
Compatibility	"i-Series" models: Styles - Pa series: Style, Performance, Program/Sound, Song, SongBook, Pad
Multi Pad	4 Assignable Pads + Stop Button - Pad Record function
Help System	Hypertextual, Contextual, Multilingual
General Controls	Master Volume, Real Time-Acc/Seq Balance Volume, Ensemble, Octave Transpose, Master Transpose, Style Change, Quarter Tone and Arabic Scale memorized inside Performance/STS - Realtime controllers: Joystick (pitch + modulation), Ribbon Control, 8 Assignable Sliders, MP3 Volume, Mic Volume, Mic Harmony/Double Vol., Mic Reverb/Delay Vol., 3 Assignable Switches, Tempo +/-, Dial, Up/+, Down/- - Search Function
Control Inputs	Damper Pedal (support half-pedaling with optional DS-1H pedal), Assignable Pedal/Switch, EC-5 (Programmable Multi-Switches)
Analog Output	Unbalanced/Balanced Jack Left/Mono, Right/Mono, Out 1, Out 2, Headphones (in the front panel)
Digital Output	S/P DIF (48 kHz - coaxial) mirroring the Main Stereo Outputs
Line Input	2 Unbalanced/Balanced Jack Left/Mono, Right/Mono
Microphone Input	Combo XLR balanced with Gain control (20 to 55 dB) and switchable Phantom Power
MIDI	In, Out, Thru standard Midi connectors- USB to Midi using the USB Device port - Individual track assignment - 8 user definable MIDI Setups
USB	2 USB Host Front/Rear (2.0 Hi Speed) and 1 USB Device Rear (1.1 Full Speed) connections
Hard Disk	Pa3X 76 keys: standard internal 2.5" ATA Hard Disk Drive Pa3X 61 keys: standard 4 GB memory USB - Optional 2.5" SATA Installation kit (not including HD)
DVD-CD Player - Floppy Disk	Optional using standard USB DVD/CD/FD Drives to be connected to USB Host ports
Display	Pa3X 76 keys: Motorized Tilt Display - Resolution: 320 x 240 pixels - TFT Color TouchView Graphic Touch Screen Pa3X 61 keys: Display - Resolution: 320 x 240 pixels - TFT Color TouchView Graphic Touch Screen
Clock	Internal System Clock
Consumption	35 Watt - 50 Watt when connected with optional Amplification Bar (PaAS)
Dimensions	Pa3X 76 keys: 1192 x 366 x 145 mm / 46.93 x 14.41 x 5.71 inch without music stand and with the display fully lowered Pa3X 61 keys: 980 x 366 x 145 mm / 38.58 x 14.41 x 5.71 inch without music stand
Weight	Pa3X 76 keys: 17.5 kg / 38.58lbs Pa3X 61 keys: 14.7 kg / 32.4 lbs
Accessories	Manual, AC Power Cable, Music Stand, Accessory Disk

korg pa 600

2014-02-24T09:35:00.003-08:00

Keyboard 61 keys semi–weighted Velocity sensitive and after touch are supported System Upgradable Operating System RX (Real eXperience) DNC (Defined Nuance Control) Multitasking - Load while play feature Tone Generator KORG EDS (Enhanced Definition Synthesis) sound generator 128 Voices, 128 Oscillators Filters with Resonance Three band EQ for each track Effects Up to 4 Stereo Digital Multi-Effect block systems 125 Master Effect types + 2 Global Effects Voice Processor Three-part Harmonizer by TC Helicon® with 4 Effects: Reverb, Delay, plus Compressor, and EQ Sounds / Drumkits More than 1100, including Stereo Piano and GM/GS improved sound compatibility; more than 70 Drum Kits User area: 512 Sounds, 128 Drum Kits Defined Nuance Control (DNC) Technology Digital Drawbars: 9 Footages Full Sounds/Drumkits editing capability User PCM RAM Memory: 192 MB Full Sampling Editing Compatibility: Load/Import of Korg, Wav, AIFF and SoundFont™; Export of Wav and AIFF; Edit, Time Slice. Styles More than 400 preloaded Styles, freely reconfigurable 1200 available Style locations including the Favorite banks Eight Style tracks, 4 Single Touch Settings, 4 Pads and one Style Setting per Style Guitar Track 2 mode, Parallel and Fixed NTT Style Record with Step Record, Track and Event Edit functions Style controls: 3 Intros, 4 Variations, 4 Fills, Break, 3 Endings, Synchro Start/Stop, Tap Tempo/Reset, Bass Inversion, Auto Fill, Manual Bass, Memory, Accompaniment Mute, Drum Mapping, Snare & Kick Designation, STS Mode Chord Sequencer Real-time Style Chord Sequencer Recorder Performance / STS 320 Realtime Performance locations STS: Memorize Keyboard tracks settings, up to 4 x 1200 Styles, up to 4 x SongBook entries,"My Setting" function Song Play Patented XDS Crossfade Dual Sequencer Player (Supported formats: MID, KAR, MP3 + lyrics, MP3+G) 2 Players with separate Select, Start/Stop, Home, Rewind and Fast Forward controls X-Fader Balance control Lyrics, Score, and Chord data can be displayed on screen, or on external video monitor Markers Jukebox function Mp3 Player / Recorder Double Mp3 Player and Mp3 Recorder Real Time Transpose (+6/-5 semitones) Tempo change (±30%) Vocal Remover Record MP3 files including Styles, SMF, Real Time Tracks, Pads, Microphone and Effects Sequencer Quick Record (Backing Sequence) Multitrack and Step Record functions - Full-featured sequencer 16 tracks; Up to 200,000 events SMF native format SongBook Fully programmable music database, based on Styles, SMF, Karaoke, MP3 with automatic selection of Style Play and Song Play modes User-definable custom lists Filtering and Ordering options Compatibility "i-Series" models: Styles Pa series: Style, Performance, Program/Sound, Song, SongBook, Pad Multi Pad 4 Assignable Pads + Stop Button - Pad Record function General Controls Master Volume; Fade In/Out; Keyboard-Acc/Song Balance Volume; Ensemble; Octave Transpose; Master Transpose; Style Change; Quarter Tone and Arabic Scale memorized inside Performance/STS; Real-time controllers: Joystick (pitch + modulation); Mic Volume; Mic FX Volume; Mic On/Off; Mic Preset; Mic Harmony On/Off; 3 Assignable Switches; Tempo +/-; Tempo Lock; Dial; Search Function; Shift; Chord Scan; Split; Metronome On/Off; Sound Select Control Inputs Damper pedal (support half-pedaling with optional DS-1H pedal) Assignable pedal/switch Outputs Audio Output: Left/Mono, Right/Mono, Unbalanced Headphone Output: 1 (in the front panel) Video Out: 1 RCA type Mic/Line Inputs 2 Unbalanced Jack; Left/Mono-Mic, with gain control and Right/Mono MIDI In, Out; standard Midi connectors USB to Midi using the USB Device port 8 user definable MIDI Setups USB USB-MIDI Interface To Device: 1 (Front) To Host: 1 (Rear) 2.0 Hi Speed connections Mass Storage/Disk USB - Micro SD HC up to 32 GB (rear panel, user installable) Display Color TouchView™ 7" TFT display Clock Internal System Clock Amp/Speaker System Amplification: 20W x 2 - Speakers: 100 mm x 2 woofer in Bass Reflex Box, Dome tweeter x 2 Power Consumption 20 Watt; 100-240v 50/60 Hz Dimensions 1,030 x 378.3 x 138.8 mm / 40.55 x 14.89 x 5.46 inches (without music stand) - (W x D x H) Weight 10.76 kg / 23.72 lbs Accessories Manual, AC Power Cable, Music Stand, DVD-ROM Options EXP-2 - Expression/Volume Pedal XVP-10 - Professional Expression/Volume Pedal DS-1H - Damper Pedal PS-1/PS-3 Switch Pedal Please note: Technical specifications are subject to change without notice.

eurolive behringer EUROLIVE B115W

2014-02-24T09:25:00.005-08:00

EUROLIVE B115W Active 2-Way 15" PA Speaker System with Bluetooth* Wireless Technology, Wireless Microphone Option and Integrated Mixer High-Power 1,000-Watt 2-way PA sound reinforcement speaker system for live and playback applications Ultra-compact and lightweight system delivers excellent sound even at extreme sound pressure levels High-performance Bluetooth* A2DP technology to stream audio wirelessly from any Bluetooth-compatible device "Wireless-ready" for high-quality BEHRINGER digital wireless microphone system (not included) 2-channel mixer with individual Mic/Line inputs, Volume controls and Clip LEDs Dedicated 2-band EQ plus integrated sound processor for ultimate system control and speaker protection A portable PA system should be... well, in a word—portable! And easy to use, even for someone who’s never plugged-in a microphone. Our engineering team has created two self-contained, easy-to-use PA systems that are compact, lightweight and powerful—plus built-in wireless microphone and Bluetooth connectivity that makes setup a breeze! Bluetooth Stereo-Ready The days of tape decks, CD players and even MP3 devices are long gone. Now your music lives on your phone or computer tablet, so you can stop searching for those outdated cables and fancy adapters. Now with a simple wave of your hand, you can stream music from any Bluetooth audio-equipped device such as your iPad, iPod touch, iPhone, even your laptop computer. Plus, two B115W/B112W can provide true stereo performance via their Stereo Link function, making them the first active loudspeakers in this class to offer this capability. Now, isn’t that easy? Built-in Mixer & Wireless Option Both models feature built-in 2-channel mixers with the same ultra-low noise, high-headroom mic preamps that have made BEHRINGER mixers legendary. Also included is 2-band equalizer, plus Bluetooth for streaming audio directly from your iOS device, and our proprietary ULM wireless technology. Sold separately, BEHRINGER ULM Series digital mics integrate seamlessly to expand your B115W/B112W system to handle virtually any live sound application. Whether you set your B115W/B112W speakers on a table, or mount them on a pair of optional speaker stands, you’ll enjoy music streaming through this rich sounding, easy-to-setup system in mere moments. Cut the Fat; Keep the Beef We drew from our considerable experience to build these performance-grade loudspeakers and made them lighter (B115W: 38 lbs./17.2 kg; B112W: 32 lbs./14.5 kg) and more powerful. We started with custom-engineered Class-D power amps for the ultimate in low-distortion power and efficiency. Backed by SMPS (Switch Mode Power Supply) technology, the high-tech alternative to heavy transformers and massive heat sinks, these loudspeakers can run cool all day and all night without even breaking a sweat! Power and Control There is absolutely no substitute for amplifier power in high-performance loudspeakers; the kind of power it takes to deliver clean, in-your-face vocals and chest-thumping bass day in and day out. That’s why we gave these bad boys 1000 Watts of bi-amplified, digitally processed output power. Custom-Engineered Transducers Powerful, high-efficiency Class-D amplifiers and Switch Mode Power Supply technology coupled with state-of-the-art DSP functionality sure sounds impressive—but what about the part of the system you actually hear? We never cut corners on our transducers (woofers and tweeters), and we never just pull what we have off the shelf. Our LF (Low Frequency) and HF (High Frequency) transducers are designed specifically for each application—it’s what sets us apart from the competition. When you buy a BEHRINGER active loudspeaker, you can rest assured that the transducers inside have been engineered to perform flawlessly in conjunction with every other element for truly professional results. B115W and B112W active speaker systems crank out massive quantities of low end, with articulate, detailed mids and crystal-clear highs. Extraordinary Versatility Thanks to its trapezoidal shape, the B115W and B112W are suitable for a wide variety of applications. They can be mounted on standard speaker poles, placed vertically atop subwoofers, or even laid on their side for use as onstage monitor wedges. Their extraordinary fidelity and frequency response make them a favorite of vocalists and instrumentalists alike. Hook up is simple, requiring only a single XLR or 1/4" cable from your mixing console and power. Additional monitors can be chained together via the XLR Mix Output jack on the rear panel. Which Speaker Should I Buy? Well, let’s start with your application… are you giving a speech in a hotel ballroom—or rocking out at the local bar or dance club? Whether to choose one speaker cabinet over another depends on your bass requirements. A 15" woofer has about 40% more surface area with which to move air than a 12" and that translates into more bass. So if you’re addressing a small meeting, or jamming at the coffee house, the B112W might be all you’ll ever need. But if you’re providing disco in a busy nightclub, hosting Karaoke night in your living room, or just need to crank it up louder, then the B115W may be a better choice. Sound Value EUROLIVE active PA loudspeakers stand head and shoulders above the rest of the pack and deliver exceptional performance, even when pushed to their limits. Lightweight and powerful, with built-in mixers, custom-designed transducers, and integrated wireless functionality, B115W and B112W active loudspeakers are ideal for both speech and music applications—at a price that is unheard of in this class. Experience the B115W and B112W at your local dealer today and find out why more and more professionals are turning to BEHRINGER EUROLIVE Series active loudspeakers for their superb performance and extraordinary value. NOTE: Bluetooth audio streaming performance and range vary by make and model of smart phone and can be affected by Wi-Fi networks or wireless microphones such as the BEHRINGER ULTRALINK. Avoid use of Bluetooth audio streaming where such devices are in use. You Are Covered We always strive to provide the best possible Customer Experience. Our products are made in our own MUSIC Group factory using state-of-the-art automation, enhanced production workflows and quality assurance labs with the most sophisticated test equipment available in the world. As a result, we have one of the lowest product failure rates in the industry, and we confidently back it up with a generous 3-Year Warranty program.

gibson+2014

2014-02-24T09:22:00.001-08:00

Shop Amazon - All-New 2014 Gibson Guitars

Cara membuat aplikasi BlackBerry

2014-01-29T07:08:00.000-08:00

Diakui atau tidak, kemampuan dalam membuat aplikasi untuk berbagai platform seperti BlackBerry, Android, iPhone, dan lainnya merupakan dambaan banyak orang. Betapa tidak, telah tak terhitung jumlahnya orang, kelompok atau bahkan badan usaha yang kemudian dikenal banyak orang dan mendapatkan keuntungan materi pasca mereka mampu membuat aplikasi.

Lantas, sulitkah cara membuat aplikasi BlackBerry, iPhone, atau Android tersebut? Sebenarnya persoalan susah atau gampang hanya berkutat pada cara pandang. Kalau sedari awal Anda berpikir bahwa membuat aplikasi itu susah, maka jangan harap akan mudah dalam mengerjakannya. Hal tersebut juga berlaku sebaliknya.

Kali ini Saya akan mempersembahkan cara membuat aplikasi BlackBerry. Patut diketahui, bahwa cara membuat aplikasi BlackBerry sebenarnya tak terlalu repot. Anda cukup belajar sedikit ihwal bahasa pemrograman Java. Dan inilah langkah demi langkah cara membuat aplikasi tersebut.

Munculkan Ide atau Gagasan

Bagaimanapun bahwa ide merupakan bahan baku awal ketika ingin membuat sesuatu, begitu juga ketika hendak melakukan step by step cara membuat aplikasi BlackBerry. Maka langkah pertama, Anda harus menentukan dulu aplikasi seperti apa yang akan Anda buat.

Belajar Bahasa Pemrograman Java

Kalau Anda sudah mendapatkan ide, maka langkah selanjutnya dalam cara membuat aplikasi BlackBerry adalah mempelajari bahasa pemrograman Java. Untuk hal ini, ada banyak cara yang bisa dilakukan, bisa belajar dari buku, menyewa mentor, atau mencari sumber di internet dan dipelajari secara otodidak. Beberapa tutorial bahasa pemrograman bisa Anda telusuri di internet, dan salah satu tutorial resminya Anda bisa masuk ke sini.

Download Java Development Kit (JDK)

Software yang satu ini berfungsi dalam melakukan kompilasi dan menjalankan program bahasa Java. Dalam langkah-langkah cara membuat aplikasi BlackBerry ini, Anda dipastikan memerlukan software yang satu ini versi 1.6/6.0 yang bisa di-download di sini.

Download Eclipse

Eclipse akan membantu Anda dalam membuat pemrograman Java menjadi lebih mudah. Lebih mantapnya lagi, ternyata BlackBerry sudah memiliki plugin yang bekerja langsung dengan Eclipse. Install Eclipse dan Andapun tinggal meng-install-nya.

Pelajari Tutorial Sederhana Dari BlackBerry

Ternyata BlackBerry juga menyediakan tutorial sederhana untuk membantu Anda dalam cara membuat aplikasi BlackBerry. Anda bisa mendapatkan di sini. Meskipun terbilang sederhana, namun merupakan konsep dasar untuk membuat sebuah aplikasi BlackBerry yang canggih.

Publikasikan Aplikasi Anda

Untuk apa sebuah karya kalau tak bisa dinikmati oleh banyak orang. Anda akan mendapatkan manfaat dengan mempublikasikan hasil karya aplikasi BlackBerry Anda sehingga semua orang bisa mengaksesnya. Andapun kemungkinan besar akan mendapatkan bayaran dari kerja keras Anda membuat sebuah aplikasi, terlebih jika apa yang Anda buat disenangi dan dipakai banyak pengguna BlackBerry. Nah untuk itu, Anda perlu mendaftarkan karya aplikasi Anda ke AppWorld di sini. Selamat berkreasi dan berkarya!

Balinese Traditional House and Philosophy Contained in the Establishment

2014-01-29T04:32:00.000-08:00

In studying the customs and culture of Indonesia, including Bali , not separated from the home studied Balinese . Bali custom home built by the rules that exist in the Vedic scriptures . The house construction must conform to the rules of Asta Kosala Kosali procedures governing the laying house . This rule may be almost similar to the rules of feng shui known in china .Balinese Traditional House and Philosophy Contained in the Establishment

BALI TRADITIONAL HOUSE PICTURES
There is a philosophy behind the construction contained in Balinese traditional house . Custom home in Bali is a reflection of the condition of the existing society . There are three aspects or values that should be contained in a custom home in Bali . According to the Balinese , harmony in the society will be realized JILA someone capable of realizing synergistic relationship between pawongan ( residents ) , palemahan ( the environment of the house where it is located ) , and parahyangan . Construction of houses in Bali must meet these three aspects , which are commonly referred to as the Tri Hita Karana .
Most homes built in traditional Balinese other than on the basis of three aspects of earlier , well built and decorated with knickknacks such as wood carvings , but seem natural color contrast . In any decorations or knick - knacks that exist in a traditional house in Bali , no philosophy or meaning adopted : for example the presence of the sculptures is a symbol of their worship to the creator, or thanks to the gods .Reflection of Balinese Culture
TRADITIONAL HOME BALI

Balinese society is a society that upholds the culture , and it is reflected in the daily habit of architecture and buildings that were there : be it Balinese traditional house which they occupy , public buildings , places of worship , and others . Formerly, each custom homes in the occupied Bali consists of several small buildings united by a fence that surrounds the house . With the development of the architectural model and the development era , the house in Bali now no longer consists of several separate buildings .
As reviewed in the article above , the construction of custom homes in Bali is guided by the ejection Asta Kosala Kosali and in accordance with the principle of Tri Hita Karana . Each custom home is built there must meet these principles because the Balinese upholds the rule of life contained in the scriptures and the guidance of hereditary custom . Every thing that is written in the scriptures always ditati by the people of Bali , because Bali is known as the community residents who emnjunjung high culture and customs . For more details , maybe you can find some information about Bali and testimony custom homes and custom homes of Bali and its function . The existence of custom home is part of the Indonesian nation's wealth of cultural treasures .

Central Java Joglo Traditional House and his trademark

2014-01-29T04:30:00.001-08:00

The diversity of Indonesian culture is also reflected in the Central Javanese traditional house must have been very well known by many people of Indonesia. This time we will discuss the uniqueness and diversity of the characteristics of the Central Javanese Joglo traditional house , which must have been very well known throughout the country . Joglo house is very well known by many people , especially people of Central Java . Joglo house is a skeleton that forms the custom homes in Central Java and the pillar of the form consists of four main pillars or pillars and beams intercropping arrangement that is supported by the pillar of the .Traditional House in Central Java
custom house central java joglo
Socially , many of which have not previously traditional house because this house is a symbol of social status for the people of Java that have the economic ability of excess . Joglo is a type of house that requires a lot of expensive homes resource materials , especially wood . Generally homeowners Joglo formerly derived from the royalty or nobility . Houses of this type usually require large tracts of land because some parts of the house used to receive guests or load a lot of people .The parts in traditional house in Central Java
Generally part of Central Java traditional house consists of three main parts : pendhopo , pringgitan , and omah ndalem or omah njero . Pendhopo is part of the house that is usually used to receive guests . Pringgitan is part of the living room that is used for the puppet show ; derived from the root word " ringgit " , which means puppet . The third part is omah ndalem or omah njero , which is a family room . In omah njero there are three rooms ( senthong ) , namely senthong right, center , and left .
Judging from its structure , custom homes in Central Java might look more simple . Construction of the house as part pendhopo requires four pillars to support the establishment of the home . Poles is called the cornerstone of which is also a symbol determinant of the direction of the wind . Of the four fundamental pillars of these , there are also intercropping is inverted arrangement that propped cornerstone of. Ndalem or omah njero used as the core of a Joglo . Judging from the spatial structure , part ndalem have 2 different heights . It is intended that there is a space where air circulation .
Joglo is a type of Javanese traditional house that looks simple and is used as a symbol or a marker of social status or aristocratic Javanese aristocracy . This house has its own uniqueness or distinctiveness in the presence of pillars or pillar teacher , along with his intercropping . Every part of the house represents a different function , which is built on the vast land is also , therefore , this house belongs to only one of the propertied . Some other important things about custom homes in Central Java you can find from other sources , from wikipedia .

Pendet Welcome To Welcome To Gods - Gods

2014-01-29T04:28:00.001-08:00

There is a beautiful dance called Pendet is a beautiful dance from Bali , this dance is one of the most sacred tribal dance when compared with other traditional dance because dance pendet use mystical elements that are in it . Traditional dance is symbolized aa reception Pendet gods coming down from the top into the world and penetrated the soul is dancing. Traditional dance Pendet quite a bit difficult to do the dance and for people who are already experts can dance , because for those who do not know will have difficulty in balancing ,Pendet Welcome To Welcome To Gods - Gods

Pendet FROM BALI
Pendet dance is just a welcome to the gods who are in another world to enter the human realm , they give gods - gods that aims to welcome the god - the god of love and feel comforted because of the rave reviews . So god - the god of love with Pendet to dwell on earth and provide special benefits for his community and also serves as a protector of society .
Pendet Nor Couple Do It Group
Pendet Traditional dance is performed by means of pairs - male and female couple or with a group can also be done by men whose mass is usually done on the mountain . Clothing available on Pendet include tapih wearing green , red parchment , angkin prada yellow and red shawl plain without motive . As for the decoration used pendet dancers include hair sasak and use frangipani flowers , roses, clover and flowers Sandat who have a pattern of rules and the composition of each - each well was placed in a curved or elongated decara .
For completion Pendet dance usually mengginakan bowl is decorated with leaf ornament , with its own customized pieces motif according to the penarri , also with a bias motive lozenges slices or with the incorporation of existing motifs . Pendet itself is done with graceful movements without power , for pendet dance usually performed by female dancers with dynamic movement patterns that are usually performed during ceremonies or special events held in Bali to bring sengku , a pitcher , or cup with equipment offerings specifically for the show.
At Pendet dance Initially established in 1950 , when he first created this dance is usually performed only for the ceremony - a special ceremony only, but now many are showing this pendet dance in various places as a form of art appreciation and a desire to learn more pendet dance remote as well as for the development of culture Pendet .

Dance Central Java Gambyong Ah Tradition

2014-01-29T04:27:00.000-08:00

Gambyong dance is a dance that originated from Central Java , Surakarta precisely . This dance is a dance performed in order to enliven the event or wedding receptions are often also played to welcome the guests . What makes it seem so different from other dances gambyong this dance is always preceded by Gending pickaxe . This dance was very beautiful diliat or seem so outrageous when sipenari dancing in tune with the rhythm of music mengirinya , especially when he is so wahhh when moving in rhythm with the drum sound is one of the main attraction gambyong dance .

A drummer drums in this dance is not a person who recklessly because he should be able to adjust to liak - contortion of the body of the dancer but also have to keep in tune with gising . Therefore , sipenari will not be able to dance well without being accompanied by matching sound with rocking drums . So selarasnya between the sound of drums and sipenari gambyong make these two things can not be separated .
dance gambyongDance Gambyong Instruments
Musical instrument or instruments that are typically used to accompany the dance are as follows :

    kendhang
    gender
    successor gender
    bonang
    kenong
    kempul
    gong
History of Dance Gambyong
At the beginning of this dance but the dance is also staged street by street dancers commonly referred to as Tledek ( Java Language ) . Tledek the name of this dance is Gambyong , he was very well known in nearly all regions of Surakarta on Pakubowono Sinuhun Period IV ( 1788 s / d 1820 ) . The figure of the dancer who is so very beautiful and of course she can also dance is very beautiful and so lovely and plus it also has a melodious voice , so it can not be denied again he became very famous at that time . And since that's the dance that plays dance dubbed Gambyong .motion Dance
At the center of this dance lies in the overall motion of the legs, arms , body , and head . Head movement and also the hand that once felt so conceptualized is the main characteristic Gambyong dance . Additionally eyes always accompany or follow every movement of your hand by looking at the direction of the fingers of the hand also is very dominant . Besides footwork so harmonious dance tune made gambyong look so very fantastic .

Jaipong dance from West Java

2014-01-29T04:25:00.003-08:00

There is a dance called Dance Jaipong which is a dance that originated from West Java , precisely in the city of Bandung . This dance was created by a famous artist in the city of Bandung which is inspired by folk art called Tap Tilu so that he can understand the ins and outs and patterns - the pattern is fundamentally about the beauty that exists in traditional and applying it in a Traditional Dance Jaipong .Jaipong Dance : The Origin
Jaipong Dance
She studied dance - traditional dances and other artistic patterns and learn the beauty of his art which is then poured in a whole new dance without copying existing dances , but the idea is still fresh . Dance Jaipong first known by the public is a dance named " Leaf pulus KESER Bojong " bojjong rending and also very well known by the public . Early attendance is considered dance as a dance community that is too vulgar and inappropriate to be displayed to the general public , and the dance is also reaping a lot of pros and cons of media - electronic media such as radio , newspapers , and television .
Change Up Now
This Jaipong dance at first because it was considered less desirable by society too vulgar , but the development of this dance Jaipur offers a blend with other styles . Which is now known as kaleran who have ibing pattern , the dance is danced with a very spontaneous , cheerful and eager . This dance is very different from the dances usually performed with erotic and vulgar movements , the dance is also used clothing that is more closed and polite when compared with KESER Bojong pulus leaves dance and also dances Bojong rending .
The number of professional dancers and dance Jaipong expert plays a glance the value added by the community , because the viewer a variety of experts who came from West Java to learn this dance then this dance with it also growing increasingly popular and well-known that this dance is now used in ceremonies welcome to guests from outside west Java dating to the west of Java as a guest . Sweet smile and a twinkle eyes of the female dancers is the most distinctive element in this dance , because it is the main part and the core of this dance .
And in the area kliningan located on the northern coast of western Java Jaipong also popularized the dance known as the West Java where kliningan doran wedge with the same pattern and even dance similar to tap dancing tilu previously named . Existence there was taken from the tilu tap dance which is then combined with the new movement , as well as a lot of changes - changes that make it different from the special dance jaipongan the origin of his famous dance makes Jaipong .

Dance Remo and greatness

2014-01-29T04:24:00.000-08:00

When a guest who has a high position Dangan visit to one of the areas in East Java , it will surely be greeted guests and diirngi with Tari Remo . Of course , the distinguished visitor will be fascinated by this dance with authority and masculine aura that will definitely be emitted by the dancer . With a very charming dance , who would not be impressed ? Behind the glitz dance , apparently there is a history that can be regarded as a special history and unexpected .
REMO traditional DANCE INDONESIA

Origin of Dance Remo
Although Remo Indonesian dance is a dance that can dance like a luxurious dikategorikanse and feasible for use in big events and formal , this dance was apparently made from a caste that was not unexpected . Caste was not another dance singers are domiciled in Ceweng village , Jombang . Yes , dance is now used luxury created by singers ! This dance is often used to envy the event can be watched en masse, as ludruk ( drama created in the form of dance ) . Remo ludruk and dance together, and to pay the musician mass of performances they give.
Then how could Remo Dance " evolved " into a dance used in events magnificent ? Actually , the first dance is often used as a companion ludruk . However , this dance began often used to fill in important events , such as grand welcome guests who usually is a state guest . Then , the dance is also beginning to be used in dance festivals in order to melambungak name and area of East Java , and to preserve the culture and customs that began diggantin with modern life . This makes Remo is more often used for grand occasions , and the system is still in use today .
Remo Dance Story
People must think , what makes dance Remo Jombang often used for luxury events in addition to its history ? Of course there is something that makes people interested in this dance ! Tari Remo dance is not a perfunctory , because there is a story behind the movements of the dancers who dance shows . This dance tells the story of a prince who was fighting in a moan , trying to win the war . Tetntu course , this makes this dance requires a dancer who can show sis man masculine men who can show the prince struggles to defend himself .
However , it is not a little woman who started this dance performance . Of course , this is a sensible thing for this dance should be preserved by Indonesia and the region where the dance originated ( Jombang ) . Take it easy , because the female version of Remo is not much different from the original version of the man . The only difference is that now is an introductory dance women . The female dancers are also still using the male costumes are usually used in Remo 's dance , make people can enjoy this dance without having to search for the most original version of this dance .

Gamelan of Central Java and Yogyakarta

2014-01-29T04:21:00.001-08:00

Gamelan orchestra is a musical ensemble that usually highlight metallophone , xylophone , drums , and gongs . The term gamelan refers to the instrument / tool , which is a unified whole that is realized and sounded together . Gamelan word itself comes from the Javanese gamel which means hitting / beating , followed by an ending that makes it a noun . Gamelan orchestra mostly found in the island of Java , Madura , Bali , and Lombok in Indonesia in various types of sizes and shapes ensemble . In Bali and Lombok today , and in Java through the 18th century , the term gong is more considered synonymous with gamelan . ( Doc. Source: http://sbragnar.com/images/Indonesia/DSC01578.jpg )Occurrences gamelan preceded by Hindu - Buddhist culture that dominated Indonesia in the early days of recording history , which also represents the original Indonesian art . The instrument was developed to shape up like this in the days of the Majapahit Kingdom . In difference to the music of India , the only impact to the Indian-ness in gamelan music is how menyanikannya . In Javanese mythology , the gamelan dicipatakan by Sang Hyang Guru in Saka era , the god who controlled all the land of Java , with the castle on the mountain Mahendra in Medangkamulan ( now Lawu ) . Sang Hyang Guru first created gong to summon the gods . For more specific message and then create two gongs , and finally formed a set of gamelan . [ Citation needed ]The description of the first ensemble of musical instruments found in the temple of Borobudur , Magelang, Central Java , which has stood since the 8th century . Musical instruments such as bamboo flute , bells , drums in various sizes , lute , a stringed musical instrument that is swiped and learned , is found in the relief. However , little is found elements of metal musical instruments . However , relief of the instrument is said to be the origin of the gamelan .Tuning and manufacture gamelan orchestra is a complex process . Gamelan tuning using four ways , namely slendro , Pelog , " gamelan " ( special area of Sunda , or West Java ) , and " madenda " ( also known as the diatonic , the same as the original minor scale that is widely used in Europe ) .Gamelan music is a combination of the influence of foreign art diverse . Not regard the tone of Chinese , Southeast Asian musical instruments , drum bands and move music from India , bowed strings from the Middle East , Europe and even the military style that we hear on the traditional music of Java and Bali today.The interaction component is loaded with melody , rhythm and timbre of glory maintain a Balinese gamelan orchestra music . The pillars of this music brings together a variety of Balinese rural community character that became the order of the typical music that is an inseparable part of daily life .For Around the area of Central Java and Yogyakarta gamelan usually consists of 2 pangkon ( types ) and Pelog Slendro ie having a different pitch . Slendro is basically approaching the minor tone while Pelog produce tones that tend to approach the diatonic scales . The following set of Javanese gamelan are generally sounded in Central Java in general , including :
1 . kendhangRhythmic drum is a musical instrument ( not pitched ) which controls the rhythm and included in the group " membranofon " is a musical instrument whose sound source is derived from the skin membrane or other material .Mostly drums played by professional gamelan players , who had long dive into Javanese culture . Played drums most appropriate pengendang instinct , so when it is played by the premises of the other people there will be different nuances .According to historical evidence , membranofon group has been popular in Java since the mid- 9th century AD with the name : padahi , pataha ( padaha ) , murawa or muraba , mrdangga , mrdala , muraja , panawa , Kahala , damaru , drums . The term ' padahi ' oldest cemetery inscriptions can be found on the temple which dates to the year 821 AD ( Goris , 1930) . As written in the book of Nagarakrtagama composition MPU prapanca in 1365 AD ( Pigeaud , 1960) , the term continues to be used until the time of Majapahit .The mention of drums with different names indicate various shapes , sizes and materials used , among other things : a small drum , which is depicted in the statue being held by the god , the drums called " damaru " .

2 . RebabTrigon appeared in Java after the Islamic era around the century - 15-16 , an adaptation of the bow of the Arabs who were brought by the propagator of Islam from Arabia and India . Spread in the area of West Java , Central Java and East Java . Fiddle made of wood and covered with a thin skin resonator , has two strings / strings and have the pentatonic scales . Musical instrument that uses a bow and has three or two pieces of string from the strings of metal ( copper ) is his use jackfruit wood ( generally ) and hollow on the inside covered with dried ox skin as loudspeakers .Other traditional musical instrument which has the form Tehyan the fiddle is made of coconut shell resonator , fiddle this type can be found in Jakarta , Java and South KalimantanFor Tengan Java and Yogyakarta , these instruments typically consist of wire -string with two wires stretched on a wooden selajur with heart-shaped body covered with a membrane ( thin skin ) of the Chronicle cow .As one of the leaders of the instrument , fiddle song is recognized as a leader in the ensemble , especially in the style of the beat softly . In most piece - piece , the opening song plays fiddle piece , determine the piece , the barrel , and pathet to be played .Fiddle tone areas include any area of the piece . Then fiddle groove track gives a clear indication street groove track piece . In the majority of the piece , fiddle also gives guidance to the musical ensemble to move from one section to another .

3 . balunganThat wilahan shaped musical instrument ( Java : keys ) with six or seven wilah ( one octave ) superimposed on a wooden frame which also serves as a resonator that is sounded by using wooden percussion .In playing this balungan , right hand hit wilahan / sheet metal with percussion , then left hand punch that struck wilahan previously to eliminate the remaining buzz of beating the previous tone . This technique is called memathet ( basic words : pathet = push )According to the size and function , there are three types of balungan :

a. Demung , these tools are large and middle beroktaf . Balungan demung play a piece in a limited area . Typically , the gamelan has one or two demung . But there gamelan in the palace that has more than two demung .
b . Saron, this tool and medium-sized high beroktaf . Such demung , Sharon plays balungan in a limited area . In engineering wasp - reward returns , two saron play songs intertwined fast tempo . A set of gamelan has two Saron , but there gamelan saron have more than two .
c . Peking , saron Shaped the smallest and highest beroktaf . Sharon panerus or howl plays wasp duplicate or quadruplicate balungan song .

d . Slenthem , According to the construction , including family slenthem gender ; sometimes even he called panembung gender . But slenthem have as many slats slats saron ;He beroktaf lowest in the group of instruments saron ( balungan ) . Such demung and saron barung , slenthem balungan played in a limited area .Slenthem is one of the gamelan instruments consisting of thin sheet metal width is strung with rope and stretched over the tubes and produces a low hum or echo that follows the tone saron , ricik , and balungan when beaten . As with the other instruments in a gamelan set , slenthem certainly have slendro version and version pelog . Wilahan Slenthem Pelog generally have a range of tones C to B , while slenthem slendro has a range of tones C , D , E , G , A , C ' . How to play :How to beat the same as beating slenthem balungan , ricik , or saron . The right hand and left hand bat swinging perform " patet " , ie withstand vibrations that occur in sheet metal . In beating the much needed slenthem instincts or feelings of the musicians to produce an echo or hum good shape . In the notation C , D , E , G , for example , echoes produced when beating tone right C should disappear when the tone sounded D , and so on .For the playing of tempo , which used the same way as it does when using balungan , ricik , and saron . However, for certain circumstances , for example demung returns , then slenthem played to fill the void between balungan tone that sounded slow with beating double knock balungan . Or it could be the slenthem conditions must exist balungan beating half times as balungan was beating fast , such as piece Gangsaran .

4 . BonangThis instrument consists of a set of ten to fourteen small gongs positioned horizontally arranged in two rows , placed on a rope stretched on a wooden frame . Players sit in the middle row on the lower beroktaf gongs , percussion holds elliptic in each hand .There are three kinds of bonang , differentiated by size , region of the octave , and its function in the ensemble . For the Javanese gamelan , bonang here there are 2 types namely barung and Bonang Bonang Successor / penembung

In Central Javanese gamelan there are three types bonang used :a. Bonang panerusis the highest of them , and use the smallest kettle . Generally covers two octaves ( sometimes more in the slendro in Solo - style instruments ) , covering approximately the same range as the saron and peking combined . He plays the fastest rhythms bonang it , wither with each other or playing at twice the speed of bonang barung .
b . Bonang barungwho pitched one octave below the bonang panerus , and also generally covers two octaves , roughly the same class with demung and saron combined . This is one of the most important instruments in the ensemble , as it provides many cues to other players in the gamelan .
c . Bonang Panembungis the lowest tone . It is more common in Yogyakarta gamelan style , covering approximately the same range as slenthem and demung combined . When it comes to style gamelan Solo, may only have one row of six ( slendro ) or seven kettles sounding in the same list with slenthem . It is reserved for the most violent repertoire , usually plays another form of balungan .The part played by bonang bonang panerus barung and more complex than many gamelan instruments , thus , is generally regarded as an instrument to elaborate . Sometimes it plays a melody based balungan , although usually modified in a simple way . However, it could also play a more complex pattern , which is obtained by combining and panerus barung patters , such as alternation of interlocking parts ( yield ) and the interpolation of florid melodic patterns ( have now ) .
5 . kenongKenong an element of gamelan instruments pencon most obese , compared with kempul and gongs that although large but flat-shaped . Kenong is structured in the form pangkon hardwood covered with ropes , so that when struck kenong will not sway to the side but can be swayed to the top down , thus producing sound . Kenong great shape produces a low voice but loud with a distinctive timber ( in the Java community ear ning - nong captured sounds , so called kenong ) . In gamelan , voice kenong fill the sidelines between kempul .Gamelan is the second most important instrument after the gong . Kenong gong split into two or four sentences kenong , or kenongan .In addition to the functional structure of the piece underlines , notes kenong also relate to the song piece , and he could play the same tone with the tone balungan , and may also precede the next balungan tone for the main lead track piece , or it can play a tone within a kempyung balungan tone , to support pathet flavor .In kenongan fast style , the feasibility ayaka , srepegan , and sampak , wasp kenong lead piece - piece groove of the song .
6 . kethukTwo kinds of gong instruments for kenong , horizontal position superimposed on a rope stretched on a wooden frame that serves to give the song groove accents the piece into short sentences .On wasp style fast launch , sampak , srepegan , and sieve sieve , kethuk knock knock sounded at the balungan , generating patterns intertwine fast .

7 .Gambang
The instrument is similar to a family balungan made of slats - wood slats framed in gerobogan which also serves as a resonator .Bladed seventeen to twenty blades , xylophone region covers two octaves or more .Xylophone percussion played with circular shaped with long stalks are usually of horn / sungu / fiber rods bending . In a complete set of gamelan instruments are 3 pieces xylophone , xylophone that slendro , xylophone pelog bem , and xylophone pelog goods . But not a few who comprise only two instruments only . In pelog xylophone , tones 1 and 7 can be adapted to the piece to be played .Most xylophone plays gembyangan ( octave ) in the style of song patterns with steady beats .Xylophone can also play some kind of ornamentation and rhythm tracks , like a game of two tones separated by two slats , or a game of two tones separated by six blades , and a song with rhythm patterns - the syncopated rhythm as in the piece Janturan / Suluk .

8 . genderSame with Kendang , Gender is mostly played by the professional gamelan players , who had long dive into Javanese culture .Instruments similar to the wilahan Slenthem but smaller , consisting of metal blades ( Bronze , Brass or Iron ) tightened the straps on top of tube - tube resonator .This gender -shaped drum played with 2 round ( circled layers of fabric ) with a short stalk .Similarly, Xylophone In a complete set of gamelan instruments there are 3 pieces of Gender , the Gender slendro , bem pelog Gender and Gender pelog goods .In accordance with the function of the song , the tone of the area , and its size , there are two kinds of gender :
a. gender barungGender -sized , low-to- middle beroktaf . One of the leaders of the instrument , gender barung play patterns berketukan steady song ( twisted ) which can create a thick texture and sonority pathet strengthen the sense of the piece .Some piece has an opening that gender played barung ; - piece piece piece is called gender .In the puppet show , the player has the lead role of gender should play an instrument almost never stopped all night in a game piece , sulukan , and grimingan .

b . gender panerusSmaller gender , beroktaf middle to high . Although the instrument noodles should not exist in the ensemble , its presence adds more wealth kepyek gamelan texture . Gender plays a song in the song pattern of steady and fast beats .

The formula for beating the gender comprise less than 12 ways , namely :1 ) wasp gender gembyang mbukak2 ) gender wasp gembyang closed3 ) gender wasp gembyang minggah4 ) wasp gender gembyang mandha5 ) gender wasp kempyung mbukak6 ) gender wasp kempyung closed7 ) gender wasp kempyung minggah8 . ) Wasp gender kempyung mandhap9 ) gender wasp hanger gembyang10 ) gender wasp hanger kempyung11 ) gender wasp mipil12 ) gender wasp returns ( for launch , srepeg , Palaran )
9 . siterZither is played with a plucked instrument , made of a hollow wooden box-shaped stringed . In general, the site has a twelve-tone , ie from left to right : 2 , 3,5,6,1,2,3,5,6,1,2,3 . (samples siter slendro ) .His trademark tone of the strings tuned pelog and other stringed tone slendro . Generally sitar has a length of about 30 cm and put in a box when it is played . Siter played as one of the musical instruments being played together ( panerusan ) , an instrument that plays twisted ( melodic patterns based balungan ) . Zither played with the same speed as the xylophone ( fast tempo ) .How to play it with the thumb , while the other fingers are used to hold the vibration when other plucked strings , this is usually a characteristic of gamelan instruments . Fingers of both hands are used to hold , with the right hand fingers are under the strings while the left finger is above the strings .Siter with various sizes are typical Gamelan instruments Siteran , although it is also used in many other types of gamelan .

10 . kempulKempul is one of the gamelan instruments sounded , usually hung into one device with Gong ( Gong similar to but smaller) with the amount depending on the type of pagelarannya , so not sure . Kempul produce sounds higher than Gong , while the smaller will result in a higher voice .In conjunction with the song piece , kempul can play the same tone with the tone balungan ; kempul sometimes precedes the next balungan tone ; sometimes he plays the tones that make up the interval kempyung balungan tone , to assert a sense of pathet .

11 . flute sulingBamboo flute that plays songs in the patterns of free -style song metric . This tool played alternately , usually at the time of the song approached suffix sentence or sometimes - sometimes played on short songs in the beginning or in the middle of a sentence song .

http://orgs.usd.edu/nmm/Gamelan/9894/9894&9895gamelansulingsfrontLG.jpg
12 . gongA noun that refers to the origin of the sound of things , the word refers specifically gong gong hung in a vertical position , large or medium -sized , beaten in the middle of bundarannya ( pencu ) with upholstered round drum .Gong marks the beginning and ending the piece and gives a sense of balance after the passage of a long sentence piece song .
Gong is very important to mark the end of the song the basic unit of the group , so the group itself ( ie sentences between two wasps song gong ) is called gong . There are two kinds of gongs :a. Gong AgengLarge hanging gongs , drums played to mark the beginning and the ending track basic groups ( gong ) piece .

b . Gong suwukanMedium-sized hanging gong , sounded to mark the piece is structured short suffix , such as launch , srepegan , and sampak .
13 . keprakKeprak is a sheet-shaped instrument made of bronze or iron with a size of approximately 20 x 27 cm , comprising several plates , given the hole at the top and a piece of rope , hung on the puppet box with the order such that when in time will lead to sound effect " crunch -crunch " .In Surakarta mat puppet genre , consisting of at least 3 pieces of practicality , there are 4 pieces and 5 pieces . As for practicality pakeliran Yogyakarta Style consists of a slab of iron are in landasi with size wooden keprak , beaten with iron cempala legs pinned by a puppeteer resulting effect a "ting - ting " .In order to produce a good sound keprak a puppeteer must know the techniques put practicality and engineering practicality with good rang . Keprak in pakeliran usually to accompany the puppet movements and to solidified solah ( motion ) puppet . Surakarta leather puppeteer genre nowadays prefer practicality made of white iron sheets in combination with some bronze keprak several pieces , which believed to have a louder sound effects .

More or less as described above set of gamelan in Java , especially Central Java and Yogyakarta . As for who has not been mentioned as Tambour / drum is an instrument in performances Supplement . Feedback from colleagues highly anticipated blog .
nuwun

Angklung music Typical Traditional Arts of West Java

2014-01-29T04:10:00.005-08:00

Who does not know the angklung . Angklung is not only known in tatar Pasundan , but already menasional , even internationally . More recently , in the United States recently deployed play the angklung , involving many people , including those Caucasians . In fact , some time ago as well , Malaysia , our neighboring country , so kesengsrem with this one musical instrument that branded him as a musical instrument originating from its own country .
Traditional Musical Instruments and Being Pride
Angklung is a traditional musical instrument which became the pride of London society in particular , and West Java in general . The raw materials are used to make bamboo angklung . Angklung itself of many kinds , ranging from Baduy Angklung , Angklung gubrag , Angklung dogdog lojor , and Angklung Badeng . Type of bamboo which is usually used to make musical instruments are bamboo black and white bamboo ( awi friend ) .
Angklung Daeng was first discovered by Sutigma around 1938. When beginning this angklung only limited use for the benefit of local and traditional arts . The resulting sounds very melodious too , have scales like do-re - mi - fa - sol - la - si - du and da -mi - na - ti - la - da , so angklung too fast growing in his journey . Until finally angklung performance is no longer local , but national and even international already .
How many players ? Angklung game itself can involve a lot of people , to 50 people . Angklung game can be combined with other instruments such as organ , piano , guitar , drums , and so forth . Interestingly the angklung but can be used for art tool can also be used for souvenirs or fruit after hand decorated with a variety of other accessories .
Udjo Ngalagena
Like the other traditional musical instrument , angklung will be empowered if not disappear easily eroded times . Fortunately there is concern Udjo Ngalagena in the development of techniques based on barrel - barrel game pelog , salendro and madenda , and began to teach it to a lot of people from diverse communities .
In fact , Mang Udjo - familiar greeting - up to make the center of the manufacture and development of angklung art creations he calls the " Saung Mang Angkung Udjo residing in Padasuka Cicaheum , Bandung .

Jaranan, Art Java timeless Ages

2014-01-29T04:06:00.002-08:00

Jaranan, Art Java timeless Ages

Film - Some players follow the traditional arts horses were put to Music . How it got old , got them a couple menggelepar remained mengapit kuda lumping in the foot . Plan - alifly them down. They got red eyes fangs sesekali to just look white only.
Music Taken filter mengalun alifly , debit be Desplat , together with the dancers horses filter kesadarannya lost . They dance got Swirling got beraturan .
Suddenly , they menyerang the spectators stood filter circular saw theater event in the pages of comics, the village head office Tunggorono , Jombang district , Jombang , East Java . As a result , hundreds of spectators too topsy - turvy menyelamatkan ourselves .
Horsemen in traditional arts , possession or lost awareness of the players is the main attraction of that required to be shown . Now fitted filter having possessed too cold , the handler should cope with and make the viewers run headlong .
Arts riding is one of the traditional arts community . By history, horses appeared the first shield 1041 AD or Abul United Panjalu ( BYOB ) filter Abul government 's died .
Arts horsemen emerged settings as Anthrax Heaven , the daughter of King Airlangga , hendak dipersunting number of figures from kingdoms neighborhood.
Determine the applicant 's cards should a college , I made Anthrax Housing competition . Applicants filter suaminya have to be a college can filter menciptakan art not yet be available in Java .
Some of the royal prince Neighbors presenting the pie in the competition . Turn to fall Klana rover from Wengker cards showing horses. The masked dancers dragon cards got lost awareness Riding lumping can turn out attention to her.
Since that is the art of riding with dance cards are identical kuda 's last moments of this year .
Not as a baseline for preserving them. Agar target heart of the community , artists often mengolaborasikannya with the attraction - attraction whistle , Such overlap flowers , porcelain , or swallowed dazzling detail.
Such a one disampaikan artists , and welcome , he deliberately using the method that 's no losing horses and tergerus by foreign culture . Welcome belief , horses can hold defensive genius has its own fan .
Welcome to this exquisitely with the other artists still often appear in various events average half tujuh five times per month . ( TBN )

Central Java Cultural Arts

2014-01-29T04:02:00.000-08:00

Kesenian Budaya Jawa Tengah

Indonesia terdiri dari banyak pulau dan beragam suku dan budaya. Indonesia memiliki banyak suku dan budaya yang berbeda-beda di setiap daerahnya. Karena beragamnya suku dan budaya di Indonesia, itu menjadi salah satu ciri khas Indonesia dan mampu banyak menarik para wisatawan lokal maupun manca Negara. Kali ini saya akan membuat artikel mengenai Kesenian budaya dari daerah Jawa Tengah.

Kebudayaan Jawa merupakan salah satu sosok kebudayaan tertua di Indonesia. Kebudayaan Jawa mengakar di Jawa Tengah bermula dari kebudayaan nenek moyang yang bermukim di tepian Sungai Bengawan Solo pada ribuan tahun sebelum Masehi. Fosil manusia Jawa purba yang kini menghuni Museum Sangiran di Kabupaten Sragen, merupakan saksi sejarah, betapa tuanya bumi Jawa Tengah sebagai kawasan pemukiman yang dengan sendirinya merupakan suatu kawasan budaya.

Kebudayaan Jawa Tengah

Jawa Tengah memiliki banyak seni dan budaya. Diantaranya kesenian yang terkenal yaitu batik dan wayang yang kini sudah banyak di kenal bahkan sampai ke manca Negara. Berikut beberapa kebudayaan mengenai daerha Jawa Tengah :

Rumah Adat Jawa Tengah

Rumah adat Jawa Tengah di kenal dengan nama rumah Joglo. Joglo merupakan rumah adat Jawa Tengah yang terbuat dari kayu. Rumah ini mempunyai nilai seni yg cukup tinggi dan hanya dimiliki orang dari kalangan mampu. Rumah joglo berdenah bujur sangkar dan mempunyai empat pokok tiang di tengah yang di sebut saka guru, dan digunakan blandar bersusun yang disebut tumpangsari. Blandar tumpangsari ini bersusun ke atas, makin ke atas makin melebar.

Pakaian Adat Jawa Tengah

Pakaian tradisional kaum perempuan Suku Jawa khususnya Jawa Tengah pada umumnya sama yaitu menggunakan kebaya, kemben, dan kain tapih pinjung dengan stagen. Bagi para kaum laki-laki, khususnya kerabat keraton adalah memakai baju beskap kembang-kembang atau motif bunga lainnya. Pada kepala memakai destar (blankon), kain samping jarik, stagen untuk mengikat kain samping, keris dan alas kaki (cemila). Pakaian ini dinamakan Jawi Jangkep, yaitu pakaian laki-laki Jawa lengkap dengan keris.

Kesenian

Batik : Batik tidak hanya terkenal di daerah Jawa Tengah saja tetapi juga di daerah lain di Indonesia pun memiliki balik masing-masing. Namun setiap daerah memiliki motif yang berbeda. Di Jawa Tengah mempunyai motif dasar yang relatif terikat pada pakem tertentu. Motif-motif ini mempunyai sifat simbolis dan berlatarkan kebudayaan Hindu-Jawa.

Wayang Kulit : Kesenian wayang dalam bentuknya yang asli timbul sebelum kebudayaan Hindu masuk di Indonesia dan mulai berkembang pada jaman Hindu Jawa. Figur tokoh yang digambarkan untuk pertama kali adalah Batara Guru atau Sang Hyang Jagadnata yaitu perwujudan dari Dewa Wisnu.

Tari serimpi : Tari Serimpi adalah jenis tarian tradisional Daerah Jawa Tengah. Tarian ini diperagakan oleh empat orang penari yang semuanya adalah wanita. Jumlah ini sesuai dengan arti kata serimpi yang berarti 4. Menurut Kanjeng Brongtodiningrat, komposisi empat penari sebagai simbol dari empat penjuru mata angin yakni Toya (air), Grama (api), Angin (udara) dan Bumi (tanah). Sedangkan nama peranannya adalah Batak, Gulu, Dhada dan Buncit yang melambangkan tiang Pendopo.

Gamelan Jawa : Gamelan Jawa merupakan Budaya Hindu yang digubah oleh Sunan Bonang, guna mendorong kecintaan pada kehidupan Transedental (Alam Malakut)”Tombo Ati” adalah salah satu karya Sunan Bonang. Sampai saat ini tembang tersebut masih dinyanyikan dengan nilai ajaran Islam, juga pada pentas-pentas seperti: Pewayangan, hajat Pernikahan dan acara ritual budaya Keraton.

Ketoprak : Ketroprak merupakan suatu teater rakyat yang terkenal di Jawa Tengah.

Adat Istiadat

Ada beberapa adat istiadat yang biasa dilakukan masyarakat Jawa Tengah, diantaranya :

Pada saat usia kehamilan 7 bulan, diadakan acara nujuh bulanan atau mitoni.
Ketika bayinya lahir, diadakan slametan, yang dinamakan brokohan
Acara tedak-siten, yaitu acara dimana bayi yang berusia 245 hari untuk pertama kalinya menginjak tanah. Didalam acara itu si anak di masukkan kedalam kurungan yang sudah dihiasi pernak pernik.

Untuk acara pernikahan, biasanya masyarakat Jawa Tengah melakukan budaya pingit atau tidak boleh saling bertemu bagi mempelai pria dan wanita yang akan menikah.
Sehari sebelum acara pernikahan, biasanya diadakan acara siraman bagi para pengantin. Dimana air siraman tersebut sudah di campur dengan bermacam-macam bunga.

Upacara brobosan, yaitu punya cara melintas di bawah mayat yang sudah di tandu dengan cara berjongkok

Sudah dijelaskan beberapa kebudayaan yang ada di daerah Jawa Tengah. Masih banyak kesenian dan kebudayaan yang di miliki daerah Jawa Tengah ini. Dengan mengetahui kebudayaan yang ada di Indonesia mampu membuat kita bangga dengan kekayaan budaya yang di miliki Negara ini. Dan sebagai generasi yang baik seudah sepatutnya kita menjaga dan melestarikan budaya leluhur agar tidak punah dimakan oleh era modern dan budaya asing yang semakin meningkat.

Motor Matic paling hemat

2014-01-29T03:59:00.002-08:00

It used to be maybe a lot of people who are reluctant to have the motor matic wasteful use of fuel even though the reasons driving comfort with motor matic remain unbeaten . But along with the development of technology , the rise of various motor matic matic motor which carries the slogan economical . Of the motor matic in the market , the motor matic teririt who eventually won the hearts of motorcycle users . Currently , champion motor matic teririt still held by Yamaha with the type of motor matic injection .
The popularity of motor matic taken seriously by the motorcycle manufacturer , Yamaha , especially that in fact the title as the pioneer matic motorcycle in Indonesia . Until finally managed to pull out the motor matic Yamaha teririt who responded positively by the public . Yamaha Mio J is one of a series of Yamaha motorcycle matic most economical output . Yamaha Mio J itself consists of two series , namely Mio Mio Family and Teen . Matic motor teririt latest release of the Yamaha has managed to increase the number of sales primarily to the sale of Yamaha motorcycle matic .
Yamaha themselves with smart packing teririt newest automatic motorcycle with the slogan of the motor matic injection cheap . Where as we know with that by creating a proper brand image can be a very significant impact on sales results . And this has been proven in Yamaha 's motorcycle matic teriritnya . Yahama Mio has proven efficient in addition also still has a sporty and elegant appearance .
The use of advanced technology and modern Yamaha Mio matic makes it become one of the most economical motors are environmentally friendly because it uses a more efficient combustion system and is certainly more efficient than the combustion system that occurs in other types of motor matic . In addition , in order to avoid the rampant theft of motorcycles , Yamaha also uses a magnetic key technology that can minimize the risk of losing the motorcycle .

10 Modification Motor Keren

2014-01-29T03:57:00.000-08:00

Not only modifications to the car are an expensive hobby of automotive enthusiasts, however, the motor modifications are also included. Various types, brands, and types of motors can be transformed into a motorcycle that looks super. Because the elements of prestige and self-esteem also had a role in the hobby motor modification, then the modification motorcycle enthusiast would be willing to spend money to be able to get any modified motor according to what they want.

Here are 10 of the coolest motor modifications we can modify the example for our motors:

10 Photos Best Car Modification

2014-01-29T03:55:00.003-08:00

Modified car is one of the hobbies that rich people just do not want to make the car to be more comfortable to drive, but also to raise the prestige of the owner. If you've dealt with the prestige and self-esteem, money will be very priceless because there is something that can not be bought with money, that is a sense of pride. Not surprisingly, the hobbyist car modification would be willing to spend them in a - in a dress for their cars.

Here are 10 photos of the best car modification can make us stunned with various modifications were made:

Nintendo to experiment with mobile mini games, report says

2014-01-29T03:50:00.002-08:00

No, Nintendo classic Super Mario Bros. 3 is not coming to iOS. But some form of Mario just might land on your smartphone soon.

According to the Japanese business publication Nikkei, Nintendo is planning a foray into mobile, but not in the way many avid fans and Wii U detractors may be calling for. The company is reportedly planning free mini games for smartphones that will act as demos of full-priced console and 3DS games. The mini games will also come with the ability to purchase those full-priced games through one's smartphone, Nikkei reports.
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This news happens to coincide with some rather volatile stock activity and a deluge of critical opinion regarding Nintendo's future and the steps it should take to secure itself. Some say Nintendo's hesitancy in going mobile, its failure to realize the potential of online gaming, and its inability to manage a cohesive and cross-platform digital marketplace represent a stubborn and old-fashioned business mentality combined with an out-of-touch sense of the modern gamer's wants and needs.

Others, like Wired's Chris Kohler, make the very compelling argument that Nintendo's position is far more complicated than that, and that porting games to the iPhone won't solve a problem that could potentially drive the Japanese gaming giant out of hardware entirely.

Whatever form Nintendo's mobile move takes, it's likely not a direct result of the stock dip or a response to the call of critics, as some have pointed out that Nintendo has long eyed platforms outside its finely constructed ecosystem as viable avenues to pull new players in.

In fact, Nintendo of America President Reggie Fils-Aime told Seattle King 5 News last year, "We're also doing a lot of experimentation of what I would call the little experiences you can have on your smartphone and tablet that will drive you back to your Nintendo hardware." He added, "It's largely going to be much more marketing activity-oriented, but we've done little things where there's some element of gameplay -- a movement, a shaking, something like that."

Details are still scarce, but Nintendo is expected to further outline these plans in an announcement Thursday. What is definitive at this point is that none of these mini games will operate like a free-to-play title, a mobile-first business model that some critics say Nintendo will have to adopt or die if it wants to make any kind of splash in the smartphone gaming space.

"According to The Nikkei, this content will be entirely free, and Nintendo is not planning to offer paid or freemium games on smartphones at the moment," Japan-based consultant and analyst Serkan Toto, who translated the Nikkei report, clarified on his personal site.

Update at 1:30 p.m. on Tuesday, Jan. 28: Nintendo has come out and denied that it is making mini games for third-party hardware. "...During such past announcements Mr. [Satoru] Iwata has also stated that Nintendo's intention is not to make Nintendo software available on smart devices and as such, we can confirm that there are no plans to offer mini-games on smartphone devices," the company said in a statement.

Set up your Apple TV just by touching it with your iOS 7 device

2014-01-29T03:49:00.000-08:00

Setting up an Apple TV isn't especially complicated, though it can be a hassle. The combination of an onscreen keyboard and Apple's remote makes for painfully slow input of your Apple ID, Wi-Fi password, and the like.

But if you have a third-gen Apple TV and an iPhone, iPod Touch, or iPad running iOS 7, you can transfer nearly all the necessary setup information, quickly and wirelessly, just by touching one device to another.
(Credit: Apple)

How is that possible? Did Apple borrow technology from Bump? Nope. (In fact, Google just bought Bump.) This surprising new option comes courtesy of Bluetooth and iBeacon, a feature Apple slipped into iOS 7 without much fanfare.

As described by a newly released Apple support document, the Apple TV setup process goes like this: Fire up the box (for the first time, presumably) and wait for the setup screen. Then, making sure Bluetooth is enabled on your iDevice and that it's connected to the Wi-Fi network, just touch it to the Apple TV and wait until you see setup prompts on the TV and device.

From there it should be easy going. You'll enter your Apple password on your device (much easier thanks to the touch keyboard, and perhaps easier still if you have an iPhone 5S with Touch ID), and then just wait for all the necessary settings (iTunes store credentials, region, language preference, etc.) to get transferred over.

According to Apple, iBeacons are "a new class of low-powered, low-cost transmitters that can notify nearby iOS 7 devices of their presence." This would suggest that the third-gen Apple TV, which was introduced back in January, had such a transmitter built in all along, even though it served no purpose until iOS 7 arrived nine months later. Alternately, according to TechCrunch, it might not be iBeacons at all, but rather a similar capability afforded by Bluetooth Low Energy.

Either way, it's an interesting peek at how Apple devices may communicate in the future. And anything that makes setup simpler is cause for celebration.

The world economy in 2014 Why optimism may be bad news

2014-01-28T05:28:00.001-08:00

ALMOST every year since the end of the financial crisis has started with rosy expectations among American forecasters, and this one is no different. Stockmarkets are buoyant, consumer confidence is improving, and economic seers are raising their growth forecasts for 2014. America’s S&P 500 share index is at a record high, after rising 30% in 2013—the biggest annual gain in almost two decades. Powered by America, global growth of close to 4%, on a purchasing-power-parity basis, seems possible. That would be nearly a full percentage point faster than 2013, and the best showing for several years.

Yet amid the new-year cheer, it is worth remembering that almost every year since the financial crisis upbeat expectations have been disappointed. The biggest danger this time round is the optimism itself.

Fiscal ease

All around the rich world, things are looking better. Britain’s recovery is gathering pace (see article). Japan’s economy seems strong enough to cope with the imminent rise in its consumption tax. Even Europe’s prospects are less dismal. But America is driving this recovery.

America’s growth rests on strong foundations. First, household and corporate balance-sheets are in good shape. Unlike Europeans, who have barely reduced their private debt, Americans have put the hangover from the financial crisis behind them. The revival in house prices is testament to that. Second, thanks to cheap energy, years of wage restraint and a relatively weak dollar, America is competitive. These two factors have combined to produce faster job growth which, along with higher share prices, suggests stronger consumer spending and higher investment ahead. Finally, the fiscal squeeze is abating. In 2013 the federal government took 1.75% of GDP out of the economy with tax rises and spending cuts. The recently agreed budget deal will help cut the fiscal squeeze to 0.5% of GDP this year. All these factors could boost America’s growth to around 3% in 2014, well above its trend rate.

More spending by American firms and households will, in turn, buoy demand for goods and services from everywhere from China to Germany. America’s appetite for foreign wares is not what it once was (the current-account deficit has fallen to a 15-year low of 2.2% of GDP, see article), but its economy is so big that faster spending will push up exports around the globe. The resulting support for growth will, in turn, improve domestic confidence from Europe to Japan.

The trouble is that trade channels are not the only, or even the main, way in which America’s economy affects the rest of the world. Financial markets are a more powerful influence, as today’s share-price surges prove. As America’s economy gains strength, investors may expect the Federal Reserve to bring forward its first rate rise from the expected date of mid- 2015. That could send bond yields sharply higher.

Fed officials have made it clear that, even though the pace of bond-buying will slow, they are in no hurry to raise rates. But the faster the economy grows, the likelier investors are to doubt that commitment. In Britain, speedy growth has already led to expectations that the Bank of England will raise interest rates, even though it insists that it has no intention of doing anything of the sort. If faster growth in America translates into sharply higher bond yields, it could undermine itself. And, given the Fed’s influence over global monetary conditions, it could clobber growth elsewhere too.

A more subtle, but still pernicious, risk is complacency. Politicians are always keener to take credit for growth than to tackle tough reforms. The euro area’s latest fudge on its banking union, for example, reflects an insouciance born of better economic news. That is a problem because, across the rich world, the to-do list is long. America has a huge rump of long-term unemployed (see article), and fast-rising disability rolls. Britain will remain dangerously reliant on rising house prices unless it liberalises its planning rules and invests more in airports, roads and other infrastructure. The euro area cannot enjoy real prosperity until its overhang of private debt is reduced and its young people are brought back to the labour market. Bear that in mind if you start to feel too upbeat.

From the print edition: Leaders